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Books on the topic 'The male gaze'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Bloom, James D. Reading the Male Gaze in Literature and Culture. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59945-8.

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2

The Male Empire Under the Female Gaze: The British Raj and the Memsahib. Amherst, New York: Cambria Press, 2013.

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3

Morrison, Karl Frederick. The male gaze and other reasons for the hypothetical end of Christian art in the West. Toronto: Pontifical Studies of Mediaeval Studies, 2005.

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4

Pontifical Institute of Mediaeval Studies., ed. The male gaze and other reasons for the hypothetical end of Christian art in the West. Toronto: Pontifical Institute of Mediaeval Studies, 2005.

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5

The inward gaze: Masculinity and subjectivity in modern culture. London: Routledge, 1992.

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6

Seminar, Reverting the Gaze: Analysing the Portrayal of Male Characters in the Fiction of Indian Female Novelists (2011 Karim City College) UGC Sponsored National. Proceedings 'n papers of UGC Sponsored National Seminar, Reverting the Gaze: Analysing the Portrayal of Male Characters in the Fiction of Indian Female Novelists, March 30th-31st, 2011. Jamshedpur: Department of English, Karim City College, 2011.

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7

Reid, David. "Just looking": Gazing at the male gaze: the representation of women in the films of Michelangelo Antonioni and Rainer Werner Fassbinder, and in the photography of Jeff Wall and Thomas Struth. [Derby: University of Derby], 2000.

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8

Lalli, Joe. Fun? game: Male models revealed. New York: Universe Publishing, 1998.

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9

Mating game. New York: Signet Eclipse, 2009.

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10

Maynard, Janice. Mating Game. New York: Penguin USA, Inc., 2009.

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11

Club, North American Hunting, ed. Wild game made easy. New Prague, MN: International Cuisine Publishers, 1997.

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12

Durgin, Doranna. Dark debts. New York: Ballantine Books, 2003.

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13

McCay, Bill. Rebel thunder. New York: Ballantine Books, 2003.

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14

Markoe, Merrill. The psycho ex game. New York: Villard, 2004.

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15

On wings made of gauze. New York: Quill, 1985.

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16

Finney, Nikky. On wings made of gauze. New York: W. Morrow, 1985.

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17

Fahme, Minhaz-Us-Salakeen, and Tanimul Haque Khan. How to Make a Game. Berkeley, CA: Apress, 2021. http://dx.doi.org/10.1007/978-1-4842-6917-6.

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18

Nam, Chi-hyŏng. Baduk made fun and easy. Seoul: EunHaeng NaMu, 2007.

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19

Nam, Chi-hyŏng. Baduk made fun and easy. Seoul: EunHaeng NaMu, 2007.

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20

Beginner to pro: Blackjack made easy. Bossier City, LA: Mead Pub. Co., 2002.

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21

Zander, Konrad. Ein südwester Farmer, Jager und Maler. Windhoek: Kuiseb Verlag, 1999.

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22

Toney, Reba. The rating game. New York: St. Martin's Griffin, 2009.

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23

Pinchuk, Amy. Make amazing toy and game gadgets. New York, NY: Scholastic, 2001.

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24

United Service Institution of India, ed. Assassin's mace: A Chinese game changer. New Delhi, India: Vij Books India Pvt. Ltd, 2015.

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25

Pinchuk, Amy. Make amazing toy and game gadgets. New York, NY: Scholastic, 2001.

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26

Tracy, Hickman, ed. Serpent Mage. New York: Bantam Books, 1992.

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27

Abbott, Robert. Supermazes: Mind twisters for puzzle buffs, game nuts, and other smart people. Rocklin, CA: Prima Pub., 1997.

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28

Brown, Alison P. Fair game: Women's participation in some male-dominated physical activities. Birmingham: University of Birmingham, 1985.

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29

Schelling's game theory: How to make decisions. New York: Oxford University Press, 2012.

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30

Let's make Angry Birds cakes. Irvine, CA: Walter Foster, a division of Quarto Publishing Group USA Inc, 2014.

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31

Purdy, Dennis. The illustrated guide to blackjack: 150 situations and solutions to make winners out of beginners! New York: Kensington Books, 2007.

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32

Saunders, Kate. The marrying game. New York: St. Martin's Griffin, 2004.

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33

Saunders, Kate. The marrying game. New York: St. Martin's Press, 2003.

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34

The Male Gaze. Picador, 2007.

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35

Arias-Maldonado, Manuel. Fe)Male Gaze. Editorial Anagrama S.A., 2019.

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36

The Male Gaze. Pan Macmillan, 2008.

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37

Male image, female gaze: Men in Shashi Deshpande's fiction. Jaipur: Rawat Publications, 2012.

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38

Pravadelli, Veronica. The Male Subject of Noir and the Modern Gaze. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038778.003.0004.

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This chapter discusses the transition between the classical war films of the early 1940s and the anticlassical film noirs of the later half of the decade. This period can be roughly described in terms of a dual crisis, seen at the level of representation and at the level of the subject's capacity to act and to know. The chapter then examines noir's visual and narrative regime, especially its ability to express in purely visual terms certain modern tenets such as the psyche's split nature, the notion of embodied subjectivity, and the failure of vision and seeing. Similarly, noir alters the function of verbal language: the protagonist's subjective narration is often the only key to knowledge and truth, and words seem to take up the role previously assigned to vision and action. Meanwhile deep focus photography alters the terms of visuality.

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39

Bloom, James D. Reading the Male Gaze in Literature and Culture: Studies in Erotic Epistemology. Palgrave Macmillan, 2018.

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40

Reading the Male Gaze in Literature and Culture: Studies in Erotic Epistemology. Palgrave Macmillan, 2017.

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41

Amico, Stephen. Corporeal Intentions. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038273.003.0004.

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This chapter explores how male homosexuality is suggested via the presentation of the sexualized male body as object of the gaze—an objectifying gaze placing the male in the position of the “feminine.” It looks at the efflorescence of images of male physical beauty in the musical discourses of numerous singers and bands in the first two decades of the twenty-first century in Russia and how these images were conflated with homosexuality or homoeroticism. To this end, the chapter examines instances of the male body's foregrounding in the work of Andrei Danilko, the groups Hi-Fi and Smash!!, and singer Dima Bilan (focusing on his appearances at the Eurovision Song Contest). It highlights not only the variable of the body's visibility (and, concomitantly, questions of power), but also the interrelated and phenomenologically inflected dynamics of intentionality, proximity, and orientation. It shows that visible male bodies, invoking the possibility of the homosexual, provide a sight/site for Russian gay men and also serve the goluboi.

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42

Chen, Xiangyang. Woman, Generic Aesthetics, and the Vernacular. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0013.

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This chapter examines the hybrid origins of Hong Kong's Huangmei opera film. It shows how the Chinese Communist Party's demand for a cinema showcasing the national cultural past paradoxically facilitated the cross-border circulation of an indigenous, vernacular operatic tradition—featuring feisty rural women, female voice-over chanting, and frequent cross-dressing—into the modernizing idioms of Hong Kong's film industry. Under colonial suppression of local nationalist objectives, the resulting hybridized genre carried a vital female imaginary in nostalgic Chinese wrappings. In contrast to Indian cinema's culture of emotion, female performativity contests Chinese conventions of restraint, opening up imaginary female power. This is supported by the impact of the female voice on point-of-view shooting, spatial organization, and narrative structure, foregrounding, against Western feminism's focus on the male gaze, a female counter-gaze within a patriarchal drama of conflicting desires.

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43

Meyer, Jessica. “A Blind Man’s Homecoming”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190458997.003.0008.

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This chapter draws upon the personal narratives of noncommissioned rankers serving with the British Royal Army Medical Corps during World War I to explore how these men responded to encounters with bodily strength and weakness in their roles as male caregivers. In particular, it examines how they constructed the disablement of combatant troops by warfare in light of their own role as noncombatant service men. It locates this analysis in the context of a cultural historiography that has examined the gendering of the disabled male body in war primarily in relation to female caregivers. By examining the impact of disability on relationships between men in wartime, this chapter explores the role of the male gaze in constructing war disability and the gendering of caregiving.

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44

Misri, Deepti. Anatomy of a Riot. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038853.003.0002.

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This chapter examines gendered violence against men, which, unlike other violations such as rape, abduction, and looting, has been largely forgotten in popular memorializations of Partition. It focuses mainly on writer Saadat Hasan Manto's fictional response to the violence of Partition, Black Marginalia (1948), exploring the techniques by which he narrowly focuses the reader's gaze on the forms of male-on-male violence and evidentiary procedures used by warring religious mobs in the Partition riot. However, despite Manto's brilliant deconstruction of the logic of the communal riot, the chapter questions some aspects of his secular critique of such violence, particularly in the melodramatic tale “Mozail,” where the Sikh male figure's investments in the markers of his faith are presented merely as dogmatic and superficial.

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45

Griffin, Gabriele. A Dictionary of Gender Studies. Oxford University Press, 2017. http://dx.doi.org/10.1093/acref/9780191834837.001.0001.

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Over 430 entriesThis new dictionary provides clear and accessible definitions of a range of terms from within the fast-developing field of Gender Studies. It covers terms which have emerged out of Gender Studies, such as cyber feminism, the double burden, and the male gaze, and gender-focused definitions of more general terms, such as housework, intersectionality, and trolling. It also covers major feminist figures, including Hélène Cixous, bell hooks, and Mary Wollstonecraft, as well as groups and movements from Votes for Women to Reclaim the Night. It is an invaluable reference resource for students taking Gender Studies courses at undergraduate or postgraduate level, and for those applying a gender perspective within other subject areas.

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46

Simonson, Mary. A Different Kind of Ballet. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.006.

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Dorothy Arzner’s 1940 filmDance, Girl, Dancehas been embraced within feminist film criticism as a stunning demonstration and critique of the “male gaze” so typical in classical Hollywood cinema. Tracing the lives and careers of two dancers, scholars argue, the film privileges strong female characters and women’s relationships with one another over heterosexual romance. Yet this essay argues thatDance, Girl, Danceis as much a film about the evolution of American dance in the twentieth century as it is about looking at women’s friendships. Juxtaposing Bubbles’s risqué burlesque routines and Judy’s sentimental divertissements with extended sequences of “modern” ballet,Dance, Girl, Dancegrafts contemporary debates about the future of American dance and the meaning of American modernism onto the bodies of Bubbles, Judy, and their fellow dancers.

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47

Lennartz, Norbert, and Jonas Nesselhauf, eds. Ästhetik(en) der Pornographie. Nomos Verlagsgesellschaft mbH & Co. KG, 2021. http://dx.doi.org/10.5771/9783748927198.

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Pornography has long been an omnipresent phenomenon in both everyday and popular culture: representations of sexualities and the sexual body (the suffix ‘-graphy’ refers to this depictive and staging character) through language, signs and images can be found at any time and in any culture, but since the 20th century, of course, especially in photography and film. Over the centuries, specific writing strategies have emerged in order to escape censorship, and representations characterised by a ‘male gaze’ have been established—aesthetics of pornography that tread a narrow line between being ‘artfully’ erotic and ‘wickedly’ obscene. With contributions by Tatiana Ageeva, Hans Richard Brittnacher, Philip Jacobi, Katharina Kohm, Norbert Lennartz, Christian Lenz, Swantje van Mark, Jonas Nesselhauf, Wieland Schwanebeck and Sabine Sielke.

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48

Brookhouse, Christopher. Passing Game. Sunapee Editions, 2000.

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49

Beeston, Alix. Frozen in the Glassy, Bluestreaked Air. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0004.

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This chapter interprets the serialized narration and characterization of John Dos Passos’s Manhattan Transfer (1925) in line with the figuring of female bodies through the photographic apparatus of advertisement and celebrity that was ancillary to popular Broadway entertainments in the early twentieth century. Unpacking the image of Ellen Thatcher, Dos Passos’s central character, as a photograph at the end of the multilinear novel, it accounts for Dos Passos’s critique of the patriarchal, white-centric specular economy of the modern city. The photographic freezing of the wealthy, white Ellen registers her imprisonment to the male gaze and her resistance to those who are ethnically and socially other to her. Yet by the additive construction of its female characters, Manhattan Transfer undercuts Ellen’s sense of her essentialized difference from the novel’s other women.

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50

Inabinet, Sam, Malcolm Sheppard, Conrad Hubbard, Stephen Michael Dipesa, Kathleen Ryan, and Brian Campbell. Ascension (Mage). White Wolf Publishing, 2004.

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