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Articoli di riviste sul tema "Homosexuality and music"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 30 luglio 2024

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1

Panizza, O. "Bayreuth and Homosexuality: A Reflection." Opera Quarterly 22, no. 2 (April 17, 2007): 324–28. http://dx.doi.org/10.1093/oq/kbl012.

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2

McGeary, Thomas. "Handel and Homosexuality: Burlington House and Cannons Revisited." Journal of the Royal Musical Association 136, no. 1 (2011): 33–71. http://dx.doi.org/10.1080/02690403.2011.562718.

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It has been claimed that Burlington House and Cannons, the homes of the Earl of Burlington and the Duke of Chandos, were homosexual or homoerotic settings and that Handel's presence in these environments suggests that he was ‘gay’ or influenced the secular works he composed there. Examining in detail biographical information about John Gay, Alexander Pope and William Kent, eighteenth-century biographical accounts of Handel and insights from the history of sexuality, this article argues that there is no basis for these claims about the homosexual milieux at Burlington House and Cannons or for H

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3

SA WHAE GU. "'s characteristic as a popular music and homosexuality code." Review of Korean Cultural Studies ll, no. 38 (October 2011): 7–27. http://dx.doi.org/10.17329/kcbook.2011..38.001.

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4

Amico, Stephen. "‘I Want Muscles’: house music, homosexuality and masculine signification." Popular Music 20, no. 3 (October 2001): 359–78. http://dx.doi.org/10.1017/s0261143001001556.

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The examination of ‘subcultures’ and their concomitant musical practices has produced a large and varied body of work, a recent (and notable) portion of which has been concerned with what might be referred to generally as ‘dance music’ scenes (Thornton 1996; Reynolds 1998; Fikentscher 2000). Concurrent with this focus (and sometimes enmeshed with it) has been a burgeoning interest in gender/sexuality and music (Ortega 1994; Whiteley 1997, 2000; Barkin and Hamessly 1999). While recent reassessments of ‘subcultural’ formations situated within the postmodern era have suggested inherent complexiti

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5

Allen, Stephen Arthur. "Christianity and Homosexuality in the Music of Benjamin Britten." International Journal of the Humanities: Annual Review 2, no. 1 (2006): 0. http://dx.doi.org/10.18848/1447-9508/cgp/v02i01/43187.

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6

Mockus, Martha, and John Gill. "Queer Noises: Male and Female Homosexuality in Twentieth-Century Music." Notes 53, no. 1 (September 1996): 55. http://dx.doi.org/10.2307/900290.

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7

Hilder, Thomas R. "Roll over, Tchaikovsky! Russian popular music and post-Soviet homosexuality." Ethnomusicology Forum 25, no. 1 (November 26, 2015): 131–33. http://dx.doi.org/10.1080/17411912.2015.1114896.

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8

Roberts, Graham H. "Roll over, Tchaikovsky! Russian popular music and post-Soviet homosexuality." Slavonica 22, no. 1-2 (July 2, 2017): 65–66. http://dx.doi.org/10.1080/13617427.2017.1382097.

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9

Oldfield, Anna. "Roll Over, Tchaikovsky! Russian Popular Music and Post-Soviet Homosexuality." Popular Music and Society 39, no. 2 (March 16, 2015): 263–65. http://dx.doi.org/10.1080/03007766.2015.1022979.

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10

Morris, M. "Homosexuality and the Manly Absolute: Hanns Fuchs on Richard Wagner." Opera Quarterly 22, no. 2 (April 17, 2007): 328–33. http://dx.doi.org/10.1093/oq/kbl013.

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11

SARA LONGOBARDI, RUTH. "Multivalence and Collaboration in Benjamin Britten’s Death in Venice." Twentieth-Century Music 2, no. 1 (March 2005): 53–78. http://dx.doi.org/10.1017/s1478572205000198.

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Abstract (sommario):

A multivalent conception of opera, one that understands each operatic domain as functioning independently of every other domain, is one way of accounting for marks of contention: passages in which the music seems not to fit the events, characters, or atmospheres of its accompanying text. With that analytical framework, opera, frequently conceived of as two media subsumed under a cohesive initiative, emerges as a site of elaborate, sometimes contentious, interactions.Scene 11 of Death in Venice exhibits considerable signs of multivalence. The unusual musical construct of this scene suggests poi

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12

Hanson, Josef. "Evolutionary Music Education: Robert W. Claiborne and The Way Man Learned Music (1927)." Journal of Historical Research in Music Education 41, no. 1 (July 27, 2018): 33–54. http://dx.doi.org/10.1177/1536600618790095.

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The purpose of this study was to explore and document The Way Man Learned Music (1927), a method written by lawyer, Marine captain, educator, and political leader Robert Watson Claiborne (1888–1966). Drawing influence from Ernst Haeckel and G. Stanley Hall’s theories of recapitulation, Claiborne designed a comprehensive and sequential method where students engage in primitive stages of music-making by building and playing their own instruments, including drums, pan pipes, and small marimbas. Storytelling, dance, folk music from around the world, and performance of authentic Western art music c

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13

Muxfeldt, Kristina. "Schubert, Platen, and the Myth of Narcissus." Journal of the American Musicological Society 49, no. 3 (1996): 480–527. http://dx.doi.org/10.2307/831770.

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When Franz Schubert's friend Franz von Bruchmann returned to Vienna in 1821 from his studies in Erlangen, he brought with him August von Platen's Ghaselen just off the press. Soon after, Schubert set two Platen texts. A reviewer for the Leipzig Allgemeine musikalische Zeitung singled out "Die Liebe hat gelogen" as particularly incomprehensible, in part because he found Schubert's radical harmony to be unmotivated by the text. The daring harmonic language of the second Platen song has struck even recent critics as excessive, yet none have addressed the textual motivation for Schubert's extreme

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14

Franseen, Kristin M. "‘Onward to the End of the Nineteenth Century’: Edward Prime-Stevenson’s Queer Musicological Nostalgia." Music and Letters 101, no. 2 (February 26, 2020): 300–320. http://dx.doi.org/10.1093/ml/gcz108.

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Abstract Relatively little known today, Edward Prime-Stevenson (1858–1942) was a man of hidden depths. Despite success as a music critic, Prime-Stevenson left the United States around the turn of the century to pursue (in his words) ‘studies in a branch of sexual psychology’ in Europe. Following this move, he published two books on homosexuality under the pseudonym Xavier Mayne. While ‘Mayne’s’ work has been analysed in depth by LGBTQ+ literary scholars in the past twenty years, Prime-Stevenson’s musical writings have received substantially less attention. This article considers the intertextu

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15

Kopelson, Kevin. "Tawdrily, I Adore Him: The Queen's Throat: Opera, Homosexuality, and the Mystery of Desire . Wayne Koestenbaum." 19th-Century Music 17, no. 3 (April 1994): 274–85. http://dx.doi.org/10.1525/ncm.1994.17.3.02a00060.

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16

Vetter, I. "An Introduction to Oskar Panizza's "Bayreuth and Homosexuality" (1895): "Checkmate," or, "A Heavenly Tragedy" and its Earthly Consequences." Opera Quarterly 22, no. 2 (April 17, 2007): 321–23. http://dx.doi.org/10.1093/oq/kbl011.

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17

Davis, Tracy C. "The moral sense of the majorities: indecency and vigilance in Late-Victorian music halls." Popular Music 10, no. 1 (January 1991): 39–52. http://dx.doi.org/10.1017/s026114300000430x.

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Although known as the ‘Naughty Nineties’, the last years of the nineteenth century are characterised by a succession of anti-liberal backlashes most notoriously including the Vizetelly prosecution of 1889 (principally involving Emile Zola's novels), Oscar Wilde's trials of 1895 (indirectly about homosexuality) and the pillorying of feminist reformers. Instead of becoming more sexually permissive, the English fin de siècle was in many respects deeply conservative, not only in bureaucratic responses to these sexual controversies but also in the creation of political organisations to represent an

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18

Pollard, Deborah Smith. "“All I See Is Your Booty and Cleavage”: Sex and the Contemporary Gospel Song (1988–2017)." Journal of the Society for American Music 15, no. 4 (November 2021): 363–82. http://dx.doi.org/10.1017/s1752196321000274.

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AbstractGospel songs traditionally feature lyrics that glorify God. However, there is music by contemporary gospel artists that addresses pre-marital sex, homosexuality, and pornography. The fact that these topics are being lyrically confronted by some of the genre's most recognized performers invites exploration into the content, purpose, and impact of the songs.This article places these lyrics into categories: those that are testimonial narratives about the spiritual deliverance the singer has received after transgressing sexual mores of the Black Church and those that encourage the avoidanc

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19

JONES, MATTHEW J. "“Enough of Being Basely Tearful”: “Glitter and Be Gay” and the Camp Politics of Queer Resistance." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 422–45. http://dx.doi.org/10.1017/s1752196316000341.

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AbstractUpon its publication in 1759, Voltaire'sCandide, or The Optimistscandalized Europe. Banned for its blasphemous and politically seditious content, it became asuccès de scandaleand one of the most widely read books of its time. Leonard Bernstein adapted Voltaire's work for the stage in the 1950s. With its emphasis on the improbable, the artificial, and the insouciant,Candidepractically begs for a camp (re)interpretation, and it is just such an analysis I offer here. After outlining camp as social critique, I turn to Cunégonde's aria “Glitter and Be Gay” and trace its path through camp's

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20

Hicks, Michael. "The Imprisonment of Henry Cowell." Journal of the American Musicological Society 44, no. 1 (1991): 92–119. http://dx.doi.org/10.2307/831729.

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Thus far, published references to Henry Cowell's imprisonment consistently obscure the facts of his case and overlook virtually all of the essential primary sources, including court documents, correspondence, psychological evaluations, and even Cowell's own writings on the subject. Although Cowell acceded to a charge that he had engaged in homosexual activities with a minor, the charge was distorted by newspapers and both exaggerated and minimized by his friends. The extraordinary prison sentence Cowell received resulted largely from a misleading letter by a juvenile probation officer, written

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21

Sutton, Emma. "Too Close for Comfort: Henry James, Richard Wagner and The Sacred Fount." Nineteenth-Century Music Review 6, no. 2 (November 2009): 3–17. http://dx.doi.org/10.1017/s1479409800003074.

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In April 1880, one of the most intriguing lost opportunities in musical-literary history took place. Henry James and Richard Wagner were staying in Posilippo, near Naples. James was beginning a two-month visit to Italy, whilst Wagner was living in the Italian town with his family, working on essays including ‘Religion und Kunst’ (1880) and preparing the staging for Parsifal (1882). A mutual friend, Paul von Joukowsky, suggested to James that he and Wagner meet but the offer provoked an emphatic rejection from the American novelist. It would have taken place amid the heady bohemianism, homosexu

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22

Collins, Sarah. "Nationalisms, Modernisms and Masculinities: Strategies of Displacement in Vaughan Williams’s Reading of Walt Whitman." Nineteenth-Century Music Review 14, no. 1 (November 8, 2016): 65–91. http://dx.doi.org/10.1017/s147940981600029x.

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At the time of his death in 1892, the paradigmatic American poet Walt Whitman was more widely celebrated in Britain than in his own country, having received the vocal support of the likes of Tennyson, William Michael Rossetti, John Addington Symonds, Swinburne (for a time) and Edward Carpenter. For these writers, Whitman’s political egalitarianism – expressed through notions of ‘manly love’ and comradeship – presented a powerful alternative to prevailing Victorian forms of political and social relations. Whitman also provided significant inspiration for British composers at the turn of the twe

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23

YOUNG, GREG. "‘So slide over here’: the aesthetics of masculinity in late twentieth-century Australian pop music." Popular Music 23, no. 2 (May 2004): 173–93. http://dx.doi.org/10.1017/s0261143004000145.

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For Australian men, the very act of appearing on stage has for much of the twentieth century aroused suspicion about their gender status and their sexuality. To aspire to the stage often implied homosexuality culturally in Australia. This has been evident in the evolving aesthetic of white Australian masculinity in pop music from the 1970s onwards. For most of that period, Anglo-Australian males who presented themselves in a rigid, almost asexual way dominated the aesthetic. The reality of urban Australia was ignored in their images, which were essentially confined to outback or coastal Austra

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24

Healey, Dan. "Roll Over, Tchaikovsky! Russian Popular Music and Post-Soviet Homosexuality, by Stephen AmicoRoll Over, Tchaikovsky! Russian Popular Music and Post-Soviet Homosexuality, by Stephen Amico. Urbana, University of Illinois Press, 2014. xii, 316 pp. $60.00 US (cloth)." Canadian Journal of History 50, no. 1 (April 2015): 158–60. http://dx.doi.org/10.3138/cjh.50.1.158.

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25

Franseen, Kristin M. "Queering Musical Biography in the Writings of Edward Prime-Stevenson and Rosa Newmarch." 19th-Century Music 44, no. 2 (2020): 100–118. http://dx.doi.org/10.1525/ncm.2020.44.2.100.

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Abstract (sommario):

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces fo

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26

Borris (book editor), Kenneth, George Rousseau (book editor), and Alexandra Logue (review author). "The Sciences of Homosexuality in Early Modern Europe." Renaissance and Reformation 35, no. 2 (January 29, 2013): 150–52. http://dx.doi.org/10.33137/rr.v35i2.19377.

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27

LONGOBARDI, RUTH SARA. "Reading between the Lines: An Approach to the Musical and Sexual Ambiguities of Death in Venice." Journal of Musicology 22, no. 3 (2005): 327–64. http://dx.doi.org/10.1525/jm.2005.22.3.327.

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ABSTRACT Framing opera as a collaborative genre compels an examination of differences. In particular, opera's media may be understood as simultaneous but not necessarily as cooperative or neutral. This conception of opera raises issues of power dynamics and the politics of voice, both within the work and among its artists. In Benjamin Britten's Death in Venice, musico-dramatic dissonances center on the protagonist's homoerotic obsession with a young boy. His momentous ““I love you”” at the end of the act 1 finale is accompanied by a musical gesture that does not affirm but rather resists this

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28

Knapp, Raymond. "Passing——and Failing——in Late-Nineteenth-Century Russia; or Why We Should Care about the Cuts in Tchaikovsky's Violin Concerto." 19th-Century Music 26, no. 3 (2003): 195–234. http://dx.doi.org/10.1525/ncm.2003.26.3.195.

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The traditional cuts in Tchaikovsky's Violin Concerto include nearly half of a developmental passage in the first movement and a series of shorter cuts in the finale. The first-movement cut comes after the second tutti, a triumphant thematic culmination that rings false on two levels, since it is a "polonaise" in 4/4, and since there has been no first tutti. The developmental passage that follows seems to confirm Tchaikovsky's self-confessed weakness in handling large-scale forms, but may arguably constitute an "anti-development" that sets up a mincing violin variation, which, in falling betwe

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Drushel, Bruce. "Where radio dare not tread: Podcasts as queer audio media." Radio Journal:International Studies in Broadcast & Audio Media 21, no. 1 (April 1, 2023): 67–81. http://dx.doi.org/10.1386/rjao_00073_1.

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Even given its focus on narrowly defined audiences, contemporary radio in the United States is commercial, and thus dependent upon a consumer goods sector that is market-driven, risk-averse and fearful of recrimination by those opposed to homosexuality or non-binary genders and government regulators. Queer listeners, unlike their straight counterparts, found in radio not mentors to guide them through adolescence and into adulthood, but the ultimately doomed task of attempting to conform to standards and rituals that did not fit them or to alternative readings of the texts found in radio’s musi

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Dr. Charu Mehrotra. "A Suitable Boy: Blurring the Line Between Fiction and Non-Fiction." Creative Launcher 7, no. 1 (February 28, 2022): 37–42. http://dx.doi.org/10.53032/tcl.2022.7.1.07.

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Vikram Seth was the son of a judge and a businessman was raised in London and India. He has written about a variety of themes and topics including music, travel, work environments, family, homosexuality and Catholic belief. He wrote poetic novel The Golden Gate and turned to prose in his epic novel, A Suitable Boy. It functions as a political fable, a roman a clef, showing the emerging polity of the newly independent India. Seth has used a variety of characters to show how in the very first decade after independence the mood of the people changed from euphoria to despondence. While debating th

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31

Cooper, Emmanuel. "The Sexual Perspective: Homosexuality and Art in the Last 100 Years in the West." Journal of Aesthetics and Art Criticism 54, no. 1 (1996): 92. http://dx.doi.org/10.2307/431690.

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32

Bogue, Ronald. "Scoring the Rhizome: Bussotti's Musical Diagram." Deleuze Studies 8, no. 4 (November 2014): 470–90. http://dx.doi.org/10.3366/dls.2014.0166.

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The score of Piece Four of Sylvano Bussotti's Five Piano Pieces for David Tudor is the most important image in A Thousand Plateaus. It serves as a prefatory image not only to the Rhizome plateau, but also to the work as a whole. It functions as the book's musical score, guiding readers in their performance of the text. Embracing John Cage's graphism and aleatory practices, Bussotti created his own ‘aserial’ new music, one that celebrated passion and Bussotti's open homosexuality. The visual elements of Piece Four include a deterritorialisation of the standard piano score, a diagram of the comp

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33

Lekkas, Demetrios E. "The true “punching bag” behind Molière’s The Middle-Class Nobleman." Epistēmēs Metron Logos, no. 2 (June 8, 2019): 11. http://dx.doi.org/10.12681/eml.20569.

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Summary In 1670, the new ballet comedy The middle-class gentleman (Le bourgeoisgentilhomme) premiered at the theatre of the French palace before “theSun King” Louis XIV, on a text by Molière with music by Lully, hispermanent collaborator. Both were acting on stage. Since then, no one hasraised the question who is the real punching bag of the play’s aggression.The present author decided to research towards understanding it, in orderto compose new music responsibly for a performance at the MunicipalRegional Theatre of Crete, an island paradoxically connected directly withthe initial impetus behi

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34

Willbern, David. "The Power of the Dog : Whose Gaze? Reading Savage's Novel, Watching Campion's Film." American Imago 80, no. 4 (December 2023): 805–30. http://dx.doi.org/10.1353/aim.2023.a918112.

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Abstract: The chapter compares and critiques two versions of one story: the original novel and its cinematic treatment over 50 years later. It briefly reviews changes in clinical and social ideas about gender and sexuality, especially homosexuality, during the 20th and 21st centuries. Then it addresses theoretical differences between the genres of text and film, and the idea of the "male gaze." Through close readings of the novel and the film, it demonstrates energies and tensions between concepts of male and female, gay and straight.

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Ibáñez Quintana, Jaime, and Ana María Aguilar López. "Los Diarios Rojos de Carlota y Flanagan. Dos aproximaciones a la Educación Sexual desde la Literatura Juvenil / Carlotas’s Red Diaries and Flanagan. Two Approaches to Sexual Education from Young Literature." TEJUELO. Didáctica de la Lengua y la Literatura. Educación 24 (July 27, 2016): 143–68. http://dx.doi.org/10.17398/1988-8430.24.1.143.

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Resumen En el presentetrabajo analizaremos El DiarioRojo de Carlota y El DiarioRojo de Flanagan, dos librosque desde el ámbito de laLiteratura Juvenil constituyendos verdaderos y excelentesmanuales de Educación Sexualpara nuestros adolescentes.Ambas obras abordaránaspectos tan relevantes como lapubertad, la iniciación al sexo,la menstruación, los métodosanticonceptivos, lasenfermedades de transmisiónsexual, la respuesta sexual, losestereotipos masculinos yfemeninos, la homosexualidado la violencia de género, entreotros. Y lo harán con unenfoque didáctico, moderno yvaliente, siempre próximo a l

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Arenillas Meléndez, Sara. "Empoderamiento y masculinidad en la estrategia de género de Alaska = Empowerment and masculinity in the gender strategy of Alaska." FEMERIS: Revista Multidisciplinar de Estudios de Género 3, no. 2 (August 1, 2018): 109. http://dx.doi.org/10.20318/femeris.2018.4322.

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Resumen. La cantante Alaska ha sido uno de los iconos más representativos de la modernidad en España, participando de forma destacada en la Movida. Según Alberto Mira (2004), el rasgo que definió a la Movida fue la adopción del modelo camp de homosexualidad. En este artículo, proponemos un análisis del discurso de género de Alaska, cuyo rasgo más destacado sería la adopción de este modelo camp de homosexualidad. Para ello, hemos comparado la versión que realizó del tema Quiero ser Santa con la original de Parálisis Permanente, y analizado su dúo con Loquillo en El ritmo del garaje y su canci

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Hadlock, Heather. "Wayne Koestenbaum, The Queen's Throat: Opera, Homosexuality and the Mystery of Desire. New York, Poseidon Press: 1993. Hardback, 271 pp." Cambridge Opera Journal 5, no. 3 (November 1993): 265–75. http://dx.doi.org/10.1017/s0954586700004067.

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Miller, C. F. B. "Surrealism's Homophobia." October 173 (September 2020): 207–29. http://dx.doi.org/10.1162/octo_a_00408.

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The primary document of Surrealist homophobia is a transcript, published in 1928 in the magazine La Révolution surréaliste, entitled “Research on Sexuality/ Extent of Objectivity, Individual Determinations, Degree of Consciousness.” The text records the first two of twelve closed, mostly men-only meetings, held in Paris between 1928 and 1932 by members and fellow travelers of the Surrealist group, at which the participants, according to the collective ethos of Surrealist practice, discussed their sexual preferences, experiences, and beliefs. In the published sessions, the group's leader, André

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Weaver, Ailsa. "From Jailhouse Rock to Wake Me Up Before You Go-Go: George Michael and the New Man." Critical Studies in Men's Fashion 10, no. 1 (April 1, 2023): 41–57. http://dx.doi.org/10.1386/csmf_00065_1.

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This article looks at the intersection between men’s fashion, ambiguous masculine identities and the emerging media form of music video in the AIDS-darkened early 1980s. It asks two questions: firstly, what enabled sartorial features in masculine fashion and grooming previously associated with queer-identifying men to cross over into the mainstream fashion culture of the 1980s? Secondly, how was it that in the startlingly homophobic climate of this ‘age of AIDS’, sexually ambiguous figures such as Wham!’s George Michael became such popular style role models? The article addresses these questio

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Bullock, Philip Ross. "Roll Over, Tchaikovsky! Russian Popular Music and Post-Soviet Homosexuality. By Stephen Amico. New Perspectives on Gender in Music. Urbana: University of Illinois Press, 2014. xii, 316 pp. Notes. Bibliography. Index. Tables. Musical Examples. $60.00, hard bound." Slavic Review 74, no. 2 (2015): 366–69. http://dx.doi.org/10.1017/s0037677900001509.

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Bojti, Zsolt. "Narrating eros and agape." Frontiers of Narrative Studies 6, no. 1 (July 1, 2020): 18–30. http://dx.doi.org/10.1515/fns-2020-0003.

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AbstractFin-de-SiècleA Hungarian version of the present paper was published as “Erósz és Agapé: Erotextus Edward Prime-Stevenson Imre: Egy emlékirat című regényének expozíciójában” (2019) in Literatura affiliated with the Hungarian Academy of Sciences. Supported by the ÚNKP-19-3 New National Excellence Program of the Ministry for Innovation and Technology.” gay literature in English operated with a double narrative: one narrative offers a historical (and “innocent”) reading available to general readership; the other offers a personal (often illicit) reading available to the susceptible and ini

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Amina Reem V. P. and John S. Moolakkattu. "Changing Contours of Chinese Queer Perceptions and the Taiwanese Model." China Report, July 18, 2023. http://dx.doi.org/10.1177/00094455231181572.

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This study explores the transitions of queer understandings in China, which are considerably shaped by social, political, cultural and historical factors. While the Mao era silenced homosexuality, the reform era created new avenues for public discussions on sexuality, though they were confined to urban China. The representation of queerness in Chinese media like television, films, pop music, and so on, signifies the role of cultural identities having larger implications in a local and global context. However, queer voices in China have been subject to ambiguous yet persistent censorship. In th

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Brabazon, Tara. "Welcome to the Robbiedome." M/C Journal 4, no. 3 (June 1, 2001). http://dx.doi.org/10.5204/mcj.1907.

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One of the greatest joys in watching Foxtel is to see all the crazy people who run talk shows. Judgement, ridicule and generalisations slip from their tongues like overcooked lamb off a bone. From Oprah to Rikki, from Jerry to Mother Love, the posterior of pop culture claims a world-wide audience. Recently, a new talk diva was added to the pay television stable. Dr Laura Schlessinger, the Mother of Morals, prowls the soundstage. attacking 'selfish acts' such as divorce, de facto relationships and voting Democrat. On April 11, 2001, a show aired in Australia that added a new demon to the decade

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Farmer, Brett. "Loving Julie Andrews." M/C Journal 5, no. 6 (November 1, 2002). http://dx.doi.org/10.5204/mcj.1998.

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At the beginning of his recent collection of essays in queer studies, Jeffrey Escoffier makes the assertion at once portentous and banal that “the moment of acknowledging to oneself homosexual desires and feelings … and then licensing oneself to act ... is the central drama of the homosexual self.” That “moment of self-classification,” he explains, “is an emergency – sublime, horrible, wonderful – in the life of anyone who must confront it.” (1) In the theatre of my own biography, I am unsure how or when I first played out this epiphanic drama of queer self-acknowledgment, but I can vividly re

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Smith, Hazel, and Roger T. Dean. "Posthuman Collaboration: Multimedia, Improvisation, and Computer Mediation." M/C Journal 9, no. 2 (May 1, 2006). http://dx.doi.org/10.5204/mcj.2619.

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Artistic collaboration involves a certain loss of self, because it arises out of the merging of participants. In this sense collaboration questions the notion of the creative individual and the myth of the isolated artistic genius. As such, artistic collaborations can be subversive interventions into the concept of authorship and the ideologies that surround it (Smith 189-194). Collaborations also often simultaneously superimpose many different approaches to the collaborative process. Collaboration is therefore a multiplicitous activity in which different kinds of interactivity are interlinked

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Brennan, Joseph. "Slash Manips: Remixing Popular Media with Gay Pornography." M/C Journal 16, no. 4 (August 11, 2013). http://dx.doi.org/10.5204/mcj.677.

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A slash manip is a photo remix that montages visual signs from popular media with those from gay pornography, creating a new cultural artefact. Slash (see Russ) is a fannish practice that homoeroticises the bonds between male media characters and personalities—female pairings are categorised separately as ‘femslash’. Slash has been defined almost exclusively as a female practice. While fandom is indeed “women-centred” (Bury 2), such definitions have a tendency to exclude male contributions. Remix has been well acknowledged in discussions on slash, most notably video remix in relation to slash

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King, Ben. "Retelling Psycho." M/C Journal 2, no. 1 (February 1, 1999). http://dx.doi.org/10.5204/mcj.1740.

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As the old technologies become automatic and invisible, we find ourselves more concerned with fighting or embracing what’s new”—Dennis Baron, From Pencils to Pixels:The Stage of Literacy Technologies Increasingly, cultural study is villainised by defenders of the academic tradition for luring English students away from the high-brow texts of the literary canon, a condition exacerbated by institutions' need for economic survival. In Britain in 1995 there were 1500 fewer English A-Level students than in 1994, whereas cultural studies students increased by approximately the same number (Cartmel e

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Thompson, Jay Daniel, and Erin Reardon. "“Mommy Killed Him”: Gender, Family, and History in Wes Craven’s A Nightmare on Elm Street (1984)." M/C Journal 20, no. 5 (October 13, 2017). http://dx.doi.org/10.5204/mcj.1281.

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Introduction Nancy Thompson (Heather Langekamp) is one angry teenager. She’s just discovered that her mother Marge (Ronee Blakley) knows about Freddy Krueger (Robert Englund), the strange man with the burnt flesh and the switchblade fingers who’s been killing her friends in their dreams. Marge insists that there’s nothing to worry about. “He’s dead, honey,” Marge assures her daughter, “because mommy killed him.” This now-famous line neatly encapsulates the gender politics of Wes Craven’s A Nightmare on Elm Street (1984). We argue that in order to fully understand how gender operates in Nightma

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Higley, Sarah L. "Audience, Uglossia, and CONLANG." M/C Journal 3, no. 1 (March 1, 2000). http://dx.doi.org/10.5204/mcj.1827.

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Could we also imagine a language in which a person could write down or give vocal expression to his inner experiences -- his feelings, moods, and the rest -- for his private use? Well, can't we do so in our ordinary language? -- But that is not what I mean. The individual words of this language are to refer to what can only be known to the person speaking; to his immediate private sensations. So another person cannot understand the language. -- Ludwig Wittgenstein, Philosophical Investigations par. 243 I will be using 'audience' in two ways in the following essay: as a phenomenon that produces

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Marsh, Victor. "The Evolution of a Meme Cluster: A Personal Account of a Countercultural Odyssey through The Age of Aquarius." M/C Journal 17, no. 6 (September 18, 2014). http://dx.doi.org/10.5204/mcj.888.

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Introduction The first “Aquarius Festival” came together in Canberra, at the Australian National University, in the autumn of 1971 and was reprised in 1973 in the small rural town of Nimbin, in northern New South Wales. Both events reflected the Zeitgeist in what was, in some ways, an inchoate expression of the so-called “counterculture” (Roszak). Rather than attempting to analyse the counterculture as a discrete movement with a definable history, I enlist the theory of cultural memes to read the counter culture as a Dawkinsian cluster meme, with this paper offered as “testimonio”, a form of q

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