Seminar paper from the year 2020 in the subject American Studies, grade: 1,7, University of Paderborn (Fakultät für Kulturwissenschaften), course: American Trauma Narratives, language: English, abstract: Boy Erased can be read as a trauma narrative with a special focus on the trauma narrative's function of creating reader empathy described by Laurie Vickroy. Therefore, this paper argues that Boy Erased offers the narrative strategies of the first-person point of view, interior monologues, foregrounding, and providing insight views into another character's thoughts and feelings to fulfill the trauma narrative function of creating reader empathy. To prove this thesis, the paper's content is structured like the following. Firstly, the text gives a theoretical background on ex-gay conversion therapy, its harmful effects as well as its current relevance to the United States. Moreover, the paper defines reader empathy in trauma literature as described by Vickroy .Here, the chapter lays out the most important concepts for the analysis of reader empathy in the primary text. After that, the relevance of reader empathy specifically in Boy Erased will be pointed out. The next chapter covers an elaborate analysis of how Conley engages reader empathy throughout the memoir. Finally, the paper's central findings will be summarized in a conclusion with an outlook on further research.
In this pathbreaking book, a well-known feminist and sociologist--who is also the Founding Editor of Gender & Society--challenges our most basic assumptions about gender. Judith Lorber views gender as wholly a product of socialization subject to human agency, organization, and interpretation. In her new paradigm, gender is an institution comparable to the economy, the family, and religion in its significance and consequences. Drawing on many schools of feminist scholarship and on research from anthropology, history, sociology, social psychology, sociolinguistics, and cultural studies, Lorber explores different paradoxes of gender: --why we speak of only two "opposite sexes" when there is such a variety of sexual behaviors and relationships; --why transvestites, transsexuals, and hermaphrodites do not affect the conceptualization of two genders and two sexes in Western societies; --why most of our cultural images of women are the way men see them and not the way women see themselves; --why all women in modern society are expected to have children and be the primary caretaker; --why domestic work is almost always the sole responsibility of wives, even when they earn more than half the family income; --why there are so few women in positions of authority, when women can be found in substantial numbers in many occupations and professions; --why women have not benefited from major social revolutions. Lorber argues that the whole point of the gender system today is to maintain structured gender inequality--to produce a subordinate class (women) that can be exploited as workers, sexual partners, childbearers, and emotional nurturers. Calling into question the inevitability and necessity of gender, she envisions a society structured for equality, where no gender, racial ethnic, or social class group is allowed to monopolize economic, educational, and cultural resources or the positions of power.
The New York Times bestselling memoir about identity, love and understanding. Now a major motion picture starring Nicole Kidman, Russell Crowe, and Lucas Hedges, directed by Joel Edgerton. "Every sentence of the story will stir your soul" (O Magazine). The son of a Baptist pastor and deeply embedded in church life in small town Arkansas, as a young man Garrard Conley was terrified and conflicted about his sexuality. When Garrard was a nineteen-year-old college student, he was outed to his parents, and was forced to make a life-changing decision: either agree to attend a church-supported conversion therapy program that promised to “cure” him of homosexuality; or risk losing family, friends, and the God he had prayed to every day of his life. Through an institutionalized Twelve-Step Program heavy on Bible study, he was supposed to emerge heterosexual, ex-gay, cleansed of impure urges and stronger in his faith in God for his brush with sin. Instead, even when faced with a harrowing and brutal journey, Garrard found the strength and understanding to break out in search of his true self and forgiveness. By confronting his buried past and the burden of a life lived in shadow, Garrard traces the complex relationships among family, faith, and community. At times heart-breaking, at times triumphant, this memoir is a testament to love that survives despite all odds.
A classic on all the trials and tribulations of the Santa Fé Trail, the Indian deprevations, the Mexican problems,the Fontier Military, the Fur Trappers, Fur Trade, and Mountain Men, Kit Carson, Uncle Dick Wooten, Buffalo Bill Cody, the Bents, Jim Beckwourth.
Winner of the 2013 Believer Book Award. At turns heartbreaking and wise, tender and wry Bobcat and Other Stories establishes Rebecca Lee as one of the most powerful and original voices in contemporary fiction. A university student on her summer abroad is offered the unusual task of arranging a friend's marriage. Secret infidelities and one guest's dubious bobcat-related injury propel a Manhattan dinner party to its unexpected conclusion. Students at an elite architecture retreat seek the wisdom of their revered mentor but end up learning more about themselves and one another than about their shared craft. In these acutely observed and scaldingly honest stories Lee gives us characters who are complex and flawed, cracking open their fragile beliefs and exposing the paradoxes that lie within their romantic and intellectual pursuits. Whether they're in the countryside of the American Midwest, on a dusty prairie road in Saskatchewan, or among the skyscrapers and voluptuous hills of Hong Kong, the terrain is never as difficult to navigate as their own histories and desires. Rebecca Lee is the author of the critically acclaimed novel The City Is a Rising Tide and the short story collection Bobcat and Other Stories. She has been published in The Atlantic and Zoetrope, and in 2001 she received a National Magazine Award for her short fiction. Originally from Saskatchewan, Lee is a graduate of the Iowa Writers' Workshop and is now a professor of creative writing at the University of North Carolina at Wilmington. 'Bobcat and Other Stories is nothing short of brilliant. Rebecca Lee writes with the unflinching, cumulatively devastating precision of Chekhov and Munro, peeling back layer after layer of illusion until we're left with the truth of ourselves ...This extraordinary story collection is sure to confirm its author as one of the best writers of her generation.' Ben Fountain, author of Billy Flynn's Long Halftime Walk 'Mesmirisingly strange...[Lee's] eccentric eloquence...makes Bobcat so potent and powerful.' New York Times 'In all these stories, confused, sometimes misdirected men and women struggle to figure out their places in the world, stumble into often unhappy situations and sometimes, to their great misfortune, get exactly what they were hoping for...Lee captures little pieces of all of us and she does it in language so delicate and precise that you'll re-read passages for the joy of it.' Star Tribune 'Slim, sly and brilliant.' Oprah.com 'Lee writes with an unflinching eye toward the darkest and saddest aspects of life, often finding humor where least expected. This fresh, provocative collection, peerless in its vehement elucidation of contemporary foibles, is not to be missed.' Publisher's Weekly 'This is a potent, quietly daring and sturdily imagined collection, rich with a subtlety in short supply in our current short-fiction landscape, where writers seem to settle for lobbing verbal grenades in the reader's general direction. In stories like "Bobcat" and "Fialta," there is the real sense of significance, as though a whole subway system's worth of meaning is roaring beneath the text, ready to whisk the reader anywhere they need to go.' National Post
“Don’t start an art collective until you read this book.” —Guerrilla Girls “Ever since Web 2.0 with its wikis, blogs and social networks the art of collaboration is back on the agenda. Collectivism after Modernism convincingly proves that art collectives did not stop after the proclaimed death of the historical avant-gardes. Like never before technology reinvents the social and artists claim the steering wheel!” —Geert Lovink, Institute of Network Cultures, Amsterdam “This examination of the succession of post-war avant-gardes and collectives is new, important, and engaged.” — Stephen F. Eisenman, author of The Abu Ghraib Effect “Collectivism after Modernism crucially helps us understand what artists and others can do in mushy, stinky times like ours. What can the seemingly powerless do in the face of mighty forces that seem to have their act really together? Here, Stimson and Sholette put forth many good answers.” —Yes Men Spanning the globe from Europe, Japan, and the United States to Africa, Cuba, and Mexico, Collectivism after Modernism explores the ways in which collectives function within cultural norms, social conventions, and corporate or state-sanctioned art. Together, these essays demonstrate that collectivism survives as an influential artistic practice despite the art world’s star system of individuality. Collectivism after Modernism provides the historical understanding necessary for thinking through postmodern collective practice, now and into the future. Contributors: Irina Aristarkhova, Jesse Drew, Okwui Enwezor, Rubn Gallo, Chris Gilbert, Brian Holmes, Alan Moore, Jelena Stojanovi´c, Reiko Tomii, Rachel Weiss. Blake Stimson is associate professor of art history at the University of California Davis, the author of The Pivot of the World: Photography and Its Nation, and coeditor of Visual Worlds and Conceptual Art: A Critical Anthology. Gregory Sholette is an artist, writer, and cofounder of collectives Political Art Documentation/Distribution and REPOhistory. He is coeditor of The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life. “To understand the various forms of postwar collectivism as historically determined phenomena and to articulate the possibilities for contemporary collectivist art production is the aim of Collectivism after Modernism. The essays assembled in this anthology argue that to make truly collective art means to reconsider the relation between art and public; examples from the Situationist International and Group Material to Paper Tiger Television and the Congolese collective Le Groupe Amos make the point. To construct an art of shared experience means to go beyond projecting what Blake Stimson and Gregory Sholette call the “imagined community”: a collective has to be more than an ideal, and more than communal craft; it has to be a truly social enterprise. Not only does it use unconventional forms and media to communicate the issues and experiences usually excluded from artistic representation, but it gives voice to a multiplicity of perspectives. At its best it relies on the participation of the audience to actively contribute to the work, carrying forth the dialogue it inspires.” —BOMB
Women’s voices offering an intimate view into women’s lives Lizzie Borden in Love, a collection of poems by national bestselling author Julianna Baggott, offers poignant commentary in the voices of women as varied as Mary Todd Lincoln and Monica Lewinsky. The poems often focus on a particular moment in life: Katherine Hepburn discovers the dead body of her brother in an attic, or painter Mary Cassatt mourns the failure of her eyesight. Sometimes heartbreaking, sometimes ecstatic, the poems in this collection never fail the trust of the subjects of their intimate portrayals
This book brings together essays dealing with the question of zoopoetics both as an object of study—i.e. texts from various traditions and periods that reflect, explicitly or implicitly, on the relationship between animality, language and representation—and as a methodological problem for animal studies, and, indeed, for literary studies more generally. What can literary animal studies tell us about literature that conventional literary studies might be blind to? How can literary studies resist the tendency to press animals into symbolic service as metaphors and allegories for the human whilst also avoiding a naïve literalism with respect to the literary animal? The volume is divided into three sections: “Texts,” which focuses on the linguistic and metaphorical dimensions of zoopoetics; “Bodies,” which is primarily concerned with mimesis and questions of embodiment, performance, and lived experience; and “Entanglement,” which focuses on interspecies encounters and the complex interplay between word and world that emerges from them. The volume will appeal to scholars and students in the fields of animal studies, area studies and comparative literature, gender studies, environmental humanities, ecocriticism, and the broader field of posthumanism.
