Drawing upon contemporary film and fiction, The Body's Perilous Pleasures is an investigation of the nature of the body and the manner in which it figures in transvestism, cyborgs and female desire, body piercing, AIDS and reincarnation.
Sexual identities are dangerous, Michel Foucault tells us. Categories of desire harden into stereotypes by which the forces of normalization hold us and judge us. In Bodies and Pleasures, Ladelle McWhorter reads Foucault from an original and personal angle, motivated by the differences this experience has made in her life. At the same time, her analysis advances discussion of key issues in Foucault scholarship: the genealogical critique, the status of the subject and humanism, essentialism versus social construction, and the relationships between identity, community, and political action. Weaving her own experience of coming to grips with her lesbian sexual identity into her readings of Foucault's most recent writings on sexuality and power, McWhorter argues compellingly that Foucault's texts should be read less for the arguments they advance and more for their transformative effect. By exploring bodies and pleasures—gardening, line dancing, or doing philosophy, for example—McWhorter shows that it isn't necessary to conform with socially recognized sexual identities. Bodies and Pleasures takes the reader beyond unexplored norms and imposed identities as it points the way toward a personal politics, ethics, and style that challenges our sexual selves.
Knowledge about carnality and its limits provides the agenda for much of the fiction written for adolescent readers today, yet there exists little critical engagement with the ways in which it has been represented in the young adult novel in either discursive, ideological, or rhetorical forms. Death, Gender and Sexuality in Contemporary Adolescent Literature is a pioneering study that addresses these methodological and contextual gaps. Focusing on texts produced since the late-1980s, and drawing on a range of theoretical perspectives, Kathryn James shows how representations of death in young adult literature are invariably associated with issues of sexuality, gender, and power. Under particular scrutiny are the trope of woman/death, the eroticizing and sexualizing of death, and the ways in which the gendered subject is represented in dialogue with the processes of death, dying, and grief. Through close readings of historical literature, fantasy fictions, realistic novels, dead-narrator tales, and texts from genres including Gothic, horror, and post-disaster, James reveals not only how cultural discourses influence and are influenced by literary works, but how relevant the study of death is to adolescent fiction--the literature of "becoming."
The father is an enduring and iconic figure in Hollywood cinema and in the 1990s, narratives of redemptive fatherhood featured prominently in some of the decade's most popular films like Kindergarten Cop (1990), Mrs Doubtfire (1993), Jurassic Park (1993) and The Lion King (1994). Interpreting such films through the lens of feminist and queer theory, along with masculinity studies and psychoanalysis, Katie Barnett offers an insightful and interdisciplinary discussion of cinematic fathers. Barnett reveals that the father figure is often portrayed as one that invests in and is part of a discourse of reproductive futurism. This plays out across a range of genres including rom-coms, fantasy, sci-fi, drama, and disaster. By exploring both blockbuster and more low-budget films of the 1990s, Barnett explores the figure of the father against the crisis of masculinity in the United States, and indeed more globally, at this time.
This pioneering work examines prostitution in Shanghai from the late nineteenth century to the present. Drawn mostly from the daughters and wives of the working poor and declassé elites, prostitutes in Shanghai were near the bottom of class and gender hierarchies. Yet they were central figures in Shanghai urban life, entering the historical record whenever others wanted to appreciate, castigate, count, regulate, cure, pathologize, warn about, rescue, eliminate, or deploy them as a symbol in a larger social panorama. Over the past century, prostitution has been understood in many ways: as a source of urbanized pleasures, a profession full of unscrupulous and greedy schemers, a changing site of work for women, a source of moral danger and physical disease, a marker of national decay, and a sign of modernity. For the Communist leadership of the 1950s, the elimination of prostitution symbolized China's emergence as a strong, healthy, and modern nation. In the past decade, as prostitution once again has become a recognized feature of Chinese society, it has been incorporated into a larger public discussion about what kind of modernity China should seek and what kind of sex and gender arrangements should characterize that modernity. Prostitutes, like every other non-elite group, did not record their own lives. How can sources generated by intense public argument about the "larger" meanings of prostitution be read for clues to those lives? Hershatter makes use of a broad range of materials: guidebooks to the pleasure quarters, collections of anecdotes about high-class courtesans, tabloid gossip columns, municipal regulations prohibiting street soliciting, police interrogations of streetwalkers and those accused of trafficking in women, newspaper reports on court cases involving both courtesans and streetwalkers, polemics by Chinese and foreign reformers, learned articles by Chinese scholars commenting on the world history of prostitution and analyzing its local causes, surveys by doctors and social workers on sexually transmitted disease in various Shanghai populations, relief agency records, fictionalized accounts of the scams and sufferings of prostitutes, memoirs by former courtesan house patrons, and interviews with former officials and reformers. Although a courtesan may never set pen to paper, we can infer a great deal about her strategizing and working of the system through the vast cautionary literature that tells her customers how not to be defrauded by her. Newspaper accounts of the arrests and brief court testimonies of Shanghai streetwalkers let us glimpse the way that prostitutes positioned themselves to get the most they could from the legal system. Without recourse to direct speech, Hershatter argues, these women have nevertheless left an audible trace. Central to this study is the investigation of how things are known and later remembered, and how, later still, they are simultaneously apprehended and reinvented by the historian.
This anthology offers a multicultural, international look at the issues of environment, development, and population control. Feminist scholars and activists reveal the racism behind the scapegoating of women, the poor and immigrants as the source of major world problems, and present realistic solutions that rely on the ingenuity and resourcefulness of women.
Explains how dangerousness first became an object of penological discourse and why it has since remained so. Draws on material from Australia, New Zealand, England, the United States, and Canada.
This book challenges several traditional assumptions about the development of the French novel, notably that the novel is a bourgeois art form that rose and flourished along with the rise of the bourgeoisie; and that the novels of the seventeenth and eighteenth centuries were inevitable stepping stones on the road to the apotheosis of realism realized in the novels of Balzac, Flaubert, and Zola. Instead, the author argues that the early French novel articulated the French aristocracy's claims to natural ascendancy against an encroaching middle class. But like any other literary form, the novel produces and is a product of ideology, and it reveals the contradictions lying beneath the surface of an apparently seamless social structure. After the death of Louis XIV and the resulting social and political redefinition of the aristocracy, the ideological rifts in the novel's form enabled it to shift its class affiliations with the changing times. French cultural life was increasingly tinged with values determined by new configurations in the control and transmission of property, including new constraints on women's sexual behavior. Fiction that claimed for itself a rightful place in the real world began to appear. As it had during the seventeenth century, fiction continued to negotiate complex social contradictions and label as malevolent any person or group that seemed to threaten social order, notably the immoderate woman who flouted traditional conceptions of virtue and threatened to read the social fabric. This new account of the rise of the French novel is enriched throughout by close readings of both well-known and obscure novels, including d'Urfe;'s L'Astre;e, Gomberville's Polexandre, Furetière's Le Roman bourgeois, Pre;vost's Manon Lescaut, Diderot's La Religieuse, and Sade's Justine.
Signs of Life: Medicine and Cinema is the first single volume to consider the cinematic representation of medicine, medical science and the medical profession, and explores the political implications of the representations of doctors, nurses, patients, diseases and disabilities. The essays in this collection, from a wide range of film scholars and medical practitioners, also consider how formal qualities of cinema such as empirical observation, mise-en-sc'ne, propaganda and education, melodrama, documentary and narrative construction impact on our understanding of medical procedures and the public image of medicine.
Revised for this second edition, Now You See It, Richard Dyer’s groundbreaking study of films by and about lesbians and gay men, now includes an outline of developments in queer cinema since 1990. Placing the book within lesbian and gay film history, Dyer examines familiar titles such as Girls in Uniform, Un Chant D’Amour and Word is Out in their lesbian/gay context, as well as bringing to light many other forgotten, but remarkable films. Each film is examined in detail in relation to both film type and tradition, and the sexual subculture in which it was made. Now featuring a brand new introduction by Juliane Pidduck, this will be an excellent aid to cinema and film studies courses.