Too "artistic" for political history, too political for the history of art, the visual history of the campaign for women's suffrage in Britain has long been neglected. In this comprehensive and pathbreaking study, Lisa Tickner discusses and illustrates the suffragist use of spectacle—the design of banners, posters and postcards, the orchestration of mass demonstrations—in an unprecedented propaganda campaign.
When the French actress Sarah Bernhardt made her first American tour in 1880, the term feminism had not yet entered our national vocabulary. But over the course of the next half-century, a rising generation of daring actresses and comics brought a new kind of woman to center stage. Exploring and exploiting modern fantasies and fears about female roles and gender identity, these performers eschewed theatrical convention and traditional notions of womanly modesty. They created powerful images of themselves as ambitious, independent, and sexually expressive New Women. Female Spectacle reveals the theater to have been a powerful new source of cultural authority and visibility for women. Ironically, theater also provided an arena in which producers and audiences projected the uncertainties and hostilities that accompanied changing gender relations. From Bernhardt's modern methods of self-promotion to Emma Goldman's political theatrics, from the female mimics and Salome dancers to the upwardly striving chorus girl, Glenn shows us how and why theater mattered to women and argues for its pivotal role in the emergence of modern feminism.
An inventive new collection from the author of Hydroplane and The End of Free Love * A San Francisco Chronicle, Complex, Flavorwire, Vol. 1 Brooklyn, Largehearted Boy and Slaughterhouse 90210 Best Book of the Year * In these innovative linked stories, women confront loss and grief as they sift through the wreckage of their lives. In the title story, a woman struggles with the death of her friend in a plane crash. A daughter decides whether to take her father off life support in the Pushcart Prize-winning "Cowboys." And in "Underthings," when a man hits his girlfriend, she calls it an accident. Spectacle bears witness to alarming and strange incidents: carnival rides and plane crashes, affairs spied through keyholes and amateur porn, vandalism and petty theft. These wounded women stand at the edge of disaster and risk it all to speak their sharpest secrets. In lean, acrobatic prose, Susan Steinberg subverts assumptions about narrative and challenges conventional gender roles. She delivers insight with a fierce lyric intensity in sentences shorn of excessive sentiment or unnecessary ornament. By fusing style and story, Steinberg amplifies the connections between themes and characters so that each devastating revelation echoes throughout the collection. A vital and turbulent book from a distinctive voice, Spectacle will break your heart, and then, before the last page is turned, will bind it up anew. "Experimental but never opaque, Steinberg's stories seethe with real and imagined menace." —Publishers Weekly
For Caviness, an awareness of historical context places pressure upon contemporary theories like that of the "male gaze," changing their shapes and creating even richer dialogues with the past."--BOOK JACKET.
Drawing on in-depth interviews with women reflecting a range of experiences of verbal hostility, physical violence and sexual violence, Spectacle of Violence explores the issues surrounding violence and hostility towards lesbians and gay men. Challenging current thinking, Gail Mason highlights the ways in which different identities, bodes and systems of through interact, and asks fundamental questions: * Where does violence come from? * What effects does it have? * How do lesbians and gay men manage the risk of violence? * What is the relationship between violence and power? She argues for the importance of thinking about homophobic violence in the context of other core issues such as gender and race. Focusing on 'real life' experiences of violence, The Spectacle of Violence is an important contribution to current thought about violence. Moving beyond issues of causation and prevention, it offers new ways of theorizing the relationship between identity, knowledge and power.
Taylor uses performance theory to explore how public spectacle both builds and dismantles a sense of national and gender identity. Here, nation is understood as a product of communal "imaginings" that are rehearsed, written and staged - and spectacle is the desiring machine at work in those imaginings. Taylor argue that the founding scenario of Argentineness stages the struggle for national identity as a battle between men - fought on, over, and through the feminine body of the Motherland. She shows how the military's representations of itself as the model of national authenticity established the parameters of the conflict in the 70s and 80s, feminized the enemy, and positioned the public - limiting its ability to respond.
In the nineteenth century, long before film and television brought us explosions, car chases, and narrow escapes, it was America's theaters that thrilled audiences, with “sensation scenes” of speeding trains, burning buildings, and endangered bodies, often in melodramas extolling the virtues of temperance, abolition, and women's suffrage. Amy E. Hughes scrutinizes these peculiar intersections of spectacle and reform, revealing the crucial role that spectacle has played in American activism and how it has remained central to the dramaturgy of reform. Hughes traces the cultural history of three famous sensation scenes—the drunkard with the delirium tremens, the fugitive slave escaping over a river, and the victim tied to the railroad tracks—assessing how these scenes conveyed, allayed, and denied concerns about the rights and responsibilities of citizenship. These images also appeared in printed propaganda, suggesting that the coup de théâtre was an essential part of American reform culture. Additionally, Hughes argues that today’s producers and advertisers continue to exploit the affective dynamism of spectacle, reaching an even broader audience through film, television, and the Internet. To be attuned to the dynamics of spectacle, Hughes argues, is to understand how we see. Her book will interest not only theater historians, but also scholars and students of political, literary, and visual culture who are curious about how U.S. citizens saw themselves and their world during a pivotal period in American history.
One of the most influential artists working in the genre of ukiyo-e ("pictures of the floating world") in late-eighteenth-century Japan, Kitagawa Utamaro (1753?–1806) was widely appreciated for his prints of beautiful women. In images showing courtesans, geisha, housewives, and others, Utamaro made the practice of distinguishing social types into a connoisseurial art. In 1804, at the height of his success, Utamaro, along with several colleagues, was manacled and put under house arrest for fifty days for making prints of the military ruler Toyotomi Hideyoshi enjoying the pleasures of the "floating world." The event put into stark relief the challenge that popular representation posed to political authority and, according to some sources, may have precipitated Utamaro’s sudden decline. In this book Julie Nelson Davis makes a close study of selected print sets, and by drawing on a wide range of period sources reinterprets Utamaro in the context of his times. Reconstructing the place of the ukiyo-e artist within the world of the commercial print market, she demonstrates how Utamaro’s images participated in the economies of entertainment and desire in the city of Edo (modern-day Tokyo). Offering a new approach to issues of the status of the artist and the construction of identity, gender, sexuality, and celebrity in the Edo period, Utamaro and the Spectacle of Beauty is a significant contribution to the field and a key work for readers interested in Japanese art and culture.
