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Genre: TG Scifi I could never go back now, and I wouldn’t want to... When the Plex arrived, they transformed men into women for their feminization and repopulation program. Jason joined up, turned into Jayna and learned all about the pleasures of the female body. Now it’s time for her biological duty: getting pregnant and giving birth. Jayna thinks she knows what it means to be a girl, but pregnancy will make her a woman. Big boobs, an enormous stomach, extra sensitivity and she’s with a muscled alien man that knows how to pleasure his woman. What could be better? Note: This transgender novella contains detailed descriptions of pregnancy sex with a muscled alien and a former male exploring her new fertile and round body. It is told with dual perspectives from Jayna and her husband’s point of view. This is a sequel to Feminized by Aliens where the feminization happened but this book can be read on its own. It's intended for those who love steamy sci-fi stories involving men who turned into women with a touch of sweetness. Each story in the Plexian Feminization Collection is self-contained. IF YOU LIKED THIS BOOK You may want to have more fun with these stories set in the same universe below: Listed in Chronological Order. *FREE* Taken by Aliens Feminized by Aliens Emasculated By Aliens
In the years between the world wars, Manhattan's Fourteenth Street-Union Square district became a center for commercial, cultural, and political activities, and hence a sensitive barometer of the dramatic social changes of the period. It was here that four urban realist painters--Kenneth Hayes Miller, Reginald Marsh, Raphael Soyer, and Isabel Bishop--placed their images of modern "new women." Bargain stores, cheap movie theaters, pinball arcades, and radical political organizations were the backdrop for the women shoppers, office and store workers, and consumers of mass culture portrayed by these artists. Ellen Wiley Todd deftly interprets the painters' complex images as they were refracted through the gender ideology of the period. This is a work of skillful interdisciplinary scholarship, combining recent insights from feminist art history, gender studies, and social and cultural theory. Drawing on a range of visual and verbal representations as well as biographical and critical texts, Todd balances the historical context surrounding the painters with nuanced analyses of how each artist's image of womanhood contributed to the continual redefining of the "new woman's" relationships to men, family, work, feminism, and sexuality.
Masculinity without men. In Female Masculinity Judith Halberstam takes aim at the protected status of male masculinity and shows that female masculinity has offered a distinct alternative to it for well over two hundred years. Providing the first full-length study on this subject, Halberstam catalogs the diversity of gender expressions among masculine women from nineteenth-century pre-lesbian practices to contemporary drag king performances. Through detailed textual readings as well as empirical research, Halberstam uncovers a hidden history of female masculinities while arguing for a more nuanced understanding of gender categories that would incorporate rather than pathologize them. She rereads Anne Lister's diaries and Radclyffe Hall's The Well of Loneliness as foundational assertions of female masculine identity. She considers the enigma of the stone butch and the politics surrounding butch/femme roles within lesbian communities. She also explores issues of transsexuality among "transgender dykes"--lesbians who pass as men--and female-to-male transsexuals who may find the label of "lesbian" a temporary refuge. Halberstam also tackles such topics as women and boxing, butches in Hollywood and independent cinema, and the phenomenon of male impersonators. Female Masculinity signals a new understanding of masculine behaviors and identities, and a new direction in interdisciplinary queer scholarship. Illustrated with nearly forty photographs, including portraits, film stills, and drag king performance shots, this book provides an extensive record of the wide range of female masculinities. And as Halberstam clearly demonstrates, female masculinity is not some bad imitation of virility, but a lively and dramatic staging of hybrid and minority genders.
In a book that radically and fundamentally revises the way we think about war, Miriam Cooke charts the emerging tradition of women's contributions to what she calls the "War Story," a genre formerly reserved for men. Concentrating on the contemporary literature of the Arab world, Cooke looks at how alternatives to the master narrative challenge the authority of experience and the permission to write. She shows how women who write themselves and their experiences into the War Story undo the masculine contract with violence, sexuality, and glory. There is no single War Story, Cooke concludes; the standard narrative—and with it the way we think about and conduct war—can be changed. As the traditional time, space, organization, and representation of war have shifted, so have ways of describing it. As drug wars, civil wars, gang wars, and ideological wars have moved into neighborhoods and homes, the line between combat zones and safe zones has blurred. Cooke shows how women's stories contest the acceptance of a dyadically structured world and break down the easy oppositions—home vs. front, civilian vs. combatant, war vs. peace, victory vs. defeat—that have framed, and ultimately promoted, war.
For the past twenty-five years, cinema has been a vital terrain on which feminist debates about culture, representation, and identity have been fought. This anthology charts the history of those debates, bringing together the key, classic essays in feminist film theory. Feminist Film Theory maps the impact of major theoretical developments on this growing field-from structuralism and psychoanalysis in the 1970s, to post-colonial theory, queer theory, and postmodernism in the 1990s. Covering a wide range of topics, including oppressive images, "woman" as fetishized object of desire, female spectatorship, and the cinematic pleasures of black women and lesbian women, Feminist Film Theory is an indispensable reference for scholars and students in the field. Contributors include Judith Butler, Carol J. Clover, Barbara Creed, Michelle Citron, Mary Ann Doane, Teresa De Lauretis, Jane Gaines, Christine Gledhill, Molly Haskell, bell hooks, Claire Johnston, Annette Kuhn, Julia Lesage, Judith Mayne, Tania Modleski, Laura Mulvey, B. Ruby Rich, Kaja Silverman, Sharon Smith, Jackie Stacey, Janet Staiger, Anna Marie Taylor, Valerie Walkerdine, and Linda Williams.
A voice on late night radio tells you that a fast food restaurant injects its food with drugs that make men impotent. A colleague asks if you think the FBI was in on 9/11. An alien abductee on the Internet claims extra-terrestrials have planted a microchip in her body. "Julia Roberts in Porn Scandal" shouts the front page of a gossip mag. A spiritual healer claims he can cure chronic fatigue syndrome with the energizing power of crystals . . . What do you believe? Knowledge Goes Pop examines the popular knowledges that saturate our everyday experience. We make this information and then it shapes the way we see the world. How valid is it when compared to official knowledge and why does such (mis)information cause so much institutional anxiety? This book examines the range of knowledge, from conspiracy theory to plain gossip, and its role and impact in our culture.