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Literature Suppressed on Sexual Grounds, Revised Edition examines the issues underlying the suppression of more than 100 works deemed sexually obscene. The entries new to this edition include America by Jon Stewart, Sex by Madonna, The Buffalo Tree by Adam Rapp, and many more. Also included are updates to entries such as Forever by Judy Blume, and more
Literature Suppressed on Social Grounds, Revised Edition discusses writings that have been banned over the centuries because they offended or merely ignored official truths; challenged widely held assumptions; or contained ideas or language unacceptable to a state, religious institution, or private moral watchdog. The entries new to this edition include the Captain Underpants series, We All Fall Down by Robert Cormier, and Jake and Honeybunch Go to Heaven by Margaret Zemach. Also included are updates to the censorship histories of such books as To Kill a Mockingbird and Of Mice and Men.
Literature Suppressed on Religious Grounds, Revised Edition profiles the censorship of many such essential works of literature. The entries new to this edition include extensive coverage of the Harry Potter series, which has been frequently banned in the United States on the grounds that it promotes witchcraft, as well as entries on two popular textbook series, The Witches by Roald Dahl, Women Without Men: A Novel of Modern Iran, and more. Also included are updates to such entries as The Satanic Verses by Salman Rushdie and On the Origin of Species by Charles Darwin.
When Tolstoy's The Kreutzer Sonata was banned from distribution through the mail (except for first class) in 1890, New York street vendors began selling it from pushcarts carrying large signs reading "Suppressed!" In 1961, the United States Supreme Court pondered whether D.H. Lawrence's Lady Chatterley's Lover was lewd or literary. In 1969, the novel was required reading in many college literature courses. Changing sexual mores have moved many formerly forbidden books out of locked cabinets and into libraries and classrooms. Literature Suppressed on Sexual Grounds, Fourth Edition examines the issues underlying the suppression of more than 120 works deemed sexually obscene. Entries include: America: The Book (Jon Stewart) An American Tragedy (Theodore Dreiser) The Arabian Nights (Sir Richard Burton, trans.) The Art of Love (Ovid) The Bluest Eye (Toni Morrison) Forever (Judy Blume) Gossip Girl series (Cecily von Ziegesar) How the Garcia Girls Lost Their Accents (Julia Alvarez) Lady Chatterley's Lover (D.H. Lawrence) Lolita (Vladimir Nabokov) Looking for Alaska (John Green) Rabbit, Run (John Updike) Snow Falling on Cedars (David Guterson) Song of Solomon (Toni Morrison) This Boy's Life (Tobias Wolff) Ulysses (James Joyce) and more.
An alphabetical listing of plays that have been banned throughout history with a short synopsis and reason for banning as well as profiles of the playwrights and other resource material.
Discusses the obstacles women have had to overcome in order to become writers, and identifies the sexist rationalizations used to trivialize their contributions
Examines the life and career of Edgar Allan Poe including synopses of many of his works, biographies of family and friends, a discussion of Poe's influence on other writers, and places that influenced his writing.
This early work by Radclyffe Hall was originally published in 1928 and we are now republishing it with a brand new introductory biography. 'The Well of Loneliness' is a novel that follows an upper-class Englishwoman who falls in love with another woman while serving as an ambulance driver in World War I. Marguerite Radclyffe Hall was born on 12th August 1880, in Bournemouth, England. Hall's first novel The Unlit Lamp (1924) was a lengthy and grim tale that proved hard to sell. It was only published following the success of the much lighter social comedy The Forge (1924), which made the best-seller list of John O'London's Weekly. Hall is a key figure in lesbian literature for her novel The Well of Loneliness (1928). This is her only work with overt lesbian themes and tells the story of the life of a masculine lesbian named Stephen Gordon.
An introduction to the techniques of writing book reports and reviews, including how to read correctly, note taking, topic limitation, outlining, sample introductions, checklists, and suggested topics.
In a book that confronts our society's obsession with sexual violence, Maria Tatar seeks the meaning behind one of the most disturbing images of twentieth-century Western culture: the violated female corpse. This image is so prevalent in painting, literature, film, and, most recently, in mass media, that we rarely question what is at stake in its representation. Tatar, however, challenges us to consider what is taking place--both artistically and socially--in the construction and circulation of scenes depicting sexual murder. In examining images of sexual murder (Lustmord), she produces a riveting study of how art and murder have intersected in the sexual politics of culture from Weimar Germany to the present. Tatar focuses attention on the politically turbulent Weimar Republic, often viewed as the birthplace of a transgressive avant-garde modernism, where representations of female sexual mutilation abound. Here a revealing episode in the gender politics of cultural production unfolds as male artists and writers, working in a society consumed by fear of outside threats, envision women as enemies that can be contained and mastered through transcendent artistic expression. Not only does Tatar show that male artists openly identified with real-life sexual murderers--George Grosz posed as Jack the Ripper in a photograph where his model and future wife was the target of his knife--but she also reveals the ways in which victims were disavowed and erased. Tatar first analyzes actual cases of sexual murder that aroused wide public interest in Weimar Germany. She then considers how the representation of murdered women in visual and literary works functions as a strategy for managing social and sexual anxieties, and shows how violence against women can be linked to the war trauma, to urban pathologies, and to the politics of cultural production and biological reproduction. In exploring the complex relationship between victim and agent in cases of sexual murder, Tatar explains how the roles came to be destabilized and reversed, turning the perpetrator of criminal deeds into a defenseless victim of seductive evil. Throughout the West today, the creation of similar ideological constructions still occurs in societies that have only recently begun to validate the voices of its victims. Maria Tatar's book opens up an important discussion for readers seeking to understand the forces behind sexual violence and its portrayal in the cultural media throughout this century.