Download Free The Gendered Gazes Of Janus Book in PDF and EPUB Free Download. You can read online The Gendered Gazes Of Janus and write the review.

Examines the work and aspirations of women filmmakers in Latin America, Africa, and Asia, as well as in marginalized communities within the United States, with particular attention to issues of gender, race, nation, and aesthetics.
The Outside Child, In and Out of the Book is situated at the intersection between children’s literature studies and childhood studies. In this provocative book, Christine Wilkie-Stibbs juxtaposes the narratives of literary and actual children/young adults to explore how Western culture has imagined, defined, and dealt with their outsider status – whether orphaned, homeless, refugee, victims of abuse, or exploited – and how processes of economic, social, or political impoverishment are sustained and naturalized in regimes of power, authority, and domination. In five chapters titled: "Outsider," "Displaced," "Erased," "Abject," "Unattached," and "Colonized," the book situates and repositions a range of pre- and post-millennium children’s/young adult fictions, autobiographies, policy documents, and reports in the current climate of rabid globalization, new "out-group" definitions, and prescribed normativity. Children’s/young adult fictions considered include: Malorie Blackman’s Noughts and Crosses trilogy; Mark Haddon’s The Curious Incident of the Dog in the Night-Time; Jacqueline Wilson’s The Illustrated Mum; Shyam Selvadurai’s Funny Boy; Ann Provoost’s Falling; Meg Rosoff’s, How I Live Now; Elizabeth Laird’s A Little Piece of Ground. Autobiographical works include Zlata Filipovic’s Zlata’s Diary; Kevin Lewis’s The Kid; Latifa’s My Forbidden Face; and Valérie Zenatti’s When I Was a Soldier.
This ground-breaking book celebrates the bimillennial anniversary of the inception of Ovid's Fasti by offering a variety of approaches to Ovid's poem on the Roman religious calendar. The volume does not aim at consensus but brings together experts from around the world without allowing any single prejudice to prevail.
The epic genre has at its heart a fascination with the horror of viewing death. Epic heroes have active visual power, yet become objects, turned into monuments, watched by two main audiences: the gods above and the women on the sidelines. This stimulating, ambitious study investigates the theme of vision in Greek and Latin epic from Homer to Nonnus, bringing the edges of epic into dialogue with celebrated moments (the visual confrontation of Hector and Achilles, the failure of Turnus' gaze), revealing epic as massive assertion of authority and fractured representation. Helen Lovatt demonstrates the complexity of epic constructions of gender: from Apollonius' Medea toppling Talos with her eyes to Parthenopaeus as object of desire. She discusses mortals appropriating the divine gaze, prophets as both penetrative viewers and rape victims, explores the divine authority of epic ecphrasis, and exposes the way that heroic bodies are fragmented and fetishised.
During his last two decades (ca. 2 BCE-17 CE), Ovid composed, but never completed, his Fasti, an elegiac representation of Rome's rites and festivals: only six of twelve month-books remain. Earlier scholars have claimed that this is due either to Ovid's exile from Rome (which put him out of touch with the Roman literary world) or else his frustration over the Roman calendar's discontinuity. Drawing upon recent scholarship in gender studies and Lacanian film theory, Richard J. King analyzes this exilic incompletion as inviting the citizen male reader into what he calls an "angular" or "skewed" viewpoint, which interrogates the Roman hierarchical and male-dominated social order, insofar as it is mirrored in the Roman calendar of rites and festivals. Ovid (already well known and even infamous as the composer of erotic poems and the Metamorphoses) does this by emulating the civic gesture of "calendar presentation," whereby upwardly mobile adult male citizens caused calendars to be carved in stone and set up in conspicuous public places to reflect the city's pride and to build their own prestige as public figures. In this innovative study, King discusses the Fasti as Ovid's socially strategic use of this gesture. Interrupted by exile and filled with varying explanations of Roman festivals, Ovid's poetic version manifests a form whose brokenness comments on the fractured identity of the exiled poet and citizen subjects generally in an imperial order ambivalent toward its greatest poet. Desiring Rome expands upon recent recognition of the Fasti's centrality to early imperial politics by situating the poem's "failure" within broader negotiations of identity between early imperial citizen-subjects and the cultural ideology of Roman manhood.
What counts as music for contemporary thinkers? Why is music of use to philosophers and how do they use it in their work? How do philosophers decide what music is and what assumptions are uncritically inherited in this move? And what is the philosophical relationship between music and gender? To answer these questions, Sarah Hickmott looks at the way music is used, characterised and understood in the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe and Alain Badiou. Despite the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontology, politics, ethics and aesthetics. Given a longer philosophical history, dating back at least to Plato, of aligning music with the feminine, she also focuses on the way gender is deployed, understood and constructed within the philosophy of music.
Palestinian Literature and Film in Postcolonial Feminist Perspective is the first sustained study of gender-consciousness in the Palestinian creative imagination. Drawing on concepts from postcolonial feminist theory, Ball analyses a range of literary and filmic works by major creative practitioners including Michel Khleifi , Liana Badr, Annemarie Jacir, Elia Suleiman, Mona Hatoum and Suheir Hammad, and reveals a hitherto unrecognized trajectory in gender-consciousness under development in the Palestinian imagination from the start of the twentieth century. The book explores how these works resonate with questions of power, identity, nation, resistance, and self-representation in the Palestinian imagination more broadly, and asks how these gender-conscious narratives transform our understanding of Palestine's struggle for postcoloniality. Working at the cusp of postcolonial, feminist and cultural enquiry, Ball seeks to open up vital new directions in the interdisciplinary study of Palestine.
Accessible, introductory student guide which identifies key feminist approaches to popular culture from the 1960s to the present.. The only introduction to both feminist cultural studies and feminism and popular culture published in the UK.. Presents its information in a reader friendly series of case studies on: women's film romantic fiction soap opera consumption and material culture fashion and beauty proactices youth culture and popular music. Will appeal to students across a wide range of disciplines as a variety of popular cultural forms are discussed.
Suggesting that politics and power are at the center of Margaret Atwood's fiction, Theodore F. Sheckels examines Atwood's novels from The Edible Woman to The Year of the Flood. Whether her treatment is explicit as in Bodily Harm and The Handmaid's Tale or by means of an exploration of interiority as in Cat's Eye and The Robber Bride, Atwood's persistent concern is with how the empowered act towards those who are constrained within the political, economic and social institutions that facilitate power dynamics. Sheckels identifies an increasing sophistication in Atwood's exposition of power over time that is revealed in the later novels' engagement with social class, postcolonialism, and a globalism that merges science and commerce as issues relevant to politics and power. Acknowledging that Atwood is not a political theorist but a novelist, Sheckels does not suggest that her work should be viewed as political commentary but rather as a creative treatment of the laudable but ultimately only partially successful ways in which women and other groups resist the constraints placed on them by institutionalized oppression.