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Defining masochism as 'literary perversion', this book probes the productivity of masochistic aesthetics in the literature of Leopold von Sacher-Masoch and contemporary queer films, analysing radical accounts of desire, gender, and sexuality.
Innocence, Heterosexuality, and the Queerness of Children’s Literature examines distinguished classics of children’s literature both old and new—including L. Frank Baum’s Oz books, Laura Ingalls Wilder’s Little House series, J. K. Rowling’s Harry Potter novels, Lemony Snicket’s A Series of Unfortunate Events, and Stephenie Meyer’s Twilight series—to explore the queer tensions between innocence and heterosexuality within their pages. Pugh argues that children cannot retain their innocence of sexuality while learning about normative heterosexuality, yet this inherent paradox runs throughout many classic narratives of literature for young readers. Children’s literature typically endorses heterosexuality through its invisible presence as the de facto sexual identity of countless protagonists and their families, yet heterosexuality’s ubiquity is counterbalanced by its occlusion when authors shield their readers from forthright considerations of one of humanity’s most basic and primal instincts. The book demonstrates that tensions between innocence and sexuality render much of children’s literature queer, especially when these texts disavow sexuality through celebrations of innocence. In this original study, Pugh develops interpretations of sexuality that few critics have yet ventured, paving the way for future scholarly engagement with larger questions about the ideological role of children's literature and representations of children's sexuality. Tison Pugh is Associate Professor in the Department of English at the University of Central Florida. He is the author of Queering Medieval Genres and Sexuality and Its Queer Discontents in Middle English Literature and has published on children’s literature in such journals as Children’s Literature, The Lion and the Unicorn, and Marvels and Tales.
This book analyses regional expressions of the queer experience in texts available in the Indian vernacular languages. It studies queer autobiographies and literary and cinematic texts written in the vernacular languages on gay, lesbian, bisexual and transgender issues. The authors outline the specific terms that are popular in the bhashas (languages) to refer to the queer people and discuss any neo coinages/modes of communication invented by the queer people themselves. The volume also addresses the lack of queer representation in certain language communities and the lack of queer interaction in non-metropolitan cities in India. An important contribution to the field of queer studies in India, this timely book will be an essential read for scholars and researchers of gender studies, queer studies, cultural studies, discrimination and exclusion studies, language studies, political studies, sociology, postcolonial studies and South Asian studies.
This edited collection examines gendered representations of "evil" in history, the arts, and literature. Scholars often explore the relationships between gender, sex, and violence through theories of inequality, violence against women, and female victimization, but what happens when women are the perpetrators of violent or harmful behavior? How do we define "evil"? What makes evil men seem different from evil women? When women commit acts of violence or harmful behavior, how are they represented differently from men? How do perceptions of class, race, and age influence these representations? How have these representations changed over time, and why? What purposes have gendered representations of evil served in culture and history? What is the relationship between gender, punishment of evil behavior, and equality?
"Bringing together many of the most important scholars of German film, this hugely significant collection offers a fascinating and subtle account of the contours of the political in the post-Wall cinematic landscape."---Paul Cooke, professor of German cultural studies in the School of Modern Languages and Cultures, University of Leeds --Book Jacket.
In the last five years of the twentieth century, films by the second and third generation of the so-called German guest workers exploded onto the German film landscape. Self-confident, articulate, and dynamic, these films situate themselves in the global exchange of cinematic images, citing and rewriting American gangster narratives, Kung Fu action films, and paralleling other emergent European minority cinemas. This, the first book-length study on the topic, will function as an introduction to this emergent and growing cinema and offer a survey of important films and directors of the last two decades. In addition, it intervenes in the theoretical debates about Turkish German culture by engaging with different methodological approaches that originate in film studies.
Created by professors for professors, the Faculty Awards compendium is the first and only university awards program in the United States based on faculty peer evaluations. The Faculty Awards series recognizes and rewards outstanding faculty members at colleges and universities across the United States. Voting was not open to students or the public at large.
During the late nineteenth century the city of Berlin developed such a reputation for lawlessness and sexual licentiousness that it came to be known as the "Whore of Babylon." Out of this reputation for debauchery grew an unusually rich discourse around prostitution. In Berlin Coquette, Jill Suzanne Smith shows how this discourse transcended the usual clichés about prostitutes and actually explored complex visions of alternative moralities or sexual countercultures including the "New Morality" articulated by feminist radicals, lesbian love, and the "New Woman." Combining extensive archival research with close readings of a broad spectrum of texts and images from the late Wilhelmine and Weimar periods, Smith recovers a surprising array of productive discussions about extramarital sexuality, women’s financial autonomy, and respectability. She highlights in particular the figure of the cocotte (Kokotte), a specific type of prostitute who capitalized on the illusion of respectable or upstanding womanhood and therefore confounded easy categorization. By exploring the semantic connections between the figure of the cocotte and the act of flirtation (of being coquette), Smith’s work presents flirtation as a type of social interaction through which both prostitutes and non-prostitutes in Imperial and Weimar Berlin could express extramarital sexual desire and agency.
Films about cities abound. They provide fantasies for those who recognize their city and those for whom the city is a faraway dream or nightmare. How does cinema rework city planners’ hopes and city dwellers’ fears of modern urbanism? Can an analysis of city films answer some of the questions posed in urban studies? What kinds of vision for the future and images of the past do city films offer? What are the changes that city films have undergone? Cities and Cinema puts urban theory and cinema studies in dialogue. The book’s first section analyzes three important genres of city films that follow in historical sequence, each associated with a particular city, moving from the city film of the Weimar Republic to the film noir associated with Los Angeles and the image of Paris in the cinema of the French New Wave. The second section discusses socio-historical themes of urban studies, beginning with the relationship of film industries and individual cities, continuing with the portrayal of war torn and divided cities, and ending with the cinematic expression of utopia and dystopia in urban science fiction. The last section negotiates the question of identity and place in a global world, moving from the portrayal of ghettos and barrios to the city as a setting for gay and lesbian desire, to end with the representation of the global city in transnational cinematic practices. The book suggests that modernity links urbanism and cinema. It accounts for the significant changes that city film has undergone through processes of globalization, during which the city has developed from an icon in national cinema to a privileged site for transnational cinematic practices. It is a key text for students and researchers of film studies, urban studies and cultural studies.
Nicolas Winding Refn has emerged as a uniquely talented international filmmaker with an eye for visceral, iconic images. A 21st century mythmaker from his cult Pusher trilogy to the award-winning Drive and Only God Forgives, Refn infuses a sophisticated avant-garde sensibility with the grit of exploitation cinema. This book relates Refn's films to the ideas of Nietzsche, Canetti, Blanchot and others, and to aesthetic theory in general. It also asks why the West has become a largely artificial society, unable to generate new communal mythologies. Instructors considering this book for use in a course may request an examination copy here.