Do art and pornography overlap, or are the two mutually exclusive? If they are, why is that? Art and Pornography explores the artistic status and aesthetic dimension of pornographic pictures, films, and literature. A team of leading scholars develops a subtle understanding of sexual imagery and themes, in a range of cultural contexts.
The chapters in this collection are ranged under four broad themes. Part I tackles the central issue of whether or not art and pornography are mutually exclusive in the most direct way. Part II explores the topic of imagination and fictionality in relation to pornography. Issues surrounding medium and genre provide the central focus of Part III, while Part IV addresses ethical and feminist concerns about pornography.
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Slavery, Empathy, and Pornography considers the operations of slavery and of abolition propaganda on the thought and literature of English from the late-eighteenth to the mid-nineteenth centuries. Incorporating materials ranging from canonical literatures to the lowest form of street publication, Marcus Wood writes from the conviction that slavery was, and still is, a dilemma for everyone in England, and seeks to explain why English society has constructed Atlantic slavery in the way it has...
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I hadn't much more than started reading Marcus Wood's book when I came to think about a long essay on related topics, philosopher & intellectual historian Susan Buck-Morss' "Hegel and Haiti" in Critical Inquiry, v. 26 (2000), and re-published as the first chapter of her book "Hegel, Haiti and Universal History", 2009.
I feel pretty stupid since I can't post this essay because I only got it in Swedish translation in an anthology of readings of Hegel's Phenomenologie des Geistes (1807). I tried to find some version to post this afternoon but to no avail. The best I could come up with is a long critical commentary on her 2009 book by philosopher Frank Kirkland: [Only Registered Users Can See LinksClick Here To Register]
Buck-Morss' point of departure is, that while it's no mystery at all that chapter 4 of Hegel's Phenomenologie most probably is the most influential text on the dialectics of masters and slaves ever published in the last 200 years, the question is: Where did Hegel get the inspiration for this text?
We know what the standard answer among philosophers and intellectual historians is: Hegel's Phenomenologie came out of other philosophers thinking, the only real question is if Aristotle was more important than Plato, or if Hegels german contemporaries like Kant, Fichte and Schelling were more important than the Ancients.
But Buck-Morss urges us to try a totally different angle: What about the slave uprisings in the 1790s in the French colony Saint Domingue and the revolution on Haiti in 1804-05?
We know that papers like the german political journal Minerva published hundreds of articles about the happenings in Haiti in 1804-05, and that Hegel was a subscriber on Minerva and - more generally - an avid reader of newspapers, journals and magazines...
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Michael DeAngelis - Gay fandom and crossover stardom (2001)
Why and how does the appeal of certain male Hollywood stars cross over from straight to gay audiences? Do stars lose their cachet with straight audiences when they cross over? In Gay Fandom and Crossover Stardom Michael DeAngelis responds to these questions with a provocative analysis of three famous actors—James Dean, Mel Gibson, and Keanu Reeves. In the process, he traces a fifty-year history of audience reception that moves gay male fandom far beyond the realm of “camp” to places where culturally unauthorized fantasies are nurtured, developed, and shared.
DeAngelis examines a variety of cultural documents, including studio publicity and promotional campaigns, star biographies, scandal magazines, and film reviews, as well as gay political and fan literature that ranges from the closeted pages of One and Mattachine Review in the 1950s to the very “out” dish columns, listserv postings, and on-line star fantasy narratives of the past decade. At the heart of this close historical study are treatments of particular film narratives, including East of Eden, Rebel Without a Cause, The Road Warrior, Lethal Weapon, My Own Private Idaho, and Speed. Using theories of fantasy and melodrama, Gay Fandom and Crossover Stardom demonstrates how studios, agents, and even stars themselves often actively facilitate an audience’s strategic blurring of the already tenuous distinction between the heterosexual mainstream and the gay margins of American popular culture.
In addition to fans of James Dean, Mel Gibson, and Keanu Reeves, those interested in film history, cultural studies, popular culture, queer theory, gender studies, sociology, psychoanalytic theory, melodrama, fantasy, and fandom will enjoy this book.
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This collection brings together scholars from across the humanities in a fresh examination of queer lives, cultures and thought in the first full post-war decade. Through explorations of sexology, literature, film, oral testimony, newspapers and court records it nuances understandings of the period, and makes a case for the particularity of queer lives in different national contexts -- from Finland to New Zealand, the UK to the USA - whilst also marking the transnational movement of people and ideas. The collection rethinks perceptions of the 1950s, traces genealogies of sexual thought in that decade, and pinpoints some of its legacies. In so doing, it explores the utility of queer theoretical approaches and asks how far they can help us to unpick queer lives, relationships and networks in the past.
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In war films, the portrayal of deep friendships between men is commonplace. Given the sexually anxious nature of the American imagination, such bonds are often interpreted as carrying a homoerotic subtext. In Armed Forces , Robert Eberwein argues that an expanded conception of masculinity and sexuality is necessary in order to understand more fully the intricacy of these intense and emotional human relationships.
The book also explores the problematic aspects of masculinity and sexuality when threatened by wounds, as in The Best Years of Our Lives, and considers the complex and persistent analogy between weapons and the male body, as in Full Metal Jacket and Saving Private Ryan.
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Paul Simpson - Middle-Aged Gay Men, Ageing and Ageism (2015)
Is midlife for gay men the start of a slide towards the rejection, exclusion and misery associated with the spectre of the lonely old queen? Whilst exclusion is possible as gay men age, Middle Aged Gay Men, Ageing and Ageism offers a more nuanced view of gay ageing, using sociological tools to advance understanding beyond stereotypes.
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