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Keith Jones


Taking Emily St. John Mandel's Station Eleven and Gary Schmidt's Wednesday Wars as test cases, this article explores generic considerations in modern novels that employ Shakespeare but do not retell or recast the plot of any particular work by Shakespeare. Questions to be considered include how the works employ the Shakespearean genres of comedy, tragedy, history, romance and tragicomedy to create their own genres – and, conceivably, to transcend them. The article will also consider the mainstream appropriation of Shakespeare in Mandel and Schmidt. The Three Fates by Linda Lê will be briefly examined as a less straightforward reworking of the material of a single Shakespeare play (King Lear).

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Visibility and Screen Politics after the Transgender Tipping Point

Wibke Straube

moment when a whole new register of possibility unfolds and where a life and identity become imaginable. Visibility is then not only a repressive element tied to mainstream appropriation, but also a dynamic that creates a vision of an otherwise

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Shara Crookston and Monica Klonowski

). Amandla Stenberg, who is featured on the cover of The Icons Issue, advocates for space in the art world for queer artists of color through the Art Hoe Collective and has publicly confronted mainstream appropriation of black culture. On the cover, Stenberg

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Searching for the Young Soul Rebels

On Writing, New Wave, and the Ends of Cultural Studies

Richard Langston

rock of the 1960s, what he called “second order hipness,” which began around 1973, marked a paradigm shift when the futurist impulse of those earlier cultures expired. Hipness—that sought-after cachet in bohemia’s constant battle against mainstream