and life that was so pivotal to both artistic and moral discourses of the time, but also, as Anesko further traces the influence of Oscar Wilde's decadent poem “The Sphinx” (1894) and Charles Ricketts's embossed illustrations for the binding of the
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In Journal of Bodies, Sexualities, and Masculinities
- Published (Print):
- 01 Mar 2020
- Article Type:
- Book Review
- Pages:
- 104–115
Lowry Martin
unable to control his desire. As the men pair off with the women they have chosen, Ahmad takes Soukaina to his bedroom, where he recites a poem he has written. As the camera follows Soukaina's hand from Ahmad's crotch to his face as she kisses him, he
In Journal of Bodies, Sexualities, and Masculinities
- Published (Print):
- 01 Mar 2020
- Article Type:
- Research Article
- Pages:
- 80–103
India Halstead
surface. As the wearer turns her head, the jagged pencils scrape along the opposite wall, drawing clusters of lines on the wall's surface. Confined to her hospital bed, the artist had taken to writing poems to pass the time and escape her solitude. A work
In Journal of Bodies, Sexualities, and Masculinities
- Published (Print):
- 01 Mar 2020
- Article Type:
- Research Article
- Pages:
- 31–59
Eliza Deac
writing only that survives the poet and grants him a form of immortality, despite the fact that it constitutes a poor replacement for his bodily presence. Consequently, his written poem becomes the transcription of a voice from beyond the grave or the
On Shock Therapy
Modernist Aesthetics and American Underground Film
William Solomon
an inexperienced soldier trapped in a terrifying battle, Baudelaire’s early wanderings through the streets of Paris, in this account, left him in a state of emotional disarray. The writing of poems emerges from this diagnostic point of view as a
Shadows, Screens, Bodies, and Light
Reading the Discursive Shadow in the Age of American Silent Cinema
Amy E. Borden
published a four-stanza poem, “Deus Ex Machina,” that gently mocked the “part mechanical, part make-believe” quality of the age of the “moving-talking, ten-cent picture show” ( Bowling 1912: 114 ). The third stanza questions what is lost and gained when
Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer
less of a sustained academic argument than a scrap-book of the contemporary life experience of being HIV positive. A turn of the page is just as likely to solicit a poem materializing the loss of memory (9) as it is a theoretical alignment of how “tact
Andrew J. Webber
popular landscape poem by Matthias Claudius after Paul Gerhardt, to which Thomas responds by humming the tune antiphonally. Expelled from the nursery, they recuperate something of its effects of rest and care, and thus achieve a moment of cross