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Gazing at Medusa

Adaptation as Phallocentric Appropriation in Blue Is the Warmest Color

Marion Krauthaker and Roy Connolly

with the negative impact of male-oriented representations of women. Laura Mulvey coins the term ‘male gaze’ to describe a representation influenced by a patriarchal and binary standpoint. 4 In Mulvey’s view, by assuming heterosexual men as the default

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Elizabeth S. Leet

palfreys. 1 By using their wealth, courtly animals, and physical beauty to free their lovers, each fairy mistress participates actively in the male gaze and circumvents the social expectations levied on many courtly women. Although the male gaze has often

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John Eade

portraying dramatic events associated with them. Lourdes emerged as a particularly controversial shrine because of people's claims to having been miraculously healed there. The body became a prime focus of the photographic gaze in this context, and

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Two Voyeurs or One?

Gazing Across Borders

Rosamaria Chacon

Geographical, political, and historical contexts foreground the relationship between Americans of Mexican heritage and Mexican citizens. Contemporary US struggles over Mexican immigration and the focus on border studies also mark the significance of this relationship. This article analyzes chicano author Gary Keller's short story, "The Raza Who Scored Big in Anáhuac," with a specific focus on this crucial relationship. Employing the work of John Urry and others, this article takes a critical look at the mechanism of the 'gaze' and the way that it functions in heritage tourism. In doing so, it calls into question the presumed innocence of tourism and its constant companion, photography - an extension of the 'gaze.' Moving beyond the protagonist's illusion of the potential for a cultural connection across borders, this article culminates in an analysis of class, the final denominator between the Mexican American and the mexicano.

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Digitizing the Western Gaze

The End FGM Guardian Global Media Campaign

Jessica Cammaert

newspaper’s international reputation will help “open doors” for change, but it betrays an inclusive ‘Othering’ based on the digital repackaging of historical attempts at transnational sisterhood (Nnaemeka 2005) , but with a distinctly similar western gaze

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Guillermine D.E. Lacoste

The theory of the gaze elaborated in L’Etre et le Néant has long been a classic, used, quoted and criticised by a plethora of writers, Lacan among them. There are at least ten references to Sartre’s gaze in Lacan’s Séminaires from 1954 to 1964. In an essay entitled ‘A Lacanian Elucidation of Sartre’, in which I used Lacan’s terminology on neurosis, I called the gaze the first phobia of the neurotic. I viewed it and the other two phobias I discerned in L’Etre et le Néant (le trouble and the viscous) as forming a link in the chain of Sartre’s autoanalytical writings (from La Nausée through L’Etre et le Néant, Baudelaire, Saint Genet, to L’Idiot de la famille).

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Jackie Feldman

arrangements and accessibility. If in the late nineteenth and early twentieth centuries the sick body was the object of a medical gaze harnessed to prove miraculous cures, the cinematographic gaze disseminated other kinds of knowledge and spectacle that

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“I satt and saw”

Negotiating the Gaze in the Travel Writings of Anthony Munday and Thomas Dallam

Chloë Houston

In “eyewitness” accounts of the Mediterranean by Anthony Munday and Thomas Dallam, assertions of allegiance to Elizabethan England are destabilized by the physicality of “looking.” Early modern theories of vision and post-Reformation constructions of the viewed contributed to conceptualizations of objectified spectacle as a source of physical threat to the viewer. This article explores Munday's and Dallam's negotiations of the physicality of visual experiences as the authors participate in interactive modes of viewing demanded by the rituals and ceremonies of strangers. Witnessing a Jesuit whipping himself before devotional objects at the English college in Rome in 1578, Munday's emphasis on his physical difference to the Jesuit reproduces the idolatrous interaction with the viewed that this author critiques. Describing his presentation of a mechanical organ to the Sultan Mehmed III in Constantinople in 1599, Dallam's spectatorship is distorted as he becomes a functional part of the ceremonial display of this instrument.

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De-Orientalizing the Western Gaze on Eastern Europe

The First Soviet Occupation in Lithuanian History Textbooks

Barbara Christophe

Abstract

Comparing narratives of the Soviet occupation in 1940 in current textbooks by two leading Lithuanian publishing houses, I claim that Lithuanian textbooks offer diverging accounts, which mirror to a large extent the opposing mnemonic frames supported by two rival political camps. I also show that the same textbooks tame those differences by transcending the politically charged frames they have chosen in the first place, presenting, for example, the USSR as both villain and victim of the war. Considering the relevance of these findings for our understanding of dynamics of remembering in general and in the Lithuanian culture of memory in particular, I point out that embracing the political inherent in all acts of recalling the past does not necessarily lead to politicized, i.e. narrow-minded memories, and I reflect on what these mnemonic practices mean for reevaluating the traditional role of Eastern Europe as the backward other of Western Europe.

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Elizabeth Mazzola

What meanes shall she out seeke, or what wayes take How shall she know, how shall she finde the man? —The Faerie Queene 3.3. 25.2–3 Catching himself looking away is a regular impulse in Spenser’s poems, recording the whereabouts of his gaze a habit