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
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
Gazing Across Borders
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.
Gender Nonconformity in Middle-Grade Fiction
look or gaze reminds us that “whenever the transgender character is seen to be trans-gendered, then he/she is failing to pass and threatening to expose a rupture between the distinct temporal registers of past, present, and future” (2005: 77). In the
Negotiating the Gaze in the Travel Writings of Anthony Munday and Thomas Dallam
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.
New South Wales Railway Guides and the "Tourist Gaze"
Travel guidebooks are a dominant form of tourist literature, of which one early example was the railway guide. It is commonly asserted that among the many transformations wrought by rail was that it changed the way the landscape was perceived from trains. Utilizing picturesque discourses railway guides contributed to this transformation. They also helped propel railway-allied tourism, particularly in New South Wales during the second half of the nineteenth century and led to the publication of guides focusing more on destinations than journeys.
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
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).
This article discusses experimental studies of facial imitation in infants in the light of Sartre's and Merleau-Ponty's phenomenological theories of embodiment. I argue that both Sartre's account of the gaze of the other and Merleau-Ponty's account of the reversibility of the flesh provide a fertile ground for interpreting the data demonstrating that very young infants can imitate facial expressions of adults. Sartre's and Merleau-Ponty's accounts of embodiment offer, in my view, a desirable alternative to the dominant mentalistic interpretation of facial imitation in terms of the theory of mind.
Emma Celeste Bedor
, therefore, I explicate the origins and structures of revenge pornography and then provide a history of the relationship between the general concepts of voyeurism and the gaze and the specific aspects of cinematic and photographic images that shift with