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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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Elizabeth Mazzola

’s other nuptial poems, and these works are equally anxious to repair a disabled male gaze and supplement Spenser’s viewpoint with that of the female beloved. If the dejected speaker in The Prothalamion is mirrored by the latecomer Essex, both figures

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Evdokia Prassa

This article examines the quotations of Elizabeth I’s iconic portraiture as Virgin Queen in Shekhar Kapur’s Elizabeth (1998) and Elizabeth: The Golden Age (2007), and their effect on our a posteriori conceptualization of the depicted body of the female sovereign. Using Mieke Bal’s concept of preposterous history, I argue that Kapur’s transposition of Virgin Queen iconography onto celluloid results in a “(complex) text” that “is both a material object and an effect” (1999: 14). Bal acknowledges that the complexity that lies in the material results of the artistic quotation is not necessarily subversive, as it is dependent on the quoting artist’s ideological premise. Indeed, Kapur’s intermedial quotation of Elizabethan portraiture imbues the highly complex body of the female ruler with contemporary heteronormative notions of female sexuality, thereby reducing it to an object for the male gaze.

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Ovarian Psycos

An Urban Cadence of Power and Precarity

Jennifer Ruth Hosek

group of men in a car visually represents the male gaze she describes (see Figure 1 and Figure 2 ). Figure 1 and Figure 2 Men in an automobile, inserted as a POV counter shot among sequences of Evie bicycling ( Ovarian Psycos minute 2

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‘Failed Feminism’

Anne Tyler's Vinegar Girl in the Chinese Market

Yingjie Duan and Junwu Tian

almost been sedimented in the public mind and implemented through both old and updated disciplines. Not only is Kate confined in familial space, she is also judged in the male gaze. The gaze ( le regard in French) is a term used by Jacques Lacan to

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Katy Lewis

Gloeckner and Una “visualize witness” through their use of the graphics form in their respective stories to make sexual violence “seeable” (66). Emphasizing the connections between rape culture and the male gaze, Gilmore and Marshall consider how Gloeckner

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Jasmyn Galley

—one woman at the mercy of five men. Like Black Lady Halked, Gazelle is a spectacle, an object of the male gaze. However, unlike Black Lady, Gazelle is seen as a toy that promises sexual pleasure. Although a woman’s sexual appeal can be read as a form of

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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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Dhan Zunino Singh

object of male gazes ( Figure 2 ). The faces and clothes of men represented in this picture signaled the ethnic and social heterogeneity of Buenos Aires, while the image of three female passengers depicted here are more homogeneous. Posters at the back

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Emma Celeste Bedor

Internet sties is not the classical male gaze but a post–third wave feminist punishing gaze because revenge pornography is not about sex but about revenge and humiliation. As a result, revenge pornography fits neither Foucault’s (1978) framework of a