Shakespeare's words and not from any stage effects he could have created’. 5 Drawing on these critics’ arguments, this article focuses on: first, the various ways in which Luhrmann shows transgressions of Catholic faith and practices; second, how his film
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Baz Luhrmann's Romeo + Juliet (1996)
This article is the result of research that focused on street art and graffiti in the city of Lisbon from 2004 to 2007. The empirical arguments presented draw from ethnographic work and from an analysis of inscriptions on urban walls. In my understanding, these visual manifestations can be understood as political and aesthetic devices, fundamental expressive resources in the negotiation of power and agency in the urban environment. They are vernacular creations that may be interpreted as discursive instruments forged in the context of symbolic struggles, characteristic of the 'field of visibility'. Furthermore, I put forward an analytical framework of graffiti and street art as an urban transgressive grammar, while considering the articulation of produced text and the context of production.
Adrogynous Punk as Postfeminist Signifying Strategy of Transgression within Subcultures
Punk Aesthetic as Gender De(con)struction in the Trilogy Film Series "The Girl with the Dragon Tattoo
This article investigates contemporary representations of androgyny and the strategic possibilities of punk-androgyny within a postfeminist imaginary. In looking at the characters Lisbeth in the Swedish film trilogy The Girl With A Dragon Tattoo and Kino in the Japanese anime series Kino's Journey, I am interested in connecting the metonymy of punk dress to representations of transgressions of gender norms. My investigation looks at the concept that gender is “unread” through androgyny which manifests as visual signifiers that make up the punk metonymy. The subjects (characters Lisbeth and Kino) erase the signifier of gender, through punk-androgyny, in order to reclaim power and identity within a (masculinized) subculture and mainstream society. Androgyny is not the desire to be the opposite sex as in a transgender subjectivity. Instead, androgyny is a strategy of aesthetics that transgresses the normative structure of language and signifiers that refer girls and women as less than or as Other through the normative codes of feminizing. In addition to arguing that punk metonymy erases explicit or readable/normative gender signs, I analyze how the motorcycle is situated as an extension of the body. The use of motorcycling propels the literal and figurative androgynous bodies through space in overt transgressive actions against the establishment; it provides agency, motility and ultimately new subject positions for the female protagonists. Through a critical analysis drawing from cultural and post-feminist theory and through the examination of specific scenes, this article aims to investigate punk aesthetic as a post-feminist strategy.
Being a Girl Who Gets into Trouble
Narratives of Girlhood
context therefore develops knowledge about how gender is done. We have many accounts of how transgressive man and boy are formed (see, for example, Bourgois 2002 ), but few for women and girls. 1 However, this body of scholarship is growing ( Althoff
The Case of Wanda Wasilewska and Polish Communism
also reveals Wasilewska’s gradual exploring of the limits of communism as multidimensional transgression. Toril Moi, a feminist literary critic, proposes a method of writing about a person that takes into account his or her voice, assumes the agency of
Instead of a Novel
Sophia Yablonska's Travelogues in the History of Modern Ukrainian Literature
photos ( The Charm of Morocco , 1932; From the Country of Rice and Opium , 1936; and Distant Horizons , 1939) that combine autobiographical and anthropological writing and transgress the poetical and narrative frameworks of Ukrainian literature of that
Homosexuality, Class, Politics and the Lure of Germany in 1930s Writing
‘Berlin meant Boys.’ Christopher Isherwood’s retrospective summary of the appeal of Germany for some of the writers of the 1930s set the tone for the rather limited critical evaluation of a very interesting feature of 1930s writing that was to follow. Almost every critical study of Auden, Isherwood and Spender feels obliged to make at least cursory reference to the fact that Germany represented some kind of libidinous homosexual nirvana. Atelling example is Valentine Cunningham’s British Writers of the Thirties. There he writes: ‘Germany was now the place to be: for artistic progressivism, but also because there sunshine and cocaine and sex, especially homosex, were up until Hitler’s intervention in 1933 so freely available. Berlin was a mythic sodom, and a sodomites’ mythic nirvana. The British homosexuals excitedly went there to ‘live’.’ I would like to add to this narrow and biased view some important and less simplistic aspects. I will try to show that the lure of Germany also touches on issues of class, politics and nationality. I will try to present the related transgressions that result from this entanglement not so much as biographical achievements or failures, but explore how they feature in the literary production of the writers of the era.
Philip J. Hohle
Popular films like Quentin Tarantino’s Inglourious Basterds (2009) provide an array of challenging characters all operating with a considerable degree of transgressive agency. Typical of films with a postmodern tone, no single character in
Managing affects and sensibilities
The case of not‐handshaking and not‐fasting
This paper examines how a number of pious and non‐practising Belgian Maghrebi women with the opposite sex and manage the sensitivity and transgressive potential of these practices. Whereas all interlocutors were prone to adjust their conducts to avoid controversies, these adaptations were nevertheless assessed differently. Adopting a flexible stand in the case of not‐handshaking was viewed as normal by the pious women, while the impossibility of eating in front of other Muslims was problematised by the non‐practising women. I suggest that these different assessments display the ethical importance attributed to conducts in a liberal‐secular regime.
Much previous scholarly work has noted the gendered nature of humor and the notion that women use comedy in a different way than do their male peers. Drawing on prior work on gender and humor, and my ethnographic work on teen girl cultures, I explore in this article how young women utilize popular cultural texts as well as everyday and staged comedy as part of a gendered resource that provides potential sites for sex-gender transgression and conformity. Through a series of vignettes, I explore how girls do funny and provide a backdrop to perform youthful gendered identities, as well as establish, maintain, and transgress cultural and social boundaries. Moving on to explore young women and stand-up I question the potential in mobilizing humor as an educational resource and a site in which to explore sex-gender norms with young people.