USB Journals (Univ. Köln)
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Review: Susan Gillman and Alys Eve Weinbaum, eds. Next to the Color Line: Gender, Sexuality, and W.E.B. Du Bois.
No full textIn lieu of an abstract, here is the first paragraph of the review:
Editors Susan Gillman and Alys Eve Weinbaum have assembled a collection of remarkable essays which enact a "politics of juxtaposition" defined as "a reading practice that deals with the unspoken, disrupted, or unfinished synergies that emerge among and between parts as often as with manifest content and stated import of the text" (8). This is a concept which they derive from Du Bois\u27s own positioning of the question of gender "next to the color line." They argue that, in framing the two questions as adjacent, Du Bois at once connects them and insists on their discreteness. From this fluid image the authors derive a critical methodology that also informs their organization of the essays. The essays presented herein are clustered by categories of analysis that foster complex perspectives on the man and his work.
Policing, Politicizing, Poeticizing the Virgin/Whore Split: Contemporary American Women\u27s Poetry about AIDS
Get PDFThis article looks at four women poets: Lesléa Newman, Marie Howe, Tory Dent and River Huston and the impact their work has had on the literary, poetic construction of HIV/AIDS. Implicit in their poetry and their activism is a constant wrestling with their own subject position in relationship to HIV/AIDS
Frontmatter and Editorial
No full textIn lieu of an abstract, here is the first paragraph of the frontmatter and editorial:
Gender and Jewish Culture is the first issue of gender forum to address the intersections of gender and Jewish culture(s) and religion from a wide range of perspectives. The issue brings together two articles which analyze stereotypical constructions of femininity in Israeli fiction and the gendering of religious narratives, respectively. Additionally, the issue features an interview with Tanya Segal, Poland’s first female rabbi, in which she addresses questions of identity, culture, religion and gender
Frontmatter and Editorial
No full textIn lieu of an abstract, here is the first paragraph of the frontmatter and editorial:
This special issue of gender forum focuses on the intersections between medicine, literature, and gender. The interest in the interface of literature and medicine from the specific point of view of gender is triggered by the intriguing similarities between the medical and literary disciplines (cf. Brieger 402-06). The doctor, like the literary scholar, is faced with a text, a narrative voiced by the patient either through language or bodily symptoms. In order to understand this narrative, the doctor, like the scholar, needs to listen closely, to examine the constituents of the narrative carefully, to consider the subjectivity of the narrative, to read between the lines, and to interpret ambiguities coded in metaphorical language (cf. Brody; Davis)
Lauren Slater’s Lying: Metaphorical Memoir and Pathological Pathography
Get PDFAs public awareness of antidepressant medication surged in the 1990s, Lauren Slater’s Prozac Diary became the quintessential auto-pathography, documenting her life with major depression and her dramatic “cure” with the wonder-drug Prozac. However, Slater’s pronounced ambivalence about the drug’s side effects and her treatment was largely ignored by a culture swept up by Prozac enthusiasm. Slater’s more recent “metaphorical memoir,” Lying, on the other hand, is not so easily appropriated. A parody of the illness narrative, a pathological pathography, Lying is the dark sister text of Prozac Diary – Slater’s subversion of the autobiographical conventions and imperatives of the genre. Slater, who is both a psychologist and a patient, writes in the antipsychiatric tradition of David Rosenhan’s “On Being Sane in Insane Places,” the infamous 1973 study in which sane “pseudopatients” were incorrectly diagnosed with mental illnesses after feigning symptoms. By becoming a patient himself, Rosenhan called into question the seemingly discrete categories of sane and insane and revealed the structuring power of psychiatric labels. In a similar fashion, Lying, an autobiography about epilepsy, challenges and defies readers’ expectations for truth and transparency in memoir and underscores the central role of the patient’s story and the metaphorical nature of illness itself. Lying is a literary form of hysteria, a conversion evoking the complicated past of women, mental illness, and the authenticity of psychiatric diagnoses.
Annie Abrahams’s Experiments in Intimacy
Get PDFThis article explores the work of French-based pioneer of networked performance art, Annie Abrahams, in relation to notions of intimacy in mediated performance practice. Specifically, it explores two of Abrahams’s pieces Shared Still Life / Nature Morte Partagée (2010) and L’Un La Poupée de L’Autre (One the Puppet of the Other) (2007). The article suggests that, unlike a plethora of other technologised practices, Abrahams’s works resist the celebration of utopic notions of technologies of connectivity and interactivity. Instead their focus is on the broken links, the miscommunications, in short, the failures of both technological and human connectivity. The article argues that the acceptance of failure as an element that is embedded in the make-up of the networks is what renders Abrahams’s Internet embodied and visceral, “an Internet of emotions.” (Catlow Intimate Collaborations n/p). It further argues in favour of a “banality” that characterises Abrahams’s work –this banality is not the safe zone of intimacy that Johnson has identified, but a far more troubling manifestation of it (n/p). Finally, the article proposes that Abrahams belongs to a generation of female artists who, as Morse has suggested, seek to challenge their very artistic medium (16-33)
Noah’s Uxor: A Shrew Worth Redeeming
Get PDFThis essay seeks to explore how humor is used in the medieval biblical dramas concerning Noah’s ark to present a wife who is truculent but worthy of being saved. The character refuses to follow a typical medieval view of husband-wife hierarchy and instead asserts herself in a way that would be unacceptable to most husbands. However, because her tyrannous behavior is slapstick rather than offensive, her role as an unruly woman becomes more acceptable. The comic trope of the shrew allows her to break the conventional role of the wife, but still be saved from the flood
Carnival and Carnivorous Plants – Gender and Humor in the works of Ruth Landshoff-Yorck
Get PDFMy article focuses on the connection of gender and humour in some works of the German-American author Ruth Landshoff-Yorck. My analysis will show that, while both topics are important, their connection changes over the course of Landshoff’s work: it is light and easygoing in the early works, full of joyful transgression in aspects of gender and sexuality, like in her novel Die Vielen und der Eine (1930), but carnal and sometimes disgusting in the later ones, like in the short story The Opening Night (1959) and its German version, Durch die Blume (1957) – especially in the omnivorous (and omnisexual) plant appearing in these stories. The theoretical foundation for the analyses carried out in this article is provided by Mikhail Bakhtin’s theories of the Grotesque and Carnivalesque. Bringing together Bakhtin and Landshoff and investigating their parallels and contrasts can not only illuminate Landshoff’s works, but also widen the understanding of Bakhtin’s theory of humor, in order to demonstrate the extent to which these ideas are helpful in relation to aspects of gender
Vorwort
Get PDFDas Vorwort führt in das Konzept der neu gegründeten Zeitschrift „Recht und Literatur” ein. Es hebt hervor, dass im deutschsprachigen Raum trotz vorhandener Tradition interdisziplinärer Forschung bisher keine Zeitschrift ausschließlich diesem Themenfeld gewidmet war. Im Gegensatz zum angloamerikanischen Raum, in dem „Law & Literature” bereits seit Jahrzehnten etabliert ist, wird das Themengebiet hierzulande oft unterschätzt. Das Vorwort begründet die Notwendigkeit einer eigenen Plattform, verweist auf bisherige Publikationsformate und betont den interdisziplinären Anspruch der neuen Zeitschrift. Zugleich wird das erste Heft vorgestellt, das unter anderem Beiträge aus einem strafrechtlichen Seminar an der Universität zu Köln enthält