The Gaze Of The Caged Woman Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of The Gaze Of The Caged Woman book. This book definitely worth reading, it is an incredibly well-written.
This book investigates the themes of female entrapment and the feminine gaze, and explores how they function as theatrical metaphors in Samuel Beckett's later plays. It offers a novel perspective on love between Beckettian women, interrogating the trope of bodily sickness and its manifestations on the stage, and analysing how this relates to queer drives in women. Ambitious and thought-provoking, the book engages with the work of a range of theorists on psychoanalysis, feminism, sexuality, voyeurism and theatricality. The arguments presented here will be of interest to specialists in modernism and postmodernism, theatre, and gender studies.
Caged Women by Shirley A. Jackson,Laurie L. Gordy Pdf
The Netflix series Orange is the New Black has drawn widespread attention to many of the dysfunctions of prisons and the impact prisons have on those who live and work behind the prison gates. This anthology deepens this public awareness through scholarship on the television program and by exploring the real-world social, psychological, and legal issues female prisoners face. Each chapter references a particular connection to the Netflix series as its starting point of analysis. The book brings together scholars to consider both media representations as well as the social justice issues for female inmates alluded to in the Netflix series Orange is the New Black. The chapters address myriad issues including cultural representations of race, class, gender, and sexuality; social justice issues for transgender inmates; racial dynamics within female prisons; gender and female prison structures/policies; treatment of women in prison; re-incarcerated and previously incarcerated women; self and identity; gender, race, and sentencing; and reproduction and parenting for female inmates.
Men, Women, and God(s) is a pioneering study of the Arab world's leading feminist and most controversial woman writer, Nawal El Saadawi. Author of plays, memoirs, and such novels as Woman at Point Zero and The Innocence of the Devil, El Saadawi has become well known in the West as well as in the Arab community for her unforgettable female heroes and explosive narratives, which boldly address sexual violence, female circumcision, theology, and other politically charged themes. Her outspoken feminism and critique of patriarchy have also earned her the wrath of repressive forces in the Middle East. Imprisoned in her native Egypt under Sadat, El Saadawi is now among those on the death lists of Islamic religious conservatives. In Men, Women, and God(s) Fedwa Malti-Douglas makes the work of this important but little-understood writer truly accessible. Contending that El Saadawi's texts cannot be read in isolation from their Islamic and Arabic heritage, Malti-Douglas draws upon a deep knowledge of classical and modern Arabic textual traditions—and on extensive conversations with Nawal El Saadawi—to place the writer within her cultural and historical context. With this impassioned and radical exegesis of El Saadawi's prolific output, Malti-Douglas has written a crucial study of one of the most controversial and influential writers of our time. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995.
Author : Milo Sweedler Publisher : State University of New York Press Page : 222 pages File Size : 44,6 Mb Release : 2019-01-31 Category : Performing Arts ISBN : 9781438472812
Analyzes six films as allegories of capitalism’s precarious state in the early twenty-first century. At the beginning of the twenty-first century, as the contradictions of capitalism became more apparent than at any other time since the 1920s, numerous films gave allegorical form to the crises of contemporary capitalism. Some films were overtly political in nature, while others refracted the vicissitudes of capital in stories that were not, on the surface, explicitly political. Rumble and Crash examines six particularly rich and thought-provoking films in this vein. These films, Milo Sweedler argues, give narrative and audiovisual form to the increasingly pervasive sense that the economic system we have known and accepted as inevitable and ubiquitous is in fact riddled with self-destructive flaws. Analyzing four movies from before the global financial crisis of 2008 and two that allegorize the financial meltdown itself, Sweedler explores how cinema responded to one of the defining crises of our time. Films examined include Alfonso Cuarón’s Children of Men (2006), Stephen Gaghan’s Syriana (2005), Fernando Meirelles’s The Constant Gardener (2005), Spike Lee’s Inside Man (2006), Martin Scorsese’s The Wolf of Wall Street (2013), and Woody Allen’s Blue Jasmine (2013). Milo Sweedler is Associate Professor of French, Cultural Analysis, and Social Theory at Wilfrid Laurier University in Canada. He is the author of The Dismembered Community: Bataille, Blanchot, Leiris, and the Remains of Laure.
Shattered by the first Gods War, the world of Avolir teeters on the brink of ruin. Civilizations isolate themselves in a desperate attempt to protect their holdings from the evils which still haunt their world while dark forces rise up in the east to destroy what little remains. Now a great doom has arisen in the eastern wastes that will threaten all of Avolir. For years Isabella von Kruger has lived in this isloation only to be forced into the reality of the world around her. When her husband Vaclav is drawn into the conflict to the east, she is pulled into a journey that will test the very fabric of her morality and put into question everything she has been raised to believe. It will be up to her and her unlikely band of companions to awaken from the devastating dark age of Avolir and to bring light back to their ravaged world.
“Just being here is the punishment”. Power, Control and the Female Body in "Caged" (1950) by Thomas Schulze Pdf
Studienarbeit aus dem Jahr 2015 im Fachbereich Amerikanistik - Sonstiges, Note: 1,3, Humboldt-Universität zu Berlin (Institut für Anglistik und Amerikanistik), Veranstaltung: SE - Teaching American Popular Culture, Sprache: Deutsch, Abstract: In the movie "Caged", imprisonment is strongly characterized by corporal punishment, surveillance and (bodily) subjection. For that reason, this paper will discuss in which ways and to what extent the female prisoner's body is subjected to disciplinary modes of action and techniques in "Caged" and how they are related to the exercise of power and control within the punitive apparatus. Based on this thesis, I will discuss three main questions: How does the movie's narrative (re)produce perceptions of female delinquency? In which ways imposes prison coercion upon and control over the female body? How, why and to what extent does the punitive apparatus make ‘use’ of the female delinquent’s body in "Caged"? In the first part of this paper I will refer to narrative moments, motifs and genre conventions shared by the women-in-prison melodramas, give a short summary of "Caged" and discuss the cinematic production, representation and reproduction of female delinquency in the film by citing three major and influential readings of "Caged" within the research discourse. The second chapter will focus on Michel Foucault's concept of delinquency, as part of his cultural-anthropological study "Discipline and Punish: The Birth of the Prison", refer to dressage and discipline as disciplinary ‘techniques’ and show how observation, surveillance and control over the female body are put into effect through the disciplinary gaze. Finally, the third part will deal with the way in which prison establishes a grasp on the female body, show how the punitive apparatus thereby creates docile bodies through training of behavior or work and finally conclude by discussing to which extent corporal punishment is used to intensify prison’s claims to exercise power and control over the female delinquent’s body in "Caged".
Simon Spicer is a lonely, melancholy professor in Maine. A widower, he was once a talented poet, but writes no more. At the age of thirty-five, he simply exists, aged beyond his years by disappointment. Spice is unaware of the physical and mental properties that set him apart from his fellows and fit him for a bizarre mission but he will soon find out. In the world of the Keepers, one of their own has gone rogue. Calling himself ShadowCaster, he has taken over the planet Talar and bred an environment of evil and death. The Keepers need a hero, but they are incapable of destroying ShadowCaster on their own. They require an outsider with the proper skills, and Spice is their man although before he can take on the task, he must first die. Once he does, his true powers awaken: powers of mind control and non-oral communication. With nothing to lose, Spice accepts his fated mission: to find ShadowCaster and stop him. Once a lonely, hopeless man, Spice is now the hope of the universe, ordered to redeem a fallen world and perhaps also himself.
I Know Why the Caged Bird Sings by Maya Angelou Pdf
Here is a book as joyous and painful, as mysterious and memorable, as childhood itself. I Know Why the Caged Bird Sings captures the longing of lonely children, the brute insult of bigotry, and the wonder of words that can make the world right. Maya Angelou’s debut memoir is a modern American classic beloved worldwide. Sent by their mother to live with their devout, self-sufficient grandmother in a small Southern town, Maya and her brother, Bailey, endure the ache of abandonment and the prejudice of the local “powhitetrash.” At eight years old and back at her mother’s side in St. Louis, Maya is attacked by a man many times her age—and has to live with the consequences for a lifetime. Years later, in San Francisco, Maya learns that love for herself, the kindness of others, her own strong spirit, and the ideas of great authors (“I met and fell in love with William Shakespeare”) will allow her to be free instead of imprisoned. Poetic and powerful, I Know Why the Caged Bird Sings will touch hearts and change minds for as long as people read. “I Know Why the Caged Bird Sings liberates the reader into life simply because Maya Angelou confronts her own life with such a moving wonder, such a luminous dignity.”—James Baldwin From the Paperback edition.
Contemporary Argentine Women Filmmakers by Mirna Vohnsen,Daniel Mourenza Pdf
This edited volume offers a wide-ranging picture of Argentine women filmmakers’ contribution to the film industry from the 1980s to the present by bringing together the work of highly acclaimed and emerging directors. Through thirteen critical essays by leading scholars in the field of Argentine cinema, the book acknowledges that contemporary women filmmakers have transformed the cinema of Argentina by questioning, challenging and debunking hegemonic patriarchal systems of representation. With a focus on women’s voices and experiences, the contributions redress both the under-representation of women and girls onscreen and the perpetuation of stereotypes, while exploring the innovative aesthetics used by these filmmakers.
Women Travellers in Colonial India by Indira Ghose Pdf
Drawing on long-neglected travel writings by British women in India, this study looks at different aspects that women focus on as opposed to men, particularly in their encounters with Indian women in the zenana. Located at the cross-roads of feminist theory and colonial discourse theory, the book examines the power relations inscribed into the traveller's gaze.
In a culture where beauty is currency, women's bodies are often perceived as measures of value and worth. The search for visibility and self-acceptance can be daunting, especially for those on the cultural margins of beauty. Becoming Women offers a thoughtful examination of the search for identity in an image-oriented world. That search is told through the experiences of a group of women who came of age in the wake of second and third wave feminism, featuring voices from marginalized and misrepresented groups. Carla Rice pairs popular imagery with personal narratives to expose the culture of contradiction where increases in individual body acceptance have been matched by even more restrictive feminine image ideals and norms. With insider insights from the Dove Campaign for Real Beauty, Rice exposes the beauty industry's colonization of women's bodies, and examines why the beauty myth has yet to be resolved.
Performance art and Los Angeles, two subjects spectacularly resistant to definitions, illuminate each other in this searching study by Meiling Cheng. A marginal artistic pursuit by choice as well as necessity, performance art has flourished in and about "multicentric" Los Angeles for nearly four decades, finding its own centers of activity, moving and changing as the margins have reconstituted themselves. The notion of multicentricity serves, somewhat paradoxically, as the unifying motif in Cheng's imaginative views of center and periphery, self and other, and "mainstream" and "marginal" cultures. She analyzes individual artists and performances in detail, bringing her own "center" gracefully and unmistakably into contact with all those others. Without suggesting that her approach is definitive, she offers a way of thinking and talking coherently about particularly elusive, ephemeral artwork. Cheng describes performance art as "an intermedia visual art form that uses theatrical elements in presentation." Performance art, which uses the living body as its central medium, occurs only "here" and only "now." Because it is intentionally volatile, highly adaptable, and often site-specific, with emphasis on audience interaction, context is inseparable from the work itself. When Cheng writes about Suzanne Lacy or Tim Miller, Johanna Went or Oguri and Renzoku, Sacred Naked Nature Girls or osseus labyrint, she is conscious of her role in extending their creative expression. As members of the "virtual audience," readers and viewers of other documentation concerning performance art are arrayed outside the center represented by a given artist and the circle represented by the immediate witnesses to a performance, but all may entertain what Cheng calls a conceptual ownership of the work. A person who reads about a performance, she says, may feel more affected by this virtual encounter than a person who has seen it live, and may reimagine it as a "prosthetic performance." Cheng's writing draws us into the many centers where a vibrant contemporary art phenomenon and a fascinating urban environment interact. Published in association with the Southern California Studies Center at the University of Southern California
A world-renowned activist and feminist pulls no punches in her efforts to reform Islam in this international bestseller, available for the first time in English.
