Happily Ever After for Whom? Blackness and Disability in Romance Narratives

2016 ◽  
Vol 49 (6) ◽  
pp. 1241-1260 ◽  
Author(s):  
Sami Schalk
Keyword(s):  
Romance Narratives

Laughing at Eros and Aphrodite: Sexual Inversion and its Resolution in the Classicising Arts of Medieval Byzantium

2017 ◽  
Author(s):  
Alicia Walker
Keyword(s):  
Social Norms ◽  
Gender Relations ◽  
Female Sexuality ◽  
Cultural Authority ◽  
The Social ◽  
The Difference ◽  
Romance Narratives

The social and cultural authority that images exercised in medieval Byzantium derived in part from their consistent observance of established traditions of representation. As a result of this tendency toward recognisable types, when an intentional departure from visual conventions was introduced, Byzantine viewers could be expected to notice the difference and wonder about the intentions behind it. This chapter explores how Graeco-Roman mythological and romance narratives offered opportunities for the engineering of amusing imagery through strategies of inversion and exaggeration. It focuses especially on how this up-ending of visual conventions served to disrupt the expected order of gender relations. The chapter shows how the programmes of middle Byzantine works of classicising art used humour initially to destabilize – but ultimately to reaffirm -- social norms surrounding female sexuality.

Rehearsing or reversing harmful masculine scripts? South African men's romance narratives

Agenda ◽  
2013 ◽  
Vol 27 (2) ◽  
pp. 12-21 ◽  
Author(s):  
Louise Vincent ◽  
Desire Chiwandire
Keyword(s):  
South African ◽  
Romance Narratives

scholarly journals The Construction of City Images in Micro Films: A Case Study of Taipei City Government

2015 ◽  
Vol 2 (2) ◽  
pp. 336
Author(s):  
Chia-ju, Lin
Keyword(s):  
Rapid Development ◽  
City Government ◽  
Government Agencies ◽  
Taipei City ◽  
The Media ◽  
The Government ◽  
The City ◽  
Selection Of ◽  
Romance Narratives

<p><em>In recent years, with the rapid development of the media, an increasing number of corporations and even government agencies are using the new format known as the micro film as a means of advertising</em><em> and</em><em> marketing. In this study, we </em><em>took</em><em> the micro films produced by the Taipei City Government </em><em>as objects of analysis to</em><em> investigate the image of the city as constructed in and produced by these films. Furthermore, </em><em>in this study, </em><em>the symbol of image in </em><em>three such micro films </em><em>was </em><em>studied: Love@Taipei, My Micro Tour of Taipei, and Happily Ever After. It was found that in these films, the characteristics of the city of Taipei have </em><em>been </em><em>presented accurately and successfully </em><em>by means of</em><em> the [appropriate selection of] celebrity performers, the romance narratives used, and the lively presentation of these films. Therefore, these films have foregrounded </em><em>an</em><em> image of Taipei that is free, friendly, diverse, and progressive; furthermore, they have successfully conveyed the idea that “Taipei is a city that is positive and capable of outstanding achievements”</em><em>.</em><em> These films, designed to attract audiences, have been made with great skill and portray little elements of the government-run campaigns they are actually part of, thus making them even more entertaining for viewers.</em><em></em></p>

scholarly journals Murders in Shocking Pink: Women, Love and Desire in Rossana Campo’s Noir Fiction

2017 ◽  
Vol 37 (1) ◽  
pp. 141-158
Author(s):  
Claudia Bernardi
Keyword(s):  
Female Desire ◽  
Female Protagonists ◽  
Genre Conventions ◽  
Noir Fiction ◽  
Romance Narratives

This article analyzes Rossana Campo’s Mentre la mia bella dorme (1999), Duro come l’amore (2005) and Il posto delle donne (2013) in the context of Campo’s work in general, showing how her use of crime genre conventions is specifically designed to reveal flaws and pitfalls inherent in romance narratives. By establishing a complex dialogue between noir and rosa, and by offsetting both traditions with female protagonists who question in different ways the heterosexual paradigm, Campo’s crime novels occupy a unique place in her production, especially in regard to the representation of female desire.

A Wartime Family Romance: Narratives of Masculinity and Intimacy during World War Two

2017 ◽  
Author(s):  
Lynn Abrams
Keyword(s):  
Twentieth Century ◽  
Sense Of Self ◽  
Romantic Love ◽  
World War Two ◽  
World War ◽  
Family Romance ◽  
Emotional Openness ◽  
Romance Narratives

This chapter focuses on a neglected facet of Scottish men’s sense of self – the expression of intimacy and emotion in the context of one man’s letters home to his wife during an extended posting abroad in World War Two. Emotional openness, vulnerability, affection, devotion, romantic love and desire - these are not qualities commonly identified in the narratives of masculinity in Scotland in the twentieth century. The war provided the backdrop for a correspondence which allowed a serving soldier to explore his emotional side, and sustain his marriage, not only by consuming narratives of love but producing them too. Through a close examination of personal correspondence this chapter argues that this correspondent encapsulated a modern masculine self that Scottish men were to practice with greater confidence in the postwar decades.

Fucking the Body, Rewriting the Text: Proto-Queer Embodiment through Textual Drag in Virginia Woolf's Orlando (1928) and Monique Wittig's Le Corps lesbien (1973)

Paragraph ◽  
2018 ◽  
Vol 41 (3) ◽  
pp. 301-316
Author(s):  
Kayte Stokoe
Keyword(s):  
Nineteenth Century ◽  
Gender Norms ◽  
The Body ◽  
Sexual Interaction ◽  
Gender Fluidity ◽  
Conceptual Frame ◽  
And Gender ◽  
Lesbian Body ◽  
The Relationship ◽  
Romance Narratives

Inspired by Judith Butler's conceptualization of drag as ‘gender parody’, I develop the conceptual frame of ‘textual drag’ in order to define and examine the relationship between parody, satire and gender. I test this frame by reading two seminal feminist works, Virginia Woolf's Orlando (1928) and Monique Wittig's Le Corps lesbien (The Lesbian Body) (1973). Both texts lend themselves particularly persuasively to analysis with this frame, as they each use parodic strategies to facilitate proto-queer satirical critiques of reductive gender norms. Orlando deploys an exaggerated nineteenth-century biographical style, which foregrounds the protagonist's gender fluidity and her developing critique of the norms and systems that surround her, while Le Corps lesbien rewrites canonical romance narratives from a lesbian perspective, challenging the heterosexism inherent in these narratives and providing new modes of thinking about gender, desire and sexual interaction.

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