Destabilizing the gaze towards male fashion models: Expanding men’s gender and sexuality identities

2016 ◽  
Vol 3 (1) ◽  
pp. 17-35 ◽  
Author(s):  
Ben Barry ◽  
Barbara Phillips
Keyword(s):  
Gender And Sexuality ◽  
The Gaze ◽  
Fashion Models

The Semantics of the Gaze: Fazio’s Mistress in Fazio Degli Uberti’s and Dante Gabriel Rossetti’s Representations

2021 ◽  
Vol 3/2021 (3) ◽  
pp. 70-80
Author(s):  
Małgorzata Wronko-Szybko
Keyword(s):  
Fourteenth Century ◽  
Gender And Sexuality ◽  
Social Conventions ◽  
The Gaze

The intention of this paper is to discuss the act of (not) looking with respect to the fourteenth-century Italian poem “His Portrait of His Lady, Angiola of Verona” written by Fazio Degli Uberti, and Dante Gabriel Rossetti’s painting Fazio’s Mistress (Aurelia). The works chosen for this analysis seem to represent social conventions and expectations related to gender and sexuality. Both in the case of the painting and the poem, the gaze is a medium of becoming a “surveyor” and “surveyed”, a means of typecasting, but also a reservoir of changing meanings. In the following discussion, the author approaches Uberti’s and Rossetti’s works in attempt to see how (and if) they renounce traditional views on domination and submission.

Queer of colour hauntings in London’s arts scene: performing disidentification and decolonising the gaze. A case study of the Cocoa Butter Club

2019 ◽  
Vol 20 (4) ◽  
pp. 445-463
Author(s):  
Laurie Mompelat
Keyword(s):  
Cocoa Butter ◽  
Public Space ◽  
Gender And Sexuality ◽  
The Public ◽  
The Gaze ◽  
White Gaze

This article analyses the representational stakes of queer of colour performance, by taking the case study of the Cocoa Butter Club: queer of colour cabaret night in London. Within a British landscape that has silenced queer subjectivities of colour at the intersection of race, gender and sexuality, I explore the potential of QPOC performance to redress historical erasure. To enact their presence, I argue that the Cocoa Butter Club’s performers showcase their collective disidentification from the scripts pre-assigned to their bodies within the European imagination. By doing so, they disrupt hegemonic representations of queerness and racialised otherness, making room for a multitude of queer of colour becomings kept otherwise invisible from public view. Such disidentifications unleash ‘ghosts’ into the public space, spectres of elided subjectivities and unresolved coloniality within a city that likes to think of itself as a post-racial LGBT haven. Drawing on ethnographic material and interviews with performers, I analyse what happens when such queer of colour hauntings reach the audience’s gaze. I consider their unsettling effects in relation to the white gaze, as well as their empowering function in relation to desiring QPOC subjects, seeking reflections of themselves in spectatorship.

Pop Culture/Visual Culture

2015 ◽  
Author(s):  
Rebecca Wanzo
Keyword(s):  
Visual Culture ◽  
Performance Studies ◽  
Art History ◽  
Film Studies ◽  
Pop Culture ◽  
Gender And Sexuality ◽  
The Gaze ◽  
Feminist Study ◽  
History Of ◽  
And Performance

Feminist scholars in fields as varied as art history, film studies, cultural studies, literary studies, sociology, communications, and performance studies have made important contributions to discussions about representations of gender and sexuality in everyday life. This chapter examines themes and issues in the feminist study of popular culture and visual culture, including: the history of sexist representation; the gendered nature of the “gaze” and the instability of that concept; the question of whether or not representation has effects; the anxieties surrounding consumption of “women’s texts”; and the challenges in deciphering women’s agency and authorship given constraints produced by institutions and ideology.

Jewish, Queer-ish, Trans, and Completely Revolutionary: Jill Soloway's Transparent and the New Television

2016 ◽  
Vol 69 (4) ◽  
pp. 10-22 ◽  
Author(s):  
Amy Villarejo
Keyword(s):  
Real Life ◽  
Gender And Sexuality ◽  
Cultural Industries ◽  
The Gaze ◽  
American Television ◽  
Queer People ◽  
Location Shooting ◽  
Television Representation

To judge by the critical enthusiasm with which the second season of Amazon Prime's Transparent (2014–) series has been embraced, Jill Soloway not only has a big trans-affirmative hit on her hands but has succeeded in stimulating a lively conversation about queerness, trans politics, and television representation within the broader society. If the first season of that imaginative lifeworld stressed Maura's transgender emergence through the manipulation of the gaze, the second season expands into queer territory in several ways. Real life, or life seemingly offscreen, has always bled into American television, whether through location shooting, topical references, stars' relationships, or just the indexical details of sound and image. Like cinema, that is, television has always been a documentary of what it records, even in the most minimal sense. What's new is that overtly queer people now make television, and they are seeking to blend details of their queer lifeworlds with the sounds and images of television and the cultural industries elaborated here. Understanding the nature of this blend helps to more accurately pinpoint the conceptions of religion, gender, and sexuality that Soloway brings to Transparent and wants to explore through its textures and detail.

Retrospective feelings of difference based on gender and sexuality among emerging adults.

2020 ◽  
Vol 7 (1) ◽  
pp. 26-39
Author(s):  
Kyle A. Simon ◽  
Cassandra P. Vázquez ◽  
Samuel T. Bruun ◽  
Rachel H. Farr
Keyword(s):  
Emerging Adults ◽  
Gender And Sexuality

Gender, Technology and the New Woman

2017 ◽  
Author(s):  
Lena Wånggren
Keyword(s):  
Nineteenth Century ◽  
New Woman ◽  
New Technologies ◽  
Gender And Sexuality ◽  
Literary Texts ◽  
Late Nineteenth Century ◽  
Gender And Technology ◽  
The New Woman ◽  
Grant Allen

This book examines late nineteenth-century feminism in relation to technologies of the time, marking the crucial role of technology in social and literary struggles for equality. The New Woman, the fin de siècle cultural archetype of early feminism, became the focal figure for key nineteenth-century debates concerning issues such as gender and sexuality, evolution and degeneration, science, empire and modernity. While the New Woman is located in the debates concerning the ‘crisis in gender’ or ‘sexual anarchy’ of the time, the period also saw an upsurge of new technologies of communication, transport and medicine. This book explores the interlinking of gender and technology in writings by overlooked authors such as Grant Allen, Tom Gallon, H. G. Wells, Margaret Todd and Mathias McDonnell Bodkin. As the book demonstrates, literature of the time is inevitably caught up in a technological modernity: technologies such as the typewriter, the bicycle, and medical technologies, through literary texts come to work as freedom machines, as harbingers of female emancipation.

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