Women, Gender and Romantic Comedy in Brazil

2017 ◽  
Vol 3 (2) ◽  
pp. 98-120
Author(s):  
Leslie L. Marsh

This essay examines the romantic comedies S.O.S. mulheres ao mar (2014) and Meu passado me condena (2013), which repeat several tropes of the chanchada—a film comedy genre with its beginnings in early twentieth-century Brazil. Both offer a negotiation of changing class status in Brazil during a period of increasing international attention and economic growth (2002 to 2014). Although these films promote new notions of Brazilian cultural identity, they also sustain established hierarchies (of gender, race, ethnicity, sexuality) in favor of promoting neoliberal values and ways of being. In particular they promote consumerism, self-improvement, and the cultivation of personal happiness. Unlike Brazilian popular comedy of the mid-twentieth century, these films do not offer self-deprecating critiques of modernity or the failings of capitalism. Rather, S.O.S. mulheres ao mar and Meu passado me condena celebrate and promote the idea of a new emergent Brazil, making gender and sexuality frameworks for thinking about contemporary Brazilian cultural identity.

Author(s):  
Ceri Peach

By the end of the twentieth century, the focus of geography had narrowed, its content had become less disciplined by spatial concerns, and its subject matter had become fragmented. Geographers were writing about small, personal subjects: about identity and positionality, about statues and monuments. How and why did this come about? Perhaps because both the urban geography of Britain underwent massive change and the way in which British geographers thought about cities was revolutionised. This change in urban geography in Britain during the twentieth century can be attributed in part to the fact that the geography of British towns has changed significantly over the period. This chapter focuses on geographers and the fragmented city, starting with a brief account of the urban change and then moving on to discuss the shifts within the philosophy of geography. It also examines urban social segregation, with emphasis on race, ethnicity, gender and sexuality.


2019 ◽  
Vol 49 (2) ◽  
pp. 276-289
Author(s):  
Naoise Murphy

Feminist critics have celebrated Kate O'Brien's pioneering approach to gender and sexuality, yet there has been little exploration of her innovations of the coming-of-age narrative. Creating a modern Irish reworking of the Bildungsroman, O'Brien's heroines represent an idealized model of female identity-formation which stands in sharp contrast to the nationalist state's vision of Irish womanhood. Using Franco Moretti's theory of the Bildungsroman, a framing of the genre as a thoroughly ‘modern’ form of the novel, this article applies a critical Marxist lens to O'Brien's output. This reading brings to light the ways in which the limitations of the Bildungsroman work to constrain O'Brien's subversive politics. Their middle-class status remains an integral part of the identity of her heroines, informing the forms of liberation they seek. Fundamentally, O'Brien's idealization of aristocratic culture, elitist exceptionalism and ‘detachment of spirit’ restricts the emancipatory potential of her vision of Irish womanhood.


2020 ◽  
Vol 44 (2) ◽  
pp. 100-118
Author(s):  
Kristin M. Franseen

Beginning with the “open secret” of Benjamin Britten and Peter Pears's relationship and continuing through debates over Handel's and Schubert's sexuality and analyses of Ethel Smyth's memoirs, biography has played a central role in the development of queer musicology. At the same time, life-writing's focus on extramusical details and engagement with difficult-to-substantiate anecdotes and rumors often seem suspect to scholars. In the case of early-twentieth-century music research, however, these very gaps and ambiguities paradoxically offered some authors and readers at the time rare spaces for approaching questions of sexuality in music. Issues of subjectivity in instrumental music aligned well with rumors about autobiographical confession within Tchaikovsky's Symphony No. 6 (Pathétique) for those who knew how to listen and read between the lines. This article considers the different ways in which the framing of biographical anecdotes and gossip in scholarship by music critic-turned-amateur sexologist Edward Prime-Stevenson and Tchaikovsky scholar Rosa Newmarch allowed for queer readings of symphonic music. It evaluates Prime-Stevenson's discussions of musical biography and interpretation in The Intersexes (1908/9) and Newmarch's Tchaikovsky: His Life and Works (1900), translation of Modest Tchaikovsky's biography, and article on the composer in Grove's Dictionary of Music and Musicians to explore how they addressed potentially taboo topics, engaged with formal and informal sources of biographical knowledge (including one another's work), and found their scholarly voices in the absence of academic frameworks for addressing gender and sexuality. While their overt goals were quite different—Newmarch sought to dismiss “sensationalist” rumors about Tchaikovsky's death for a broad readership, while Prime-Stevenson used queer musical gossip as a primary source in his self-published history of homosexuality—both grappled with questions of what can and cannot be read into a composer's life and works and how to relate to possible queer meanings in symphonic music. The very aspects of biography that place it in a precarious position as scholarship ultimately reveal a great deal about the history of musicology and those who write it.


MedienJournal ◽  
2017 ◽  
Vol 37 (3) ◽  
pp. 7
Author(s):  
Gisela K. Cánepa

Nation branding plays a central role within neoliberal governmentality, operating as a technology of power in the configuration of emerging cultural and political formations such as national identity, citizenship and the state. The discussion of the advertising spot Perú, Nebraska  released as part of the Nation Branding campaign Marca Perú  in May of 2011, constitutes a great opportunity to: (i) argue about the way in which audiovisual advertisement products, designed as performative devises, operate as technologies of power; and (ii) problematize the terms in which it founds a new social contract for the Peruvian multicultural national community. This analysis will allow me to approach neoliberalism as a cultural regime in order to discuss the ideological nature of the uncontested celebratory discourse that has emerged in Perú and which explains the economic growth of the last decades as the outcome of a national entrepreneurial spirit that would be distinctive of Peruvian cultural identity.


2017 ◽  
Author(s):  
Aleksander Smalianczuk

In the Search for a National Idea: Krajowość in the Beginning of the Twentieth Century as an Attempt at “Lithuanian Poles’" IdeologyKrajowość as the national ideology of the “civil” (or “political”) type developed in Belarus and Lithuania at the beginning of the twentieth century. The adherents of krajowośćclaimed that all native inhabitants of historical Lithuania, disregarding their ethno-cultural identity, are “the citizens of the Kraj” [the Countrymen] and therefore belong to one nation. Some called them “the nation of Lithuanians.” The category of “the native inhabitants” was used in relation to the Lithuanians, Belarusians, Poles, Jews, and almost never to Russians. As the main criterion for a national identity they proclaimed patriotism and self-identification as citizens.The krajowość idea appeared among the nobility. Its representatives belong to the combined Polish culture in respect of their own Lithuanian and Belarusian origin. The former Grand Duchy of Lithuania was interpreted by them as a historical native land. It was the determining factor in the formation of a new identity.All adherents of krajowość (Michal Romer, Roman Skirmunt, Kanstancyja Skirmuntt, Ludwik Abramovich, etc.) belonged to the group of the “Lithuania (vel Belarus) Poles”. Despite their intentions, the krajowość idea was formed on the basis of the “Lithuanian Poles’” struggle for their own place in the new society. As a result, the ideology for “Lithuanian Poles” was created, but it could not neutralize the existing Polish-Lithuanian-Belarusian conflict. W poszukiwaniu idei narodowej: „krajowość” początku XX wieku jako próba ideologii „Polaków litewskich”„Krajowość”, czyli ,,ideologia krajowa”, została sformułowana na Białorusi i Litwie na początku XX wieku. Krajowcy stwierdzali, że wszyscy rdzenni mieszkańcy historycznej Litwy, niezależnie od ich etnokulturowej i stanowej przynależności, należą do jednego „narodu Litwinów”. Za główne kryteria owej narodowej przynależności uznano poczucie patriotyzmu w stosunku do Litwy historycznej. Jednym z celów krajowości było pogodzenie partykularnych interesów miejscowych narodów z ich ogólnym interesem, pod jakim rozumiano dobro wspólnej Ojczyzny, historycznej Litwy. Jednak mimo zamiarów ideologów, którzy mówili o „obywatelach Kraju”, krajowość wyrosła z poszukiwania przez Polaków litewskich swego miejsca w nowym społeczeństwie. Koncepcja krajowa była ideologią Polaków litewskich, stworzoną przede wszystkim dla nich. Z postanowieniami krajowców była związana przede wszystkim perspektywa polskości na Litwie historycznej.


2017 ◽  
Vol II (1) ◽  
pp. 44-56
Author(s):  
Haseeb Ur Rehman Warrich ◽  
Muhammad Rehman ◽  
Sahrish Jamil

No other element impacted the historical conditions of the preceding 100 years to such an extent as the war to secure and control the world's reserves of petroleum. Sustainable economic growth after 1873, that discouraged British Empire, arose mechanical economies in Europe. Central Asia remained the object of rivalries and machination by the giant countries of the Europe. World Domination Games started from Pillage Games that lead towards many “Games” such as Great Game, New Great Game, Game Changer and New Game Changer. All prefect countries desire to have a control over the world for the last two centuries. Their efforts turn into numerous clashes and clashes led towards wars. In the twentieth century wars transformed not only their names but also their genetics that has profound impact on the 21st Century. This laid foundation of the emerging new superpowers in every century.


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