Interventions on cultural margins

Taiwan Cinema ◽  
2017 ◽  
pp. 80-91
Author(s):  
Felicia Chan ◽  
Andy Willis
Keyword(s):  
Cultural Margins

scholarly journals “The drops which fell from Shakespear’s Pen”: Hamlet in Contemporary Fiction

2012 ◽  
pp. 257
Author(s):  
Patrick Gill
Keyword(s):  
Contemporary Fiction ◽  
Graham Swift ◽  
John Updike ◽  
Present Essay ◽  
Cultural Margins ◽  
Ian Mcewan ◽  
The Way

Questions of gender, ethnicity and sexuality have all been raised by novelists intent on rewriting Shakespeare from the position of what have been seen as cultural margins. While discussions of such rewritings are ongoing, few concerted efforts have been made to trace a pattern in the treatment of Shakespearean allusion and adaptation at the hands of British and American writers of the literary mainstream. The present essay sets out to investigate the way in which three such writers —Ian McEwan, Graham Swift, and John Updike— employ allusion to/adaptations of Hamlet in their novels and what their respective stances reveal about their understanding of their role as canonical writers.

scholarly journals Annie Proulx’s Imaginative Leap: Constructing Gay Masculinity in “Brokeback Mountain”

Text Matters ◽  
2012 ◽  
pp. 209-220
Author(s):  
Kylo-Patrick R. Hart
Keyword(s):  
Short Story ◽  
Social Order ◽  
Sexual Relationship ◽  
Cultural Work ◽  
Heterosexual Men ◽  
Male Characters ◽  
The Social ◽  
Cultural Margins ◽  
Annie Proulx ◽  
And Bisexual

Non-heterosexual men have long existed on the social and cultural margins. Gay and bisexual male characters in literature, too, have done so for many generations. This essay explores the construction of gay masculinity in the short story “Brokeback Mountain” in relation to the “imaginative leap” that its author, Annie Proulx, undertook in order to conceptualize and represent this noteworthy form of marginalized otherness. It demonstrates that, despite the story’s various refreshing elements, “Brokeback Mountain” ultimately relies far too extensively on the logic of melodrama when telling the tale of Ennis del Mar and Jack Twist, who fall in love in 1963 and continue their sexual relationship over the course of two decades. As a result, this story ends up positioning its two queer protagonists as enemies of the patriarchal social order and the larger society within which it so comfortably exists, implicitly perpetuating both heterosexism and homophobia as it does its cultural work.

Disciplining the Dasi: Cintamani and the Politics of a New Sexual Economy

2013 ◽  
Vol 4 (1) ◽  
pp. 51-69 ◽  
Author(s):  
Sundar Kaali
Keyword(s):  
The Real ◽  
The Uncanny ◽  
Cultural Margins

This article analyzes the representation of the figure of the dasi in early Tamil film. Against the backdrop of the abolition of the devadasi system in the Madras Presidency and the reformist activity associated with it, the article attempts to look at how the figure of the dasi underwent a strong repression in the cinematic discourses of the 1930s and 1940s. This was part of nationalist modernity, a project that sought to secure a new sexual economy in which the dasi was eventually narrativized out of Tamil film and pushed to the cultural margins of Tamil society. The article focuses on one film, Cintamani or Bilvamangal (1937) and shows how in this text the repression of the figure of the dasi was accompanied by an irruption of the real, the “uncanny.” It argues that there existed a nexus between sexuality and vision in early Tamil film, and that cinema itself acted as a safeguard against the trouble of the excessive sexuality embodied in the dasi.

Strangers within the Realm: Cultural Margins of the First British Empire

1992 ◽  
Vol 23 (1) ◽  
pp. 189
Author(s):  
Darrett B. Rutman ◽  
Bernard Bailyn ◽  
Philip D. Morgan
Keyword(s):  
British Empire ◽  
Cultural Margins
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