NÜZHUBO AND HER “BROTHERS”: STREAMING LIFE AND MEDIATING INTIMACY AT SCALE

In this paper, I consider live/life streaming as a mediated venue for making social relationships and a mediatized world constituted of diverse livelihoods. Drawing from my digital ethnography on two Chinese live streaming platforms Inke and Huajiao, I document the emergence of narratives, performances, and interactions that are either sexually suggestive or have gendered implications. I identify patterns of emotional expression and self-disclosure that lie within these interactions and analyze their alignment with and distinction from those that have been considered within the existing theorization of intimacy. In doing so, I examine how live/life streaming constructs scalable “mediated intimacy,” in the one-versus-many semi-public setting, through nurturing gendered performances and building subtle sexual tension between its participants.

ERECTION DISORDERS

The first physiological response to effective sexual stimulation, produced by a source of physical or mental stimulation, is the erection of the penis. Erection usually occurs within 3-8 seconds of the onset of arousal. When sexual tension and erection reach a certain level in the presence of the partner, the need for interference appears. The intensity of the erection may increase or decrease until it disappears, whether the arousal is prolonged or not. The complicated anatomical apparatus is regulated by a nervous mechanism, just as complex, being dependent to a remarkable extent on psychic influences. By the strong interweaving of these two components - psychological and functional - the sexual function is subject to changes. Erectile dysfunction, when it occurs, is obvious because, although there may be libido, the lack of an erection makes it impossible to perform sexual intercourse. Erectile dysfunction should not be confused with isolated or occasional failures to obtain or maintain a penile erection. They do not constitute a condition or disease that justifies medical attention and should be perceived as absolutely normal. The vast majority of men face such an episode at some point in their lives. One can speak of erectile dysfunction in the case of a recurrent or persistent inability to obtain an erection or to maintain it long enough to complete sexual intercourse, which lasts at least three months. It is especially important because in a normal activity, without erection, intercourse, ejaculation and orgasm cannot take place. (Pathologically, premature ejaculation can occur, without an erection, in the form of pollution!)

SeDUCKtress! Magica De Spell, Scrooge McDuck, and the Avuncular Anthropomorphism of Carl Barks’s Midcentury Disney Comics

This chapter selects a fascinating duck-faced character to highlight a sexual tension. Even as a duck, Magica De Spell defies the traditional connection between women and children is thus a monstrous threat to the order of Scrooge McDuck’s empire. Her malevolence and charm demonstrate a power to be reckoned with in Duckburg, and as a part of Disney’s influential picture of the wider social world, she exposes mid-century America’s most flagrant hypocrisies of gender and class.

“The Most Beautiful Face of Socialism”

East German figure skater Katarina Witt’s enormously successful career included gold-medal performances at the 1984 and 1988 Olympics, turning her into an ambassador for her country and a worldwide media star. Backed by a regime that saw sport as a form of soft politics, Witt and her coach consciously cultivated her fame by increasing the sexual tension of her performances. Timm provides cultural context for the resulting collision between politics, sex, and sport. While certainly not a dupe of her handlers, relaxed East German attitudes toward nudity likely left Witt unable to appreciate how her image intertwined with popular culture images of the Cold War “honey pot.”

The Gypsy King by M. Fergus

Fergus, Maureen. The Gypsy King. Toronto: RazorBill Penguin Canada, 2013. Print.Described by the publisher, Penguin Canada, as “The Princess Bride meets A Game of Thrones with a hint of Ever After,” this book holds great promise. As a fan of all three, my expectations were high and I was a little disappointed. The book is enjoyable, the writing is engaging, the plot has a few interesting twists, the main characters are interesting, but the abrupt ending felt like a marketing ploy. At least it is an effective ploy. I am already watching the shelf for the next book in the series to arrive.Fergus depicts a rigid caste system, a ruthless and vindictive regent, a selfish quest for eternal life, and a society fighting for survival. The Gypsy King tells the story of Persephone, a strong-willed slave, who longs for freedom but does not take action. When she encounters Azriel, a charming gypsy and resourceful thief, her situation takes a dramatic turn. Azriel believes Persephone may be part of a 15-year old prophecy shared by the last gypsy seer following the slaughter of innocent gypsies. The primary villain, Mordecai, is exceptionally evil; he is ruthless, maniacal, and makes puppy-murdering Cruella look like a normal human being. His actions are more gruesomely depicted than expected and this book is not for those with a weak stomach. The novel contains scenes of violence and sexuality that may not appeal to all readers.The fiercely independent female protagonist, Persephone, is the best part of this book. I was frustrated with her at times for her reticence to escape her situation, but ultimately I found myself appreciating her loyalty and commitment to those in need of her assistance—both humans and animals. She has moments in distress, but never plays the maiden in need of a hero. Although she clearly has feelings for Azriel, and vice versa, their relationship does not progress much beyond palpable sexual tension. Showing her resourcefulness, our protagonist seizes opportunities and works to extricate herself and others from the grasp of Mordecai and his merciless men. Facing an oppressive society that scorns her social class and her gender, Persephone is fighting her way up two bitterly steep hills. However, she finds the strength, the courage, and the resolve to survive. That being said, she is not a saint. She experiences jealousy, hatred, and selfishness yet she is a vibrant and passionate character. Fergus has developed a perfectly human protagonist and it is a refreshing change. Because I am so looking forward to the next installment and I love a strong female lead, I will give the book four stars.Recommended: Four out of Four StarsReviewer: Jorden SmithJorden is a Public Services Librarian in Rutherford Humanities and Social Sciences Library at the University of Alberta. She is an avid fiction reader and subscribes to Hemingway’s belief that “there is no friend as loyal as a book.”

DESCRIBING URBAN ‘NO MAN'S LAND’ IN AFRICA

Cities as elusive, invisible, yet to come. ‘[T]he city is no-man's land’ (Grace Khunou, p. 240 in Mbembe and Nuttall). ‘Lagos is no man's land’ (heard in Lagos by the present writer, August 2010). A picture of a strangely empty and disrupted man-made landscape (William Kentridge, pp. 349–350 in Mbembe and Nuttall), balanced by a dense but also personless urban scene (by the same author, pp. 35–6 in the same text). … The slippage between conventional social scientific terms of runaway urbanization, the teeming human vitality of African cities, and the elusiveness of the titles, sayings and images of these three books, opens up the rich vein for research and writing into which these authors work their ways. Johannesburg. Kinshasa. Pikine (Dakar). Winterveld (a South African urban area outside Pretoria). Douala. Jeddah. The books reviewed here are based on detailed field research in six particular cities. They all juxtapose the categories of ‘metropolis’ and ‘modernity’ to the category of ‘Africa’, all positing the anomaly this move may represent in the categorical social scientific mind. The subtitles immediately indicate a different starting point from the analytics of population, geography and governance. With an approach through ‘tales’ (De Boeck and Plissart) and ‘reading the city’ (Mbembe and Nuttall), the authors indicate an alternative intellectual reach. They start from visual imagery, the language arts and the social mediations through which the lives lived in urban ‘modern’ Africa are expressed, communicated, understood, configured and conserved. Their aims evoked in my mind the modern art – rather than the analytics – of other cities. So here we have ‘circulation’ and vehicles as symbols and sounds without too much attention to traffic (the Lagos ‘go slow’; the accidents); ‘bodies’ without much attention to food or toilet needs or aging; ‘authority’ evaded or permeating rather than personified in mayors, town councils and multitudes of other officials and employees. In the ether of the invisible, what circulates are symbols and expressions; what emanates from bodies is sexual tension, aesthetic sensibility and physical vulnerability (‘bodies in danger’, De Boeck and Plissart, p. 117); what bears down oppressively is constraint and neglect of all kinds. In brief, what strikes the perceptive mind is precisely what bursts out of the conventional forms and has not yet taken a newly conventionalized shape. Through this orientation, all three books bring the humanities and artistic sensibilities to the question of the spirits, souls, inspirations, dangers, images and memories that inhabit the crowded spaces between buildings and people, insects and people, people and people.