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Feminist, Queer, and Post-Masculinist Perspectives
Viewing the work of twelve prominent photographers, including Graciela Iturbide, Pedro Meyer, and Marcos López, this first far-ranging analysis of gendered perspectives in Latin American photography demonstrates the importance of this art form within Latin American cultural production.
Religious Freedom, Sexual Freedom, and Public Expressions of Civic Equality
The relationship between religious belief and sexuality as personal attributes exhibits some provocative comparisons. Despite the nonestablishment of religion in the United States and the constitutional guarantee of free exercise, Christianity functions as the religious and moral standard in America. Ethical views that do not fit within this consensus often go unrecognized as moral values. Similarly, in the realm of sexual orientation, heterosexuality is seen as the yardstick by which sexual practices are measured. The notion that "alternative" sexual practices like homosexuality could possess ethical significance is often overlooked or ignored.
In her new book, An Argument for Same-Sex Marriage, political scientist Emily R. Gill draws an extended comparison between religious belief and sexuality, both central components of one’s personal identity. Using the religion clause of the First Amendment as a foundation, Gill contends that, just as US law and policy ensure that citizens may express religious beliefs as they see fit, it should also ensure that citizens may marry as they see fit. Civil marriage, according to Gill, is a public institution, and the exclusion of some couples from a state institution is a public expression of civic inequality.
An Argument for Same-Sex Marriage is a passionate and timely treatment of the various arguments for and against same-sex marriage and how those arguments reflect our collective sense of morality and civic equality. It will appeal to readers who have an interest in gay and lesbian studies, political theory, constitutional law, and the role of religion in the contemporary United States.
Masculinity and Sexuality in the American War Film
In war films, the portrayal of deep friendships between men is commonplace. Given the sexually anxious nature of the American imagination, such bonds are often interpreted as carrying a homoerotic subtext. In Armed Forces , Robert Eberwein argues that an expanded conception of masculinity and sexuality is necessary in order to understand more fully the intricacy of these intense and emotional human relationships. Drawing on a range of examples from silent films such as What Price Glory and Wings to sound era works like The Deer Hunter, Platoon, Three Kings, and Pearl Harbor , he shows how close readings of war films, particularly in relation to their cultural contexts, demonstrate that depictions of heterosexual love, including those in romantic triangles, actually help to define and clarify the nonsexual nature of male love. The book also explores the problematic aspects of masculinity and sexuality when threatened by wounds, as in The Best Years of Our Lives, and considers the complex and persistent analogy between weapons and the male body, as in Full Metal Jacket and Saving Private Ryan .
Women and the Civil War on the Northern Home Front
Introducing readers to women whose Civil War experiences have long been ignored, Judith Giesberg examines the lives of working-class women in the North, for whom the home front was a battlefield of its own.
Black and white working-class women managed farms that had been left without a male head of household, worked in munitions factories, made uniforms, and located and cared for injured or dead soldiers. As they became more active in their new roles, they became visible as political actors, writing letters, signing petitions, moving (or refusing to move) from their homes, and confronting civilian and military officials.
At the heart of the book are stories of women who fought the draft in New York and Pennsylvania, protested segregated streetcars in San Francisco and Philadelphia, and demanded a living wage in the needle trades and safer conditions at the Federal arsenals where they labored. Giesberg challenges readers to think about women and children who were caught up in the military conflict but nonetheless refused to become its collateral damage. She offers a dramatic reinterpretation of how America's Civil War reshaped the lived experience of race and gender and brought swift and lasting changes to working-class family life.
Feminist Effects in 1970s British Art and Performance
Contrary to critics who have called it the “undecade,” the 1970s were a time of risky, innovative art—and nowhere more so than in Britain, where the forces of feminism and labor politics merged in a radical new aesthetic. In Art Labor, Sex Politics Siona Wilson investigates the charged relationship of sex and labor politics as it played out in the making of feminist art in 1970s Britain. Her sustained exploration of works of experimental film, installation, performance, and photography maps the intersection of feminist and leftist projects in the artistic practices of this heady period.
Collective practice, grassroots activism, and iconoclastic challenges to society’s sexual norms are all fundamental elements of this theoretically informed history. The book provides fresh assessments of key feminist figures and introduces readers to less widely known artists such as Jo Spence and controversial groups like COUM Transmissions. Wilson’s interpretations of two of the best-known (and infamous) exhibitions of feminist art—Mary Kelly’s Post-Partum Document and COUM Transmissions’ Prostitution—supply a historical context that reveals these works anew. Together these analyses demonstrate that feminist attention to sexual difference, sex, and psychic formation reconfigures received categories of labor and politics.
How—and how much—do sexual politics transform our approach to aesthetic debates? What effect do the tropes of sexual difference and labor have on the very conception of the political within cultural practice? These are the questions that animate Art Labor, Sex Politics as it illuminates an intense and influential decade of intellectual and artistic experimentation.
Women Artists and Democracy in Mid-Nineteenth-Century New York
"I was in high spirits all through my unwise teens, considerably puffed up, after my drawings began to sell, with that pride of independence which was a new thing to daughters of that period."—The Reminiscences of Mary Hallock Foote
Mary Hallock made what seems like an audacious move for a nineteenth-century young woman. She became an artist. She was not alone. Forced to become self-supporting by financial panics and civil war, thousands of young women moved to New York City between 1850 and 1880 to pursue careers as professional artists. Many of them trained with masters at the Cooper Union School of Design for Women, where they were imbued with the Unity of Art ideal, an aesthetic ideology that made no distinction between fine and applied arts or male and female abilities. These women became painters, designers, illustrators, engravers, colorists, and art teachers. They were encouraged by some of the era's best-known figures, among them Tribune editor Horace Greeley and mechanic/philanthropist Peter Cooper, who blamed the poverty and dependence of both women and workers on the separation of mental and manual labor in industrial society. The most acclaimed artists among them owed their success to New York's conspicuously egalitarian art institutions and the rise of the illustrated press. Yet within a generation their names, accomplishments, and the aesthetic ideal that guided them virtually disappeared from the history of American art.
Art Work: Women Artists and Democracy in Mid-Nineteenth-Century New York recaptures the unfamiliar cultural landscape in which spirited young women, daring social reformers, and radical artisans succeeded in reuniting art and industry. In this interdisciplinary study, April F. Masten situates the aspirations and experience of these forgotten women artists, and the value of art work itself, at the heart of the capitalist transformation of American society.
A Historical Anthology
Asian/Pacific Islander American Women is the first collection devoted to the historical study of A/PI women's diverse experiences in America. Covering a broad terrain from pre-large scale Asian emigration and Hawaii in its pre-Western contact period to the continental United States, the Philippines, and Guam at the end of the twentieth century, the text views women as historical subjects actively negotiating complex hierarchies of power.
The volume presents new findings about a range of groups, including recent immigrants to the U.S. and understudied communities. Comprised of original new work, it includes chapters on women who are Cambodian, Chamorro, Chinese, Filipino, Hmong, Japanese, Korean, Native Hawaiian, South Asian, and Vietnamese Americans. It addresses a wide range of women's experiences-as immigrants, military brides, refugees, American born, lesbians, workers, mothers, beauty contestants, and community activists. There are also pieces on historiography and methodology, and bibliographic and video documentary resources.
This groundbreaking anthology is an important addition to the scholarship in Asian/Pacific American studies, ethnic studies, American studies, women's studies, and U.S. history, and is a valuable resource for scholars and students.
Contributors include: Xiaolan Bao, Sucheng Chan, Catherine Ceniza Choy, Vivian Loyola Dames, Jennifer Gee, Madhulika S. Khandelwal, Lili M. Kim, Nancy In Kyung Kim, Erika Lee, Shirley Jennifer Lim, Valerie Matsumoto, Sucheta Mazumdar, Davianna Pomaika'i McGregor, Trinity A. Ordona, Rhacel Salazar Parre-as, Amy Ku'uleialoha Stillman, Charlene Tung, Kathleen Uno, Linda Trinh Võ, Judy Tzu-Chun Wu, Ji-Yeon Yuh, and Judy Yung.