identities

“Redneck Aliens Take Over Trailer Park.”—Weekly World News (2006)[1] The gothic, a pan-media mode that migrated from novels to drama and poetry and then to film and television, has a long history of engaging the binary construction of gender

“Children can feel, but they cannot analyze their feelings.”–Charlotte Bronte, Jane Eyre (24).“Neither Charlotte nor Emily Bronte was, at the time of writing Jane Eyre and Wuthering Heights, in a position to experience or

“I cannot continue to use my body to be walked over to make a connection.”–Cherríe Moraga, This Bridge Called My Back, xvThere is “[n]o sense talking tough unless you do it.”–Estrella, Under the Feet of Jesus, 45[1] In her 1980

[1] KLEIN: In your book WARM: A Feminist Art Collective in Minnesota you chronicle the history of the Women’s Art Registry of Minnesota, a woman’s art collective and gallery based in Minneapolis. In the introduction, you write that “

Indeed if one is to be a man almost any kind of unconventional action often takes disproportionate courage. So it is no accident that the source of Hip is the Negro for he has been living on the margin between totalitarianism and democracy for two

Figure 1MOORTI: Private Lives, Proper Relations offers a new lens through which one can understand some key late twentieth century African American women’s fiction. Your book primarily argues that the hidden arena of intimacy is thoroughly

Work, play, art, science, literature, sex, education … digitization leaves nothing untouched. Social relations are being transformed by the development of telecommuting, hypermedia systems, and the new world of on-line information. In particular,

[1] The experience of fitness by women in our culture is ideologically inflected by assumptions about gender and biology, with the frequent result that many women are active primarily for extrinsic motives—to satisfy our own and others’ ideas about

[1] Steven Soderbergh, director of both experimental films and big-budget genre films, has been unusually candid about racism in Hollywood.  In a June 2003 New York Times profile of African American actor Don Cheadle, Soderbergh

If the humanities have a future as cultural criticism, and cultural criticism has a task at the present moment, it is no doubt to return us to the human where we do not expect to find it, in its frailty and at the limits of its capacity to make