2001

[1]   Video games have emerged as a dominant form of cultural expression in the new millennium. As a cultural and economic force, they have surpassed the Hollywood film industry in terms of total revenues, and they are a major source of

[1]   The speech of women who work in prostitution lacks credibility for many people. This is particularly true when they testify about the violence they face. It is often difficult for others to perceive violence against prostitutes as

[1]   At the end of the Xena: Warrior Princess episode, “The Play’s the Thing,” in which Gabrielle directs her own play, Minya, with her new friend Paulina in tow, exclaims:Gabrielle, I wanted to thank you. I never would have met Paulina

[1]   Debates about female fetishism have been going on for almost two decades now; but there appears to be as yet no consensus about the value of claiming this particular practice for feminist politics. Ever since Sarah Kofman’s

[1]   One desires the archaic and the exotic insofar as it remains the other, but insofar as it retains its ontological difference the encounter with it is liable to be marked by frustration, failure, lack. Narratives with a colonial

[1]   The artists who emerged as the Abstract Expressionists in the 1940s were as a group notoriously macho and homophobic. For Fritz Bultman (1919-85), a young painter associated with this first generation of the New York School, such

[1]   JAGOSE: Your book, Fashioning Sapphism: The Origins of a Modern English Lesbian Culture, constructs a genealogy of what you term Sapphic modernity. The 1928 obscenity trial of Radclyffe Hall’s The Well of Loneliness is

[1]   The objective of this study is to articulate a revisionary reading of Frida Kahlo's "What the Water Has Given Me" ["Lo que el agua me ha dado"1] (1938, Fig. 1), a reading that will argue for the painting's central importance for an

[1]   Ursula Biemann’s Been There and Back to Nowhere is about minority women in border zones, the representations made of them in the media, and the efforts of artists working collaboratively with them to construct a different set of

[1]   In 1979 Barnard College sponsored “The Scholar and the Feminist VI: The Future of Difference,” a conference whose proceedings were anthologized into a volume called simply The Future of Difference, which, its post-preface proclaims