Sexual Innuendo Research Articles

REPETITION-DIFFERENTIATION IN AN ONLINE DEBATE ON SEXUALITIES: RE-IMAGINING IDENTITY MEANINGS

Semiotic Mobility on the WebIn 2014, Globo TV - the leading Brazilian TV network - aired Em familia, a primetime telenovela (soap opera) whose opening plot dealt with varied interwoven storylines on family drama, adultery, and love triangles, developed along mainstream heteronormative premises. In later episodes, however, the show started featuring the relationship between Clara - a simple bored married straight young woman, mother to an eight-year old boy - and Marina - a sensual successful lesbian photographer. The initial flirtation matured into a full blown love affair, leading Clara to disclose the infatuation to her family (parents, sisters, loving husband and son).The madly-in-love couple ended up taking center stage, a scheme which, in a country anchored in Catholic tradition such as Brazil, gave rise to a lot of controversy and heated responses, triggering both backlash and support concerning alternative family bonds. Some fans reacted not only against samesex pairing but also against the destruction of a happy family. Conversely, according to a whole lot of others, gay love was legitimate and the characters had the right to live it to the fullest; moreover, they demanded that the sexual innuendo between the two women be portrayed as explicitly as the intimate scenes involving the straight couples in the show were. Therefore, as Marina and Clara's relationship deepened and turned out to be quite steamy, many fans rooted for their bonding while others sided against it. Amidst these contrasting stances, a special concern gained ground: would a kiss between the two women be aired on a primetime program at a Brazilian television networ k? B eing ca st upon the audience, the doub t spar ked a ll sor t of speculation and dispute.A great part of that contention took place in digital environments (social networks, blogs, websit es and the like), producing Clara/Marina (Clarina) shippers1 and texts which proliferated on the web. The hashtag #clarina, different fanfics in Portuguese and English (All of me, Clarina day by day etc.), and the virtual campaign Globo makes Clarina happen are just some of the exa mples of how t he lesbian narrative beca me a vira l phenomenon, following transnational trajectories - a characteristic of the intense transit of semiotic artifacts which have been marking contemporary communicative landscapes. Everything concerning the production and consumption of cycles of discourse - ideas, texts, images, discourses, knowledges, and identities, for example - moves at unprecedented speed as semioticized commodities (Agha 2011; Chouliaraki and Fairclough 1999). This escalating process, propelled by the development of not only Web 2.0 technologies but also media contexts in general (digital, televisual, and print), intensifies the identity-alterity dialectics, increasing the tension between known and alien meaning repertoires and, as a corollary, enhancing performances of surveillance and protection of perceived identity borders. Although violent language games are a very wellknown outcome of such kind of attrition, lea ding ver y oft en t o physical violence,2 they may, conversely, result in subverting conventional familiarities and/or shaking normalizing apparatuses (Butler 2004; Puar 2005; Lima 2014; Lewis et al. 2014; Moita-Lopes 2015) - as illustrated by the Clarina event above.In previous work I delved into such repetition-transformation activities concerning the negotiation of gendered cultural identities on the internet (Fabricio 2014; 2015). In this paper I shall explore the reification-dismantling of the heterosexual matrix in the cyberspace, by concentrating on the comments section of t he digital version of a popular Brazilia n newspaper, in which participants discuss the love affair between Clara and Marina. Upon approaching their online interaction, I examine how both replication and reorganization of heteronormativity coexist in that environment. In so doing, I seek to observe the pragmatics of iterability and probe the tension between repetition and renewal possibilities, proposing to take repetition-difference as an inseparable pair. …

Bullying Prevention in Middle Schools: A Collaborative Approach

Collaborative, proactive anti-bullying interventions and policies that strive to create and sustain a safe environment for all adolescents.IntroductionSchool bullying reaches across all ages and grades, and is associated with serious mental health issues such as suicide, homicide, and other acts of violence. According to the U.S. Department of Education and Justice (2011), 37% of middle school students reported being victims of bullying. Bullying is a subtype of aggression, but is different from other types of altercations in that it is characterized as an unequal relationship between the bully and the victim (Olweus, 1993); consists of a series of repetitive behaviors as opposed to a specific, isolated incident (MacNeil 8c Newel, 2004); and is intentional. For instance, the bully's intention is to hurt another by repetitively engaging in harmful behaviors based on a perceived imbalance of power (Kowalski, Limber, & Agatston, 2008).There are several different types of bullying that are classified as physical, verbal, relational, and cyber bullying. Physical bullying may involve hitting, punching, threatening acts, and kicking. Verbal bullying includes such actions as name-calling or teasing. Relational bullying (also known as social aggression) involves spreading rumors or excluding someone from others or events (Espelage 8c Swearer, 2003), ignoring others, spreading nasty rumors, leaving hurtful messages on desks, making prank phone calls, and/or giving death stares. Finally, cyber bullying is using technology to harass, exclude, or degrade another through such means as instant messaging, e-mail, chat rooms, and videos using cell phones, social networking sites, etc. (Espelage, 2004).Although similarities exist between each of these types of bullying, there are subtle distinctions, such as gender differences. Males tend to engage in more physical types of aggression, whereas females use more relational types of aggression (Carbone-Lopez, Esbensen, 8c Brick, 2010). Males who bully are often taller and/or stronger than their victims (McMaster, Connolly, Pepler, 8c Craig, 2002), and tend to choose victims that are physically weaker and shorter or based on friend choice or another's clothing. Females tend to choose victims based on looks, affect, weight, or good grades (Harris, 2004). Furthermore, females are more likely than males to be victims of sexual bullying such as sexual innuendos and unwanted sexual attention. This type of aggression usually begins during the middle-school years, and bridges the gap between bullying and dating violence with the potential to worsen into other forms of abuse (Fredland, 2008) throughout adulthood.Bullying behaviors are most often experienced between sixth and eighth grades, with a decline in upper grade levels (U.S. Department of Education and Justice, 2011). Yet, it is speculated that this decline is not necessarily due to a decrease in bullying, but rather due to a reduction in reporting of incidents, and/or a transformation into more adult forms of aggression such as sexual harassment (Fredland, 2008). Peers usually view these more adult forms of bullying as more socially acceptable.Aggressive behaviors can be seen along a continuum with the bully at one end of the scale, the victim at the other end, with bully-victims and spectators somewhere in between (Espelage, 2004). Despite the role one plays in a bullying incident-whether it is the victim, bully, bullyvictim, or bystander-all are impacted by this aggressive act.Both school counselors and teachers share the goal of nurturing student development, yet each professional strives to reach this goal through different paradigms. Studies reveal a positive association amongst classroom guidance, academic achievement, and personal/social growth, yet collaboration is rare (Stringer, Reynolds, 8c Simpson, 2003) despite school counselors' unique education to integrate school counseling goals with those of the school curriculum. …

Making Gender, Culture, and the Self in the Fiction of Samuel Richardson by Bonnie Latimer

Reviewed by: Making Gender, Culture, and the Self in the Fiction of Samuel Richardson by Bonnie Latimer Kathleen M. Oliver Bonnie Latimer. Making Gender, Culture, and the Self in the Fiction of Samuel Richardson. Farnham, England: Ashgate, 2013. Pp. x + 215. $99.95. Two interrelated premises drive Ms. Latimer’s monograph: ‘‘that Richardson’s work in toto was responsible for helping to redefine the [female] fictive self, and that The History of Sir Charles Grandison represents the most sophisticated, subtle and intellectually compelling of his novels.’’ Bold assertions indeed (particularly for fervent admirers of Clarissa), yet Ms. Latimer’s book is persuasive, particularly as regards Richardson’s creation of a female possessed of individuality and subjectivity. However, despite the book’s emphasis on fictional heroines, her best insights concern Sir Charles Grandison—in all his frustrating smugness and busybodyness. The first chapter defines the ‘‘individual’’ (or ‘‘subject’’) as understood in eighteenth-century England: ‘‘a continuous, indivisible, conscious self that participates in society by means of rational thought and the ability to give consent to this engagement.’’ This does not appear gendered, but, as Ms. Latimer notes, ‘‘a defined, delimited consciousness capable of self-construction, self-awareness and self-control, able to deal rationally in a public sphere is, in eighteenth-century terms, normatively masculine.’’ The chapter examines cultural and literary views of women—as porous, uncontained, and uncontrollable—followed by a discussion of Richardson’s unique construction of the female as ‘‘individual,’’ which he creates not by ‘‘debunking or ignoring formulaic ‘characters of women,’ but often [by] using, even embracing, this categorizing understanding of femininity. Within their letters, Richardson’s heroines all establish their identities in part by a willingness to inhabit roles or characters.’’ Thus, Pamela plays ‘‘faux’’ rustic and Lady Jenny; Clarissa, the scandal-tainted Fanny Darlington and the brothel servant Mabel; and [End Page 67] Harriet, a dizzying array of temporarily assumed and quickly discarded personas. Performance of alternate identities assures that individual identity is viewed as superior. (The reading of Clarissa is not as strong as those of Pamela or Grandison.) In chapter two, the feminine appropriates masculine attributes as a means to attain ‘‘individual’’ status. Contemporary literary depictions of women as irrational and uncontrollable contrast with Richardson’s Harriet Byron who offers ‘‘displays of rationality, wit, creativity, and a cultivated frankness—in other words, all the reason-related qualities traditionally denied to women.’’ In a fine, close reading, Ms. Latimer admirably proves Harriet’s complexity, as confirmed by her narrative control, the construction of ‘‘other’’ in her epistolary discourse, her appropriation of the discourse of others, and her ‘‘carefully cultivated rhetorical stance of ‘frankness’’’—in other words, Miss Byron is shrewd, inventive, and self-aware. Though refusing to condone sexual innuendo or license, his heroines are not coy or naïve misses. In chapter three, Ms. Latimer focuses on each heroine’s ‘‘ability to make moral and rational choices’’ and to act on them. She first examines the poor, irrational choice in prostitute narratives, then Pamela’s presumably rational decision when confronted by the dilemma of whether to breastfeed in Pamela II. Mrs. B knows that breastfeeding benefits the child, but Mr. B is firmly set against it. How then to be good mother and dutiful wife when roles conflict? While I do not necessarily believe that Pamela’s submission to her husband is ‘‘tinged with satire’’ (it seems odd that Richardson would be satirical about such things), I agree that ‘‘Pamela both enacts and problematises the submissive, willless femininity of conservative imaginings, in a provocative and troubling working-out of female choice.’’ In Grandison, unlike Richardson’s earlier fictions, ‘‘the spectacle of the fallen woman provides an opportunity for the heroine to suggest her own judgement through narrating the virtuous hero’s dealings with such women.’’ Sir Charles secures female sexual compliance through a system of monetary rewards, while Harriet’s detailed epistolary musings on his reclamation of fallen women highlight her own virtue. Ms. Latimer also convincingly argues that Clementina della Porretta is not the heroine, due to her repeated ‘‘failure of judgement.’’ Chapter four explores how ‘‘each of Richardson’s protagonists engages in apparently unethical behaviour in the name of...

Reading Tender Is the Night as a Serial Text

Reading <i>Tender Is the Night</i> as a Serial Text

Marcabru's Estornel: On Ventriloquists, or, The Art of Putting Words in your Belly

Marcabru’s ‘starling songs’, Estornel, cueill ta volada and Ges l’estornels no·n s’ublida , set up a dialogue among multiple speakers — animal and human — who interact with the troubadour’s own plural identity as poet, composer, performer, and persona. Focusing on his ventriloquistic acrobatics, I examine how Marcabru’s piebald art, embedded in the interplay between performance and reception, mixes courtly seduction and sexual innuendo to stage a burlesque morality play that slips comically among shifting and elusive identities.

In a World Characterized by Transience and Doomed to Extinction Some Old Women Still Need Love —Mrs Rooney from Samuel Beckett’s All That Fall

The article analyzes the world of transience, deterioration and death characteristic of Boghill, the place of action of Samuel Beckett’s short radio play—All That Fall. In a broadcast drama, existence is equivalent to being heard, the idea skilfully employed and commented upon by the playwright. The characters actually heard in the play are in most cases elderly or quite old and even the two young ones appear in the context of death. Numerous off-the-air individuals are dead, sterile or suffering from different illnesses. The two main characters’ situation is not different—Mr Rooney is blind, and his wife, Maddy, complains of many ailments. She is a woman in her seventies, overweight and having different kinds of health problems and thus, several times in the course of the play she expresses a wish to die. At the same time, however, in encounters with men on her way to the station she speaks in a manner characterized by numerous sexual innuendos. Furthermore, she expresses a strong yearning for love and hopes her unloving husband would show her some warm feelings. Thus she becomes a convincing illustration of Georges Bataille’s argument: “Eroticism, it may be said, is assenting to life up to the point of death” (11).

Crooked Timber: The life of Calvin Wells (1908–1978)

Calvin Wells was the leading palaeopathologist in the UK between the later 1950s and the early 1970s. He studied medicine at University College London but failed in anatomy and qualified in 1933 with the Conjoint Diploma (MRCS, LRCP). After qualification he began to study obstetrics and after war service in the RAMC he settled in Norfolk (UK), established a small general practice and took up palaeopathology. Although he was usually conservative in diagnosis he tended to over-interpret signs in the skeleton, often publishing descriptions that were more fiction than science. He held firm views on the way in which palaeopathology should be undertaken and in particular he resented the entry into the field of anthropologists without medical training. His major contributions to palaeopathology were related to the study of cremations and the introduction of the notion of pseudopathology, and his writings on these subjects have scarcely been improved upon since. He was extremely well read, warm and encouraging to those with archaeological or medical qualifications, but vituperative about those he disliked. His bone reports, which are a major proportion of his published output, generally were highly regarded but his writing is often marred by sexual innuendo and vulgarity which does his memory little credit.

Medieval English lyrics and carols

Lyrics and carols are two of the most important types of medieval literature. This anthology provides a generous and wide-ranging selection, beginning with the first lyrics in English to celebrate love as romantic devotion to a woman, and including all pre-Chaucerian love lyrics (other than a few brief snatches). Poems by Chaucer and his successors present the courtly game of love in its sophisticated later medieval form, while devotional lyrics portray the tenderness of the later medieval response to Christ as lover and beloved and to the Virgin Mary with the infant Jesus, Mary as sorrowing mother and as Queen of Heaven. Fully represented also are lyrics on characteristically medieval moral and penitential themes, alongside miscellaneous lyrics such as drinking and dancing songs, ballads, satires, poems of wit, humour and sexual innuendo, accounts of lecherous priests, minstrels mocking their audiences, and women vividly listing their lovers' inadequacies. The texts are edited anew, accompanied with a textual apparatus detailing manuscript readings where emendations have been made to restore sense, metre and rhyme. The language of pre-Chaucerian poems has been normalised to accord with the dialect of late fourteenth-century London (Chaucerian English), and unfamiliar spellings in later lyrics have been regularized. Readability is further aided by line-by-line glosses. An extensive introduction offers an appraisal of the forms, themes and contexts of the lyrics and a full discussion of their language and metre, while a comprehensive commentary gives further essential information. Thomas G. Duncan is an Honorary Senior Lecturer in the School of English at St Andrews University.

Taking it in the ear: On musico-sexual synergies and the (queer) possibility that music is sex

Across ages and cultures, music's relationship to sexual allure and its adept capacity for invoking pleasure, eroticism, and desire are well established. Music's ability to arouse and channel sexual urges and desires renders it both a dynamic mode of gender and sexual signification and a putative agent of moral corruption. Music can convey coded sexual innuendo, give shape to a person's erotic agency, or constitute a significant part of their sexual identity. For some, listening to music may, in fact, be considered an erotically pleasurable or even a sexual act. Drawing selectively on music's erotic history, on queer erotic possibilities, as well as on contemporary accounts of musically-mediated eroticism and identity situated across a broad range of popular genres, this paper will examine the way music can be used to catalyze and negotiate erotic pleasures. Specifically, it will examine this in terms of what the author names as ‘musico-sexual synergies’. These include: music as a stylistic marker of sexual identity; music as a structuring device for sexual action; and the fetishization of music and/or sound – that is, the sexual fetish known as ‘auralism’.

Turning Tricks: Sexuality and Trickster Language in Vizenor's &lt;em&gt;The Heirs of Columbus&lt;/em&gt;

Turning TricksSexuality and Trickster Language in Vizenor’s The Heirs of Columbus Rebecca M. Lush (bio) First published in anticipation of the quincentennial of Christopher Columbus’s “discovery” of the Americas, Gerald Vizenor’s novel The Heirs of Columbus (1991) appropriates the European narrative of discovery to privilege a Native perspective that follows “trickster discourse,” a mode that rejects the tragic narratives of the European “discoverers” in favor of the comic world view offered by American Indian trickster narratives.1 The novel follows a group of crossblood Indians, known as the “heirs,” who claim Columbus as a common ancestor, and explores questions of tradition, nation, and sexuality through the language games of trickster discourse and a post-modern sensibility, invoking narrative traditions of Western culture alongside those from Native cultural traditions.2 Furthermore, Vizenor presents a fictional Columbus who is a “trickster healer” of Mayan descent returning to his American homeland. The novel links Columbus and his crossblood heirs not only through lineal descent but also through their shared connection of “stories in the blood” that have healing properties. This article examines the roles language and sexuality play in The Heirs of Columbus’s representation of American Indian traditional stories and trickster discourse to address questions surrounding Native identity. However, instead of lamenting historical cultural losses, the work offers a solution to bridging two seemingly opposed cultures. The novel resolves the conflict between modernity and tradition through the language play and sexual innuendo of Vizenor’s trickster, who synthesizes otherwise competing perspectives. The [End Page 1] novel expresses the ability to read or understand a particular language or cultural discourse in sexual terms. Determining who is on the receiving end (literally and figuratively) of a joke reveals which characters and readers know the trickster’s language and embrace its multiple meanings. The attention to genres and intertextuality reflects the text’s interest in combining and mixing histories, an interest mirrored by the numerous cross-cultural sexual unions and the “mixed” off-spring they produce. Sexual coupling results not just in children, or “heirs,” but in children with “stories in the[ir] blood” from Anishinaabe culture that they wish to communicate to others. The stories in the blood come from Anishinaabe traditional stories but also result from cross-cultural sexual unions. Thus, sexual acts and unions become inextricably connected to language and stories, culminating in the reading of “genetic signatures,” the novel’s term for DNA, linked specifically to Anishinaabe traditional stories. The novel treats language like a scientist who breaks down the components of blood to study cells and genes and even suggests that the two processes are linked. Much of the critical discussion of the novel has considered language, genre, and even race but has overlooked the place of sexuality. Sexual unions and innuendo, I argue, provide a new perspective on formalist questions while embracing an important thread of the novel’s content: how tradition and narratives are transferred between generations and cultures. The relationship between sexuality and language attaches the human body to narrative practices and makes language an embodied object that can be constructed and deconstructed. Previous scholarship has mainly noted the novel’s postmodern intertextual play with literary genres and forms.3 The Heirs offers a unique representation of language and sexuality that ties it to past literary and historical traditions, a feature of the text that has been a marginalized topic in explorations of nation, race, and blood.4 Reimagining the history of early European and Native interaction using a Native narrative tradition enables the text to at once implicitly critique Eurocentric approaches but also find a solution to issues that have previously been approached from an either/or paradigm. [End Page 2] The novel’s awareness of the constructed nature of language mimics the formation of nation and, to an extent, race, particularly regarding sexual and technical practices. The acts of reading and understanding language are encompassed within the physical body in the novel’s repeated assertion of the “stories in the blood.” These stories transfer to other people not only through sexual procreation but also through genetic scientific procedures that impart the Native “genetic signature” of the stories into anyone regardless of...

A Full‐Frontal History of the Romanov Dynasty: Pictorial “Political Pornography” in Pre‐Reform Russia

This profusely illustrated article expands the chronological and evidentiary basis of Boris Kolonitskii's argument about the role of scurrilous rumors and sexual innuendo in the desacralization of the Russian monarchy and demonstrates the complexity of the processes of reception, re‐appropriation, and subversion of imperial “scenarios of power.” It does so by offering a close reading of what is arguably the earliest‐known example of the genre of pictorial “political pornography” in Russia: a set of five, unique watercolors from the collection of the New York Public Library depicting eighteenth‐century Russian emperors and empresses in flagrante delicto. The author presents evidence that suggests that this anonymous series of “folded” or “double pictures” (skladnye or dvoinye kartinki) was created in the first half of the nineteenth century by means of a subversive repurposing of Russian popular broadsheets, French revolutionary pornography, and official Russian royal portraiture. He argues that this artifact of male salon culture is the product of a deliberate attempt to create nothing less than an alternative, unexpurgated history of the House of Romanov: a sexually explicit, full‐frontal assault that takes pleasure in exposing the “mysteries of state” that nineteenth‐century royal apologists sought to conceal in official histories of the dynasty, which presented the children of Paul I and Maria Fedorovna as epigones of family values and models for the nation.

After Subversion: Intimate Encounters, the Agency in and of Representation, and the Unfinished Project of Gender without Sexuality in India

This article analyses the sexual innuendos, the ‘irreverent’ postures and the sex talk which marked a number of ethnographic encounters with women in north India. While these encounters discursively harassed the anthropologist’s interpretive categories, Indian women’s ‘excess of agency’ established a joking intimacy with her. Where encounters radically subverted aspects of the representational history of women across colonial and postcolonial India, their novel representational possibilities opened up new ones for those women writing on them. Finally, encounters signalled the urgent need for research in the largely unknown terrain of heterosexuality in India, and this research’s potential to rethink the semantics of gender.

&lt;i&gt;The Vikings on Film: Essays on Depictions of the Nordic Middle Ages&lt;/i&gt; (review)

* The Vikings on Film: Essays on Depictions of Nordic Middle Ages. Ed. Kevin J. Harty. Jefferson: McFarland & Co., 2011. Pp. 236. This collection of fourteen essays is first scholarly anthology to examine cinematic representations and re-imaginings of Vikings and their exploits. The book's editor, Kevin J. Harty, an English professor and Arthurian expert at La Salle University, has previously published extensively on the reel Middle Ages--a term he coined. The project is partly inspired by Andrew Wawn's 2000 study The Vikings and Victorians: Inventing Old North in Nineteenth-century Britain. That work explored term as masking a wildly elastic variety of different constructions of Vikingism which were far more reflective of Victorian attitudes about race, nationhood, gender, and class than they were historically accurate evocations of Viking age. Representations of Vikings on film and television over past century likewise more tellingly mirror cultural and commercial horizons of their filmmakers, financiers, and target audiences than they do anything else. As Harty's introduction points out, film representations of Vikings are nearly as old as medium itself, and a spate of Anglo/American early silent short films emerged in early twentieth century. The first known Viking film is Great Britain's The Viking's Bride (1907), followed by American studio Vitagraph's The Viking's Daughter, Story of Ancient Norsemen (1908) and The Last of Saxons (1910), both directed by James Stuart Blackton. Thomas Edison's company produced The Viking Queen in 1914. As far as we know, prints of these one and two-reel silent films have most probably perished, victims of neglect and notoriously vulnerable nitrate stock they were shot on. The book's first essay focuses on 1958 classic Hollywood epic The Vikings, an iconic popular work that still remains most widely-known Viking film over a half century later. A color photo of producer-star Kirk Douglas as maimed, one-eyed warrior Einar graces book's cover. The Vikings was a product of Hollywood's wide-screen sword-and-sandal cycle of 1950s and early 1960s. Directed by Richard Fleischer, it featured an all-star cast led by Douglas, Tony Curtis, Ernest Borgnine, and Janet Leigh. Jack Cardiff's super-saturated Technicolor cinematography (with location shooting in western Norway and Brittany) and composer Mario Nascimbene's score (and its stirring three-note fanfare) also contributed to film's popularity and durability. The film even spawned a short-lived TV series, Tales of Vikings, produced by Douglas, which aired for 39 half hour episodes during 1959-60. Kathleen Coyne Kelly's essay here integrates theorists like Metz and Baudrillard into her discussion of scopic tropes in film. She also documents correspondence battles pitching Hollywood's self-censoring Production Code Administration (PCA) against United Artists and Douglas' own company Bryna Productions over elements of violence and sexual innuendo in script that are quite tame by today's standards. The next essay explores 1964 British-Yugoslavian co-production The Long Ships, starring American actors Richard Widmark, Sidney Poitier, and Russ Tamblyn, and directed by British Jack Cardiff (whose storytelling skills did not nearly match his cinematographer gifts as one of film history's greatest colorists in Powell and Pressburger's The Red Shoes and Black Narcissus). Donald L. Hoffman jocularly titles his essay Who's Coming to Plunder? as a sly wink to Sidney Poitier's black saint persona in progressive 1960s films like Stanley Kramer's interracial marriage comedy-drama, Guess Who's Coming to Dinner (1967). In his analysis, Hoffman gives a sharp post-colonial reading to this quest narrative of Vikings battling Moors over a fabled golden bell treasure. Leading man Richard Widmark chose to play lead Viking, Rolfe, for roguish comedy while Poitier gave a Shakespearian Othello-like gravitas to his role as Moorish chieftan, El Mansuh. …

PERIKLES AND THE SEXUAL POLITICS OF HERMIPPOS’ &lt;em&gt;MOIRAI&lt;/em&gt;: A NEW INTERPRETATION OF FR. 47

In Hermippos fr. 47 Perikles is addressed as the king of satyrs, a title with no obvious parallels in surviving Attic drama. While some scholars rightly compare fragment's content to similar themes in Kratinos' Dionysalexandros, Hermippos' martial language and satyric imagery, along with Plutarch's scurrilous characterization of fr. 47, remain underexplored. In this paper I offer a new interpretation of fragment, arguing that Perikles is presented through a series of previously overlooked sexual innuendos as an impotent emasculated satyr who becomes victim of Kleon's sexual aggression; specifically, Perikles may be compared to Silenos who exhibits many of same characteristics in Euripides' Cyclops.

Of Questionable Provenance

Of Questionable Provenance Susan Ford (bio) Click for larger view View full resolution Photo by Andrew C. [End Page 32] The autumns I come to New York for the antiquarian book fair, it is my habit before breakfasting to walk from my hotel up Fifth Avenue to Seventy-second Street and then back through the park, where the people who acknowledge my "Good morning" are invariably men or women of a certain age. My own age, much to my surprise, now groups me with them, and my preoccupations with self, such as they were, have ebbed to the point where I am more interested in other people's lives than in my own. The rare-books business—I'm a partner in a small London firm—has provided me both an excellent living and an interesting circle of acquaintances in a half-dozen cosmopolitan cities around the world. As a consequence, I had always assumed I would work well into my seventies, following my father's example. [End Page 33] But as my cab came off the Queensboro Bridge into Manhattan three weeks ago—it was a Friday evening, the second Friday in November—and drove past hulking box stores selling discount office stationery and children's toys, I pictured with regret the narrow little shops they had replaced—one had sold just wigs, one just brightly colored plastic tableware, one only fine letter paper—and the idea presented itself that I might make this buying trip to New York my last. At the Pierre, the night desk clerk greeted me by name and handed me a note written on the hotel's stationery. I was surprised to recognize Sarah's handwriting. A mutual acquaintance must have mentioned that I was expected. Are you free Tuesday morning? Call me, was all it said. Upstairs, I asked the bellboy not to draw the curtains. When he left the room, I turned off the lights and stood looking out with gratitude over the unchanging view of the park—the ornate street lamps, selected by Frederick Law Olmsted over a century before, still arching over the walkway that ringed the Pond. I had been coming to the book fair in New York for fifteen years and hearing gossip from colleagues about a woman named Sarah Chase for at least three before I finally met her in 1985. It was the first full day of a parallel conference being held on archival processes, and I had taken an aisle seat at the back of the auditorium so that I could slip out if the plenary proved boring. So that's Sarah Chase, I thought, glancing down at the program. She was often elevated to a position of visibility out of proportion with her credentials, if you could believe what people said. And here she was—was she even thirty?—with no permanent connection to any museum or university, introducing the Morgan Library's head of collections. She was tall with long limbs, graceful but in no way delicate. She wore a close-fitting, long-sleeved grey wool dress that fell to midcalf, and her dark blond hair glinted under the spotlights. There was nothing overtly showy about her, yet she owned the stage. Even at that distance I could see why her name came up so often at dinner parties. The women must envy her casual self-possession. And the men? Probably nursing hurt pride from having their advances rebuffed. Yet I had heard her referred to as frankly promiscuous as well. [End Page 34] I sensed a mute, collective sigh of disappointment when the speaker whose bona fides she had detailed strode out from the wings and Sarah descended the stairs to take an inconspicuous seat in the front row. That evening I was at a cocktail party given by one of the Morgan curators, standing with three other men, when I heard a loud male voice rise above the hum of conversation a few knots of people away. I glanced in the direction of the sound and saw a man menacing the woman who stood in front of him. He had gone beyond the jokey, sexual innuendo some middle-aged American men...

Teaching Notes The Forgotten Women of Pre-Code: An Annotated Filmography and Bibliography

In recent years, “pre-code” films have been re-discovered and applauded by film scholars and feminists. The term refers to the period between 1929 and 1934 when many Hollywood studios openly disregarded the censorship restrictions of the Hays Code. Named after censorship czar William H. Hays, the Code forbade nudity, cursing, sexual innuendo, miscegenation and a host of other behaviors deemed inappropriate or offensive by religious groups. However, the impact of the Great Depression and the lack of a unified standard among state censorship boards allowed Hollywood to take risks in what could be shown. The result was a series of uncompromising, insightful, and controversial films that explored mature relationships between the sexes, offered realistic depictions of society’s downtrodden, and challenged social and sexual mores. After Franklin Delano Roosevelt took office and the economy recovered slightly, religious groups finally took on what they saw as the excesses of Hollywood. In 1934, the Catholic Legion of Decency mobilized a successful boycott against the studios, ordering millions of Roman Catholics to abstain from movie attendance until their demands were met. Amid a climate of antiSemitism, the studio moguls were forced to capitulate. The result was the reinstitution of the Production Code, a censorship board that dominated all aspects of Hollywood filmmaking until the 1960s, when a rating-based system replaced it. This filmography is intended to broaden a contemporary audiences’ knowledge and appreciation of pre-code film and explore the ways in which these works can be used to support teaching and learning on campus. Contrary to the perception that the 1940s was the heyday of the “woman’s picture,” the pre-code era has been recognized by some film historians to have provided actually more opportunities to portray women as independent, strong-minded, and courageous in their explorations of sexuality. This annotated filmography and selective bibliography examines how and why these films might be considered appropriate for any college film collection and offers recommendations for collection development. Only silent films and films unavailable on DVD have been omitted, reflecting the

ADOLESCENTES EM CONFLITO COM A LEI: UMA COMPARAÇÃO ENTRE BRASIL E CANADÁ

Este estudo caracterizou 123 adolescentes que estavam cumprindo as medidas socioeducativasde Liberdade Assistida e Prestação de Serviços à Comunidade em uma cidade de porte médio noestado de São Paulo e comparou com a caracterização de 100 adolescentes encaminhados para avaliaçãoem um centro de referência ao adolescente em conflito com a lei na cidade de porte médio no Canadá,com o objetivo de identificar possíveis correlações entre as variáveis observadas, em um contextomulticultural. Os dados, em ambos os países, foram coletados em um delineamento de survey e osprincipais resultados são apresentados a seguir: 87,8% dos adolescentes eram do sexo masculino (71%no Canadá) com média de idade de 15,9 anos (15,7 no Canadá). Quanto aos delitos praticados, furtofoi a infração mais comum no Brasil (36,7%), seguido por roubo (15,4%) e tráfico de drogas (9%); noCanadá, crimes sexuais ficaram em primeiro lugar (23%), seguido de quebra de medida ou novaacusação por não cumprimento da medida socioeducativa aplicada anteriormente (20%) e agressões(12%). No Brasil, 60,2% dos participantes não frequentava a escola, sendo que 61,8% tinha o primeirograu de escolaridade; no Canadá todos os adolescentes frequentavam a escola e metade da amostraestava no ensino médio. Tanto na amostra brasileira quanto na canadense, a maioria dos participantesconvivia com a mãe, ou seja, em famílias monoparentais. A ocupação mais comum das mães brasileirasfoi doméstica (28,4%) enquanto as mães canadenses eram operárias (10,2%). Os dados sugerem que:a) a cultura canadense determina que brincadeiras de teor sexual, como passar a mão nas nádegas,sejam consideradas crime, por essa razão crimes sexuais foram o mais comum, o que na culturabrasileira não é considerado um problema judicial; b) os jovens brasileiros abandonaram os estudosmuito cedo, enquanto as escolas canadenses oferecem uma ampla rede de serviços para evitar a evasãoescolar, como educação especial desde que um problema é identificado, incluindo programas de manejode comportamento para alunos agressivos, ensino de resolução de conflitos e um currículo voltado aopluralismo étnico do país.

Celebrity Twitter: Strategies of Intrusion and Disclosure in the Age of Technoculture

Celebrity Twitter: Strategies of Intrusion and Disclosure in the Age of Technoculture

Disinhibition Due to Disruption of the Orbitofrontal Circuit Treated Successfully With Carbamazepine: A Case Series

Disinhibition Due to Disruption of the Orbitofrontal Circuit Treated Successfully With Carbamazepine: A Case Series

Diamonds, Maidens, Widow Dido, and Cock-a-diddle-dow

References to Dido, lover of Aeneas, in the second act of Tempest have garnered much interpretation and speculation by readers and playgoers. Studieed the extensive use of images and themes from the Aeneid in the play and have shown especially how the love of Ferdinand and Miranda is partly parallel to, and partly reversal of, the ancient love story of Aeneas and the queen of Carthage, there may be another motive for Didos inclusion, motive related to system of wordplay involving shuffled repetitions of the sounds of letters and syllables. (2) As Russ McDonald has remarked in Shakespeare's Late Style, The notorious mystery surrounding Gonzalo's 'Widow Dido' has been examined in almost every conceivable context except, I think, that of aural identity, simple rhyme. (3) Although venturing bit beyond rhyme, this essay focuses on the name of as sound, and as alphabetical letters, situating the name within set of wordplay practices extending across the genres of drama, prose fiction, poetry, and folk ballad. It explores, therefore, an overlooked linguistic facet of Dido's multifaceted legacy. My argument begins with anagrammatical wordplay involved in commonplace associations between desirable women and jewels, and Dido's participation within that complex. I then consider as an emblem of love-induced madness and explore link between her name and the nonsense words in bawdy ballads. Finally, I maintain that utterances of widow Dido in Tempest echo the refrain to Come unto these yellow sands and therefore participate in Ariel's music, which is both alluring and cautionary. I. Diamonds Diamonds were hardly common material objects in late medieval and early modern England, yet in language and literature they gathered about them an array of cultural implications. Everyday speakers linked them, of course, with wealth and treasure, but also with innocence and virginity, and the writers of romances used them to symbolize the idealized, unalloyed beauty of the chaste females who were the objects of their heroes' quests. Players on the London stage in the time of Shakespeare invoked them to mark the role of the eminently desirable woman. following lines, spoken by Savourwit in Thomas Middleton's No Wit/Help Like Woman's, exemplify the figure: Do not wise men and great often bestow Ten thousand pound in jewels that lie by 'em? If so, what can lie by man More than virgin? If none more precious, Why should the pillow of fool be graced With that brave spirits which dearness have embraced?--And then perhaps, ere the third spring come on, Sends home your cracked, the beauty gone, And--more to know her, 'cause you shall not doubt her--A number of poor sparks twinkling about her. (1.219-28) (4) He tells us that virgin is treasure so that she should be reserved for great men, who, presumably, will appreciate her, not for fools who will debase her and eventually abandon her to overuse among the common multitude (poor sparks), her own light and value greatly diminished. phrase cracked transfers the reference from the young woman herself to her maidenhead. In the sexual innuendo of the period, diamond jewel, or precious stone might refer to either female or male sexual parts. (5) Yet leading lady did not have to be maiden to be pure and radiant, and valued as diamond. In Middleton's Women, Beware Women the most matchless jewel Bianca, the sixteen-year-old wife of Leantio, must be cased up from all men's eyes (1.1.162, 170). When the lust-filled Duke of Florence sends messenger to invite Bianca to banquet, her husband tells her to withdraw, because she is a gem no stranger's eye must see, / Howe'er thou please now to look dull on me (3.1.175-76). (6) Looking and seeing are intimately linked with the diamond-like woman, not only because she is beautiful, but because sight is linked with fire through popular optical theory, and in keeping with such theory, both fire and chaste women, like diamonds, are light-giving or radiant. …