In the past, more often than not, aggressive women have been rebuked, told to keep a lid on, turn the other cheek, get over it. Repression more than aggression was seen as woman’s domain. But recently there’s been a noticeable cultural shift. With growing frequency, women’s aggression is now celebrated in contemporary culture--in movies and TV, online ventures, and art. In Push Comes to Shove, Maud Lavin examines these new images of aggressive women and how they affect women’s lives.
Heterosexuality is celebrated--in film and television, in pop songs and opera, in literature and on greeting cards--and at the same time taken for granted. It is the cultural and sexual norm by default. And yet, as Louis-Georges Tin shows in The Invention of Heterosexual Culture, in premodern Europe heterosexuality was perceived as an alternative culture. The practice of heterosexuality may have been standard, but the symbolic primacy of the heterosexual couple was not.
“I had to rediscover who I was. And that’s why I left the apartment.... And there I was, right in the heart of the Arab world, a world that never tired of making the same mistakes over and over.... I had no more leniency when it came to the Arab world... None for the Arabs and none for myself. I suddenly saw things with merciless lucidity...” –An Arab Melancholia
A Hollywood biopic about the life of computer pioneer Grace Murray Hopper (1906–1992) would go like this: a young professor abandons the ivy-covered walls of academia to serve her country in the Navy after Pearl Harbor and finds herself on the front lines of the computer revolution. She works hard to succeed in the all-male computer industry, is almost brought down by personal problems but survives them, and ends her career as a celebrated elder stateswoman of computing, a heroine to thousands, hailed as the inventor of computer programming.
Fred Halsted’s L.A. Plays Itself (1972) was gay porn’s first masterpiece: a sexually explicit, autobiographical, experimental film whose New York screening left even Salvador Dalí repeatedly muttering "new information for me." Halsted, a self-taught filmmaker, shot the film over a period of three years in a now-vanished Los Angeles, a city at once rural and sleazy.
The intrauterine device (IUD) is used by 150 million women around the world. It is the second most prevalent method of female fertility control in the global South and the third most prevalent in the global North. Over its five decades of use, the IUD has been viewed both as a means for women’s reproductive autonomy and as coercive tool of state-imposed population control, as a convenient form of birth control on a par with the pill and as a threat to women’s health. In this book, Chikako Takeshita investigates the development, marketing, and use of the IUD since the 1960s.
Popularized by such best-selling authors as Michael Pollan, Barbara Kingsolver, and Eric Schlosser, a growing food movement urges us to support sustainable agriculture by eating fresh food produced on local family farms. But many low-income neighborhoods and communities of color have been systematically deprived of access to healthy and sustainable food. These communities have been actively prevented from producing their own food and often live in “food deserts” where fast food is more common than fresh food.
Digital production tools and online networks have dramatically increased the general visibility, accessibility, and diversity of pornography. Porn can be accessed for free, anonymously, and in a seemingly endless range of niches, styles, and formats. In Carnal Resonance, Susanna Paasonen moves beyond the usual debates over the legal, political, and moral aspects of pornography to address online porn in a media historical framework, investigating its modalities, its affect, and its visceral and disturbing qualities.
Over the past two decades, artists James Luna, Fred Wilson, Amalia Mesa-Bains, Pepón Osorio, and Renée Green have had a profound impact on the meaning and practice of installation art in the United States. In Subject to Display, Jennifer González offers the first sustained analysis of their contribution, linking the history and legacy of race discourse to innovations in contemporary art. Race, writes González, is a social discourse that has a visual history.