The goal of the Macmillan Interdisciplinary Handbooks series on gender is to provide an exceptional opportunity for many people, especially undergraduate students, to become more familiar with the usefulness and pleasure of â??doing gender and sexuality studies.â?? The introductory volume and subsequent volumes on Animals, God, Laughter, Love, Matter, Nature, Space, Time, and War offer a conceptual approach that encourages a thoroughly cross-, trans-, and interdisciplinary exploration of so-called universal themes. A variety of sexually, racially, and gender-sensitive critical perspectives are employed to investigate foundational questions addressed by feminist scholars and scientists. Chapters in each volume are newly commissioned and hence based on fresh and topical research and debates from fields such as philosophy, anthropology, literature, art, music, social sciences, (old and new) media, history, science, religion, and others.

Gender: Macmillan Interdisciplinary Handbooks: 10 Volume set

Politics & Social Sciences

Hoogland, Renée C.

Fleetwood, Nicole

Social Sciences

Macmillan Reference, USA

Lesbian Configurations

Humor & Entertainment

Movies

Columbia University Press

What constitutes a narrative as "lesbian"? Hoogland provides original readings of such films as Basic Instinct and Bitter Moon, and novels such as The Bell Jar and Friends and Relations in order to trace the way lesbian identities are negotiated in Western culture.

Polity

Instead of asking questions about the symbolic meaning or underlying “truth” of a work of art, renée c. hoogland is concerned with the actual “work” that it does in the world (whether intentionally or not). Why do we find ourselves in tears in front of an abstract painting? Why do some cartoons of the prophet Muhammad generate worldwide political outrage? What, in other words, is the compelling force of visual images, even—or especially—if they are nonfigurative, repulsive, or downright “ugly”? Rather than describing, analyzing, and interpreting artworks, hoogland approaches art as an event that obtains on the level of actualization, presenting “retellings” of specific artistic events in the light of recent interventions in aesthetic theory, and proposing to conceive of the aesthetic encounter as a potentially disruptive, if not violent, force field with material, political, and practical consequences.

A Violent Embrace: Art and Aesthetics After Representation (Interfaces: Studies in Visual Culture)

Arts & Photography

History & Criticism

Dartmouth

<p>Instead of asking questions about the symbolic meaning or underlying “truth” of a work of art, renée c. hoogland is concerned with the actual “work” that it does in the world (whether intentionally or not). Why do we find ourselves in tears in front of an abstract painting? Why do some cartoons of the prophet Muhammad generate worldwide political outrage? What, in other words, is the compelling force of visual images, even―or especially―if they are nonfigurative, repulsive, or downright “ugly”? Rather than describing, analyzing, and interpreting artworks, hoogland approaches art as an event that obtains on the level of actualization, presenting “retellings” of specific artistic events in the light of recent interventions in aesthetic theory, and proposing to conceive of the aesthetic encounter as a potentially disruptive, if not violent, force field with material, political, and practical consequences. </p>

A Violent Embrace: Art and Aesthetics after Representation (Interfaces: Studies in Visual Culture)

Dartmouth College Press

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