Tag: Feminism
Under the Shadow: Islamic Horror and Shadows of the Djinn
In the last 25 years, the American media landscape has been flooded by stories of war and conflict in the Middle East. In the perspective of many American spectators, the Middle East is a chaotic and even frightening place full of terrorists and extremism. While such terrors exist in the Middle East, attending to the
“Fitting In”: Taking Up Space in the 116th US Congress
“Next time someone tells Bronx girls to take off their hoops, they can just say they’re dressing like a Congresswoman.” Rep. Alexandria Ocasio-Cortez (D-N.Y.) Every year, I make a feminist New Year’s resolution: apologize less; shut down more mansplaining; take up more space. Sometimes I mean this last one literally: I’ve learned to square my shoulders
Revisiting Unruly Instruction
This week, we dive into Broadly Textual’s archive, from its days as Metathesis, to revisit a piece of important work by now-Dr. Melissa Welshans. Her post, written in 2014 during her time in the English PhD program, addresses the same issues discussed by Natalie El-Eid in her first contribution this month, and reflected in the
New Year, New You … True You?: Reconstructing Identities and Cultural Standards
Welcome to 2019, everyone. With the ushering in of a new year comes the seemingly incessant need for a new “resolution.” But is it really a need? Or are we dealing, rather, with a set of societal norms and the pressure we feel to conform to them? It’s a pressure that’s hard to escape. We’re
Looking for Sylvia Heschel at the Archive
As I wrote in my previous post, I spent the last week perusing the Abraham Joshua Heschel Papers at Duke University. One of my major goals of the trip was to glean as much information as I could about Sylvia Heschel (nee Straus), Abraham Joshua Heschel’s wife. I knew very little about Sylvia Heschel before
How We Talk about Trauma: Gaslight and the Importance of Maintaining a Bi-focal Critical View
[7-10 minute read] Recently, my coursework on Hollywood Melodrama engaged me with reading portions of Helen Hanson’s book, Hollywood Heroines: Women in Film Noir and the Female Gothic Film.[1] This text represents an amazing work of scholarship, connecting well-researched critical feminist histories, studies in the formation of literary and filmic genres, and close-readings of the narrative
Scholarship and Affect: Merging Critical and Fan Identities
[7-10 minute read] Take an adventure with me through my affective and critical experiences with a few texts I encountered during my first year and a half of my Ph.D. program: ***** I am sitting in the theatre in the last showing of the night for Star Wars: Rogue One. I have just come from
Monster and Men Part II: Healing Toxic Masculinity, Disney’s new Beast
!Spoilers for Disney’s new live-action Beauty and the Beast follow! Last week, I discussed Gaston from Disney’s new live-action version of Beauty and the Beast. I was interested in how the film makes space to complicate Gaston’s character while opening into a discussion concerning trauma and scenes of toxic masculinity. This week, I’d like to talk about
Monsters and Men Part I: Gaston, Trauma, and Toxic Masculinity
!Spoilers for Disney’s new live-action Beauty and the Beast follow! Gaston rears his fist back, he’s intent on striking the man in front of him, Belle’s father, who has just said that Belle will never be with him. This is the most glaring example of his raging temper up to this point in the narrative.
Part II: Wicked Women and the Negotiation of Female (Dis)empowerment
“Not only did she dupe me into believing she still loved me, she actually forced me to implicate myself. Wicked, wicked girl. I almost laughed. Good Lord, I hated her, but you had to admire the bitch.” – Nick Dunne Gone Girl, (Flynn 345) [1] The majority of Gone Girl’s masterful storytelling depends on Flynn’s