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James Baldwin and the "Closeted-ness" of American Power
David Jones

This article reads the work of James Baldwin in dialogue with that of Eve Kosofsky Sedgwick. Taking its cue from Baldwin’s claim that Americans “live […] with something in [their] closet” that they “pretend […] is not there,” it explores his depiction of a United States characterized by the “closeted-ness” of its racial discourse. In doing so, the article draws on Sedgwick’s work concerning how the containment of discourses pertaining to sexuality hinges on the closeting of non-heteronormative sexual practices. Reconceptualizing Sedgwick’s ideas in the context of a black, queer writer like Baldwin, however, problematizes her own insistence on the “historical gay specificity” of the epistemology she traces. To this end, this article does not simply posit a racial counterpart to the homosexual closet. Rather, reflecting Baldwin’s insistence that “the sexual question and the racial question have always been entwined,” I highlight here the interpretive possibilities opened up by intersectional analyses that view race, sexuality, and national identity as coextensive, reciprocal epistemologies.  

James Baldwin Review
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Notes on Ackroyd & Harvey ecocriticism and praxis
Eve Ropek

6 Nature matters: notes on Ackroyd & Harvey, ecocriticism and praxis Eve Ropek A small painting from the 1950s hangs on a friend’s wall. A Welsh landscape, little sky is visible; the bold black simplified shape of a train cuts across the painting, whooshing through the greens. One could describe the vigorous way the paint has been applied, or place the work in art-historical context. Considering what the work might reflect of Homo sapiens’s relationship to the land, sky and co-creatures – the ‘natural’ world we inhabit – brings another perspective. Ecocriticism

in Extending ecocriticism
Open Access (free)
Intimacy, Shame, and the Closet in James Baldwin’s Giovanni’s Room
Monica B. Pearl

This essay’s close interrogation of James Baldwin’s 1956 novel Giovanni’s Room allows us to see one aspect of how sexual shame functions: it shows how shame exposes anxiety not only about the feminizing force of homosexuality, but about how being the object of the gaze is feminizing—and therefore shameful. It also shows that the paradigm of the closet is not the metaphor of privacy and enclosure on one hand and openness and liberation on the other that it is commonly thought to be, but instead is a site of illusory control over whether one is available to be seen and therefore humiliated by being feminized. Further, the essay reveals the paradox of denial, where one must first know the thing that is at the same time being disavowed or denied. The narrative requirements of fictions such as Giovanni’s Room demonstrate this, as it requires that the narrator both know, in order to narrate, and not know something at the same time.

James Baldwin Review
Making Sense of Hogg‘s Body of Evidence
Joel Faflak

This paper explores the occult relationship between modern psychoanalysis and the pre-Freudian psychoanalysis of James Hogg‘s 1824 Gothic novel, The Private Memoirs and Confessions of a Justified Sinner. Haunted by the ghosts of Mesmerism and of Calvinisms rabidly contagious religious fervour, Hogg‘s novel explodes post-Lockean paradigms of the subject for a post-Romantic British culture on the eve of the Empire. Turning back to Scotland‘s turbulent political and religious history, the novel looks forward to the problems of Empire by turning Locke‘s sense-making and sensible subject into the subject of an unconscious ripe for ideological exploitation, a subject mesmerized by the process of making sense of himself.

Gothic Studies
Evan Jones’s The Damned (1961), Eve (1962), King and Country (1964) and Modesty Blaise (1966)
Colin Gardner

In a Backward Country , Jones’s 1957 teleplay on land reform in Jamaica, where his own family were property owners. ‘We had a certain political kinship and we got along very well in other respects, too’, recalled Losey. 3 So well that Losey later admitted that their next project, Eve , ‘was a much more active collaboration … than any other I’ve had; and I probably made a greater personal contribution to that script than

in Joseph Losey
One Billion Rising, dance and gendered violence
Dana Mills

83 5 Dancing the ruptured body: One Billion Rising, dance and gendered violence I move the reader–​spectator to view the performance of a protest movement that calls on us to end violence against women through the power of dance. One Billion Rising, initiated by feminist author and activist Eve Ensler, calls for a global uprising on Valentine’s Day, utilising dance to protest against gendered violence. The impact of the movement has been far-​reaching and its scope ambitious. The site of the movement is the moving body upon which gendered violence is inscribed

in Dance and politics
Spanishness, dark comedy and horror
Juan F. Egea

. The second part of this chapter will read closely the character and crimes of this assistant bullfighter to elucidate how his displaced usage of the puntilla adds blood, irony and darkness to the representational anxieties of Spain on the eve of the twenty-first century. Questions of genre Justino is a Spanish dark comedy. This filmic genre does not need to be understood as

in Contemporary Spanish cinema and genre
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Scott Wilson

, or giving an example of what passes for irony in neoconservative circles. No doubt the mere fact that such struggle only persists in street gangs among drug dealers is evidence of the debasement of the principle. And yet, on the eve of the neoconservative war against Iraq, Admiral Timothy Keating evoked an old mainstream hip hop hit as his battle cry. ‘It’s Hammer time!’ announced Keating to the world’s media in March 2003. Keating’s triumphal citation of M.C. Hammer’s catch-line to the rap ‘Hammer Time (U Can’t Touch This)’ (1990), recalled the previous Gulf War

in Great Satan’s rage
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Author: Colin Gardner

More English than the Brits' proclaims one of the chapter headings in Michel Ciment's seminal series of interviews with Joseph Losey. Losey's life embraces a major crisis in political commitment and public tolerance (the blacklist); his career, his oeuvre, spans the most fundamental cultural confrontation of the century, between Marxism and Modernism, between progressive "realism" and the avant-garde subversion of optimism. Losey began his directorial career in the leftist political theatre of the 1930s. For Losey, as for many leftists of the period, Communism meant allegiance to the Soviet ideological model, and by extension, to Stalin's policies. The 1950s proved to be a difficult decade for Joseph Losey, a period marked by prolonged exile, the ever-lengthening reach of the blacklist and the constant fear of betrayal. The Sleeping Tiger, The Intimate Stranger and A Man on the Beach were made during his period of exile in the 1950s. There was an experimental, writer-oriented focus in Joseph Losey's later work, opening the way for collaborations on a more equal footing. Losey collaborated three films with Harold Pinter: The Servant, Accident and The Go-Between. His involvement in Secret Ceremony, Boom! and Figures in a Landscape was a case of blatant economic necessity. Most of his work directly explores and addresses the ideological interpellation of women by analysing the cultural assumptions that both construct and perpetuate it. Losey officially became a tax exile after relocating himself from Chelsea to Paris because of tax problems.

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Colin Gardner

). 4 MacDonald Carey is on the wrong end of an umbrella as Oliver Reed and Shirley Ann Field look on with sadistic amusement in The Damned (1961). 5 Eve (Jeanne Moreau) seduces a smitten Tyvian (Stanley Baker) by telling a fabricated tale of her childhood in Eve (1962

in Joseph Losey