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Unconventionality and queerness in Katherine Everett’s life writing

available evidence for Everett’s sexual orientation and reading between the lines to discern what her memoir and other writings might be whispering to us about homosexuality. The second part of the chapter, by contrast, embarks on a queer critical history, arguing for the centrality, in Everett’s life-­writing, of the strange-­to-­us category of unconventionality. While Everett is quiet on the subject of sexuality, she is clear about the importance of being unconventional, especially for women. Misfit women, Everett explains, saved her life, and rejecting conventions of

in British queer history
Open Access (free)

.22 By examining the instances of evidentiary objections in civil cases between 1745 and 1820, Gallanis argues that lawyers’ experiences in the new forum of the criminal courtroom equipped them with the skills and the sensibilities to create ‘rules’ of evidence to control the conduct of litigation in the civil courts. Joel Eigen and Harry Cocks explore the influence of scientific and pseudoscientific knowledge in chapters 2 and 3 on Victorian insanity trials and trials for homosexual offences, respectively. Eigen uses the murder trial of one William Newton Allnut as

in Domestic and international trials, 1700–2000
Disciplining indecency and sodomy in the Edwardian fleet

discipline, homoerotic desire, venereal disease and shipboard hierarchies. There has been surprisingly little written either about the extent of intimate same-sex relations or the surveillance of men’s sexual lives in the Royal Navy and in the maritime world in the period after 1861.12 In part, the explanation for the silences is straightforward. First, few ratings or officers who served in the late Victorian and Edwardian navy left contemporary, candidly written accounts about the prevalence and nature of homosexual relations in the v 75 v Sociocultural analyses of the

in A new naval history

: Women today have gilded fetters but millions are chained to the treadmill of job, home, husband, children, until they drop with exhaustion … Women have lost their mystery and their glamour. They have therefore killed romance. Instead we have sex in its most revolting forms. 50 Tomboys and bachelor girls Filthy books, filthy plays, filthy magazines are currently glorified, and there are the same kind of perversions and homosexuality that marked the decline and fall of the Roman Empire.22 Despite the lurid prose, the speech echoed an enduring belief that employment

in Tomboys and bachelor girls
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Guillaume Dustan and Erik Rémès

, as will be seen in this chapter, that both the homophobic dismissal of homosexuality, and its defiant, resistant assertion, sometimes rely on the figure of anality as a kind of shorthand for their arguments about the relationship between desire, productivity, anatomy, futurity, community, and so on. 2 The question of whether the rectum is indeed, in Leo Bersani’s memorable phrase, a grave (Bersani 1988 ), turns out

in The new pornographies

, public discourse was significantly more circumspect regarding homosexual opportunity. This is, of course, not surprising, given that homosexuality remained a criminal offence until 1991. Moreover, since the Chinese population was generally disapproving, open British homosexuality threatened to ‘let down the side’ and undermine the legitimacy of colonial rule. For this reason, the police force’s Special

in Hong Kong and British culture, 1945–97

mother, the impact of the changes in family and population policy and attitudes towards female sexuality, both heterosexual and homosexual. The surplus of women (Frauenüberschuss) The ‘new woman’, sexually emancipated and childless, symbolised both the liberating changes in sexual mores and the nightmare of nationalists concerned that the German nation was in danger of dying out. Population experts believed that each woman needed to have three children in order to maintain the nation.3 Nationalists’ concern had been heightened by the fall in both the marriage rates

in Women in the Weimar Republic
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Corporeal cinema and film philosophy

Jean Epstein, born in Warsaw, was raised in Switzerland, but it was Brittany where he made some of his best films. He was famous yet misunderstood, original yet held to be idiosyncratic and poetic to a fault, consistently referred to by most critics as a key theoretician. Using familiar genres, melodramas and documentaries, he hoped to heal viewers of all classes and hasten social utopia. This book offers the first comprehensive introduction to and preliminary study of Epstein's movies, film theory, and literary and philosophical criticism in the age of cinema. Diluted into a single word, photogénie, his aesthetic project is equated with a naïve faith in the magic power of moving images, whereas Epstein insistently articulated photogénie in detailed corporeal, ethical and political terms. While Epstein scarcely refers to World War One in his writings or film work, it is clearly from this set of urgent questions that he began reflecting on art and literature. The New Wave movement in France in the late 1950s, put melodrama and avant-garde together feels oxymoronic if not sacrilegious. Epstein's filmography contains roughly an equal number of films that can be labelled fiction and documentary, a little over twenty, in each category. Epstein has opened the way for a corporeal cinema predicated on cinematography and montage rather than narration and mise-en-scène. Epstein's work in cinema, film 'theory', and philosophy, offers today a surprisingly contemporary set of movies, cinematographic idioms, and reflections on all the phenomena of cinema.

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A queer and cartographic exploration of the Palestinian diaspora in Randa Jarrar’s A Map of Home (2008) and Him, Me, Muhammad Ali (2016)

, homosexuality, eroticism, satire’ (El Gendy, 2016 , p. 4). According to El Gendy, trickster figures refuse to view tragedies as sacrosanct or as solely victimising the individual. She proposes that ‘[t]rickster humour in [Jarrar’s] novel [ A Map of Home ] liberates readers, as well as characters, from long-standing tragic ideologies about the diasporic Muslim female body’ (El Gendy, 2016 , p. 5). Through semi-autobiographical mouthpieces and other narrators, I argue Jarrar recasts Ahmed’s figure of the ‘feminist killjoy’ into a ‘feminist trickster’, deploying humour in

in Queer Muslim diasporas in contemporary literature and film

). This hope is fulfilled in the final sequence of the film, which shows the gay brother’s impact on Slimane’s “path.” Touching on a still-taboo topic in post-beur cinema, Djaïdani’s film pioneers a reflection on homosexuality, a repressed aspect of human experience in Maghrebi-French Muslim culture, and provides visibility to gay Arabs in France.23 Djaïdani’s criticism of racist and heteronormative discourse falls within the heated debate about the legalization of homosexual marriage in France. The same month when Rengaine came out, a powerful homophobic movement

in Reimagining North African Immigration