Mapplethorpe came into international prominence due to the public response to his polarizing retrospective exhibition, The Perfect. Feeling and Form in Social Life shows how a vigorous and practical science of society can be built. Drawing in part from the philosophy of Susanne Langer, Lloyd Sandelands reveals human societies to be forms of life known intuitively as feelings of a whole rather than as observed interactions of persons.
These feelings, which are personal and subjective, are made public and objective by the uniquely human capacity for artistic abstraction. Through art, people turn invisible feelings and forms of. Three decades after the publication of Arlie Russell Hochschild's The Managed Heart, the processes of commodification of emotion she wrote about now reach into all areas of labor processes, extending even to private life and intimate relationships.
The contributors to this volume take up her concepts to study the diversity of this economic intrusion into family, education, and nursing in the service sector as well as into corporate management. Aside from the powers and interests that force these developments, these. Moving beyond a consideration of how his texts represent these topics, Ryan F.
Long demonstrates that, when considered in tandem, they form the basis for a new innovative and critical approach. Emphasizing the processes of exposure associated with photography. A serious intellectual engagement with Afrofuturism and the philosophical questions of space and time Queer Times, Black Futures considers the promises and pitfalls of imagination, technology, futurity, and liberation as they have persisted in and through whiteness.
Kara Keeling explores how the speculative fictions of cinema, music, and literature that center black existence provide scenarios wherein we might imagine alternative worlds, queer and otherwise. Elizabeth Freeman forges claims with texture, rigor, relevance, and grace, giving her masterful, original study a voice of unusual tenderness and depth. Clearly, Freeman stands at the forefront of where queer theory needs to go: into the strangeness, the utter queerness, lying inside the beats of time.
A fascinating blend of the familiar and the new, it will have a major hand in opening up queer theory, to its own repressed, to its own dreams, to take its chances. Challenging queer theory's recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art.
She examines work by visual artists who emerged in a commodified, 'postfeminist,' and 'postgay' world. You do not currently have access to this chapter. Sign in Don't already have an account? Client Account. You could not be signed in. Sign In Forgot password?
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