Mary Robertson
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9781479879601
- eISBN:
- 9781479807512
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479879601.001.0001
- Subject:
- Sociology, Gender and Sexuality
Growing Up Queer explores what it is like being young and lesbian, gay, bisexual, transgender, and/or queer (LGBTQ) in the United States today. Using interviews and ethnographic research conducted at ...
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Growing Up Queer explores what it is like being young and lesbian, gay, bisexual, transgender, and/or queer (LGBTQ) in the United States today. Using interviews and ethnographic research conducted at an LGBTQ youth drop-in center, it shows how young people understand their sexual and gender identities, their interest in queer media, and the role that family plays in their lives. The young people who participated in this research are among the first generation to embrace queer identities as kids and teens, and Growing Up Queer shows how both sexual and gender identities are formed through complicated, ambivalent processes, as opposed to the natural characteristics one is born with. In addition to showing how youth understand their identities, Growing Up Queer describes how young people navigate queerness within a culture in which being gay is the “new normal.” Using Sara Ahmed’s concept of queer orientation, it argues that being queer is not just about one’s sexual and/or gender identity but is also understood through intersecting identities including race, class, ability, and more. By showing how society accepts some kinds of LGBTQ-identified people while rejecting others, Growing Up Queer provides evidence of queerness as a site of social inequality. The book moves beyond an oversimplified examination of teenage sexuality and shows, through the voices of young people themselves, the exciting yet complicated terrain of queer adolescence.Less
Growing Up Queer explores what it is like being young and lesbian, gay, bisexual, transgender, and/or queer (LGBTQ) in the United States today. Using interviews and ethnographic research conducted at an LGBTQ youth drop-in center, it shows how young people understand their sexual and gender identities, their interest in queer media, and the role that family plays in their lives. The young people who participated in this research are among the first generation to embrace queer identities as kids and teens, and Growing Up Queer shows how both sexual and gender identities are formed through complicated, ambivalent processes, as opposed to the natural characteristics one is born with. In addition to showing how youth understand their identities, Growing Up Queer describes how young people navigate queerness within a culture in which being gay is the “new normal.” Using Sara Ahmed’s concept of queer orientation, it argues that being queer is not just about one’s sexual and/or gender identity but is also understood through intersecting identities including race, class, ability, and more. By showing how society accepts some kinds of LGBTQ-identified people while rejecting others, Growing Up Queer provides evidence of queerness as a site of social inequality. The book moves beyond an oversimplified examination of teenage sexuality and shows, through the voices of young people themselves, the exciting yet complicated terrain of queer adolescence.
Gary Cross
- Published in print:
- 2004
- Published Online:
- January 2010
- ISBN:
- 9780195156669
- eISBN:
- 9780199868254
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195156669.003.0003
- Subject:
- History, American History: 20th Century
The modern notion of the child as “cute” as opposed to merely adorable or even charming crosses a boundary. The meaning of the word “cute” underwent a transformation, from the manipulative and ...
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The modern notion of the child as “cute” as opposed to merely adorable or even charming crosses a boundary. The meaning of the word “cute” underwent a transformation, from the manipulative and devious adult to the lively charm of the willful child, suggesting a new tolerance for the headstrong, even manipulative, youngster. This suggests that the attractive, bubbling enthusiasm associated with children is no longer seen negatively as manipulative or devilish, but positively as charming and even desirable. The cute became the look of wondrous innocence. Cute children became the New Kids in dolls, illustrated stories, magazines, and advertisements. This chapter examines how parents contributed to the idea of the cute child through their style of child rearing, and how this image promoted consumerism.Less
The modern notion of the child as “cute” as opposed to merely adorable or even charming crosses a boundary. The meaning of the word “cute” underwent a transformation, from the manipulative and devious adult to the lively charm of the willful child, suggesting a new tolerance for the headstrong, even manipulative, youngster. This suggests that the attractive, bubbling enthusiasm associated with children is no longer seen negatively as manipulative or devilish, but positively as charming and even desirable. The cute became the look of wondrous innocence. Cute children became the New Kids in dolls, illustrated stories, magazines, and advertisements. This chapter examines how parents contributed to the idea of the cute child through their style of child rearing, and how this image promoted consumerism.
Lee Spinks
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719066320
- eISBN:
- 9781781703113
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719066320.001.0001
- Subject:
- Literature, 20th-century and Contemporary Literature
This is a comprehensive study of Michael Ondaatje's entire oeuvre. Starting from Ondaatje's beginnings as a poet, it offers an intensive account of each of his major publications, including The ...
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This is a comprehensive study of Michael Ondaatje's entire oeuvre. Starting from Ondaatje's beginnings as a poet, it offers an intensive account of each of his major publications, including The Collected Works of Billy the Kid, Coming Through Slaughter, In the Skin of a Lion and The English Patient, drawing attention to the various contexts and intertexts that have informed his work. The book contains a broad overview of Ondaatje's career for students and readers coming to his work for the first time. It also offers an original reading of his writing which significantly revises conventional accounts of Ondaatje as a postmodern or postcolonial writer. The book draws on a range of postcolonial theory, as well as contributing to debates about postcolonial literature and the poetics of postmodernism.Less
This is a comprehensive study of Michael Ondaatje's entire oeuvre. Starting from Ondaatje's beginnings as a poet, it offers an intensive account of each of his major publications, including The Collected Works of Billy the Kid, Coming Through Slaughter, In the Skin of a Lion and The English Patient, drawing attention to the various contexts and intertexts that have informed his work. The book contains a broad overview of Ondaatje's career for students and readers coming to his work for the first time. It also offers an original reading of his writing which significantly revises conventional accounts of Ondaatje as a postmodern or postcolonial writer. The book draws on a range of postcolonial theory, as well as contributing to debates about postcolonial literature and the poetics of postmodernism.
Rosanna Hertz
- Published in print:
- 2008
- Published Online:
- May 2012
- ISBN:
- 9780195179903
- eISBN:
- 9780199944118
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195179903.003.0024
- Subject:
- Sociology, Marriage and the Family
What has happened to men in these families? If women are no longer in search of a man to make a baby, what role do men play in these children's lives? This chapter raises these questions, which so ...
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What has happened to men in these families? If women are no longer in search of a man to make a baby, what role do men play in these children's lives? This chapter raises these questions, which so many people ask of single mothers. It explores the contradictory reasoning behind including men, seeking to reveal what is so special about what men offer to children. Fatherlessness is a heated topic in America today. Some observers worry that fatherless families could lead to a generation of children with behavioral problems, to juvenile violence in schools, to adolescent childbearing, and to future economic malaise. Regardless, women are including men. However, they further struggle with the conflicting messages of a gendered system, socializing children to fit in while aspiring to raise feminist kids.Less
What has happened to men in these families? If women are no longer in search of a man to make a baby, what role do men play in these children's lives? This chapter raises these questions, which so many people ask of single mothers. It explores the contradictory reasoning behind including men, seeking to reveal what is so special about what men offer to children. Fatherlessness is a heated topic in America today. Some observers worry that fatherless families could lead to a generation of children with behavioral problems, to juvenile violence in schools, to adolescent childbearing, and to future economic malaise. Regardless, women are including men. However, they further struggle with the conflicting messages of a gendered system, socializing children to fit in while aspiring to raise feminist kids.
Jane Juffer
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781479831746
- eISBN:
- 9781479875870
- Item type:
- book
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479831746.001.0001
- Subject:
- Psychology, Developmental Psychology
Don’t Use Your Words! argues that the discourse of “emotional management” across educational, therapeutic, and media sites aimed at young children valorizes the naming of certain (accepted) emotions ...
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Don’t Use Your Words! argues that the discourse of “emotional management” across educational, therapeutic, and media sites aimed at young children valorizes the naming of certain (accepted) emotions in the interest of containing affective expressions that don’t conform to the normative notion of growing up. A therapeutic discourse has become prevalent in media produced for children in the U.S.—organizing storylines to help them name and manage their feelings, a process that weakens the intensity and range of those feelings, especially their expression through the body. Both through the appropriation of these media texts and the production of their own culture, kids resist these emotional categorizations, creating an “archive of feeling” that this book documents. Taking a cultural studies approach, the book analyzes a variety of cultural productions by kids between the ages of five and nine: drawings by Central American refugee children; letters and pictures by kids in response to the Trump victory; observations of a Montessori classroom; tweets from a Syrian child; Tumblr fanart; kids’ television reviews from Common Sense Media; dozens of YouTube videos; and observations of kids playing the popular games Minecraft and Roblox. I show how kids talk to each other across these media by referencing memes, songs, and movements, constructing a common vernacular that departs from normative conceptions of growing up. This book asks: what does it feel like to be a kid? And why do so many policy makers, parents, and pedagogues treat feelings as something to be managed and translated?Less
Don’t Use Your Words! argues that the discourse of “emotional management” across educational, therapeutic, and media sites aimed at young children valorizes the naming of certain (accepted) emotions in the interest of containing affective expressions that don’t conform to the normative notion of growing up. A therapeutic discourse has become prevalent in media produced for children in the U.S.—organizing storylines to help them name and manage their feelings, a process that weakens the intensity and range of those feelings, especially their expression through the body. Both through the appropriation of these media texts and the production of their own culture, kids resist these emotional categorizations, creating an “archive of feeling” that this book documents. Taking a cultural studies approach, the book analyzes a variety of cultural productions by kids between the ages of five and nine: drawings by Central American refugee children; letters and pictures by kids in response to the Trump victory; observations of a Montessori classroom; tweets from a Syrian child; Tumblr fanart; kids’ television reviews from Common Sense Media; dozens of YouTube videos; and observations of kids playing the popular games Minecraft and Roblox. I show how kids talk to each other across these media by referencing memes, songs, and movements, constructing a common vernacular that departs from normative conceptions of growing up. This book asks: what does it feel like to be a kid? And why do so many policy makers, parents, and pedagogues treat feelings as something to be managed and translated?
Clem Bastow
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0006
- Subject:
- Film, Television and Radio, Film
Is it possible to reclaim certain works as part of the feminist film canon, even if they were never intended as such? If Elaine May ever self-identified as a feminist, her public stance on the topic ...
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Is it possible to reclaim certain works as part of the feminist film canon, even if they were never intended as such? If Elaine May ever self-identified as a feminist, her public stance on the topic was one of comical obfuscation. This chapter reclaims May’s second film The Heartbreak Kid from the second-wave feminist critiques that dismissed it as sexist. It reads the film through a contemporary feminist lens, specifically looking at May’s framing of key scenes within the film as a representation of the ‘female gaze’. It looks closely at the contentious character of Lila (played by May’s daughter, Jeannie Berlin), who has been dismissed as many critics as a caricatured representation of Jewish womanhood, as key in May’s critique of both the character of Lenny and the filmic canon of her male contemporaries. May looks beneath the caricature represented by Lenny’s resentful and self-loathing gaze, and finds the humanity within Lila.Less
Is it possible to reclaim certain works as part of the feminist film canon, even if they were never intended as such? If Elaine May ever self-identified as a feminist, her public stance on the topic was one of comical obfuscation. This chapter reclaims May’s second film The Heartbreak Kid from the second-wave feminist critiques that dismissed it as sexist. It reads the film through a contemporary feminist lens, specifically looking at May’s framing of key scenes within the film as a representation of the ‘female gaze’. It looks closely at the contentious character of Lila (played by May’s daughter, Jeannie Berlin), who has been dismissed as many critics as a caricatured representation of Jewish womanhood, as key in May’s critique of both the character of Lenny and the filmic canon of her male contemporaries. May looks beneath the caricature represented by Lenny’s resentful and self-loathing gaze, and finds the humanity within Lila.
Jake Wilson
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0004
- Subject:
- Film, Television and Radio, Film
Before Elaine May was a film director, she was famous for her improvised comedy skits with Mike Nichols. While May's subsequent films may not be improvised in the literal sense, this essay will argue ...
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Before Elaine May was a film director, she was famous for her improvised comedy skits with Mike Nichols. While May's subsequent films may not be improvised in the literal sense, this essay will argue that in many respects they can be seen as extensions of the principles guiding her early work with Nichols, in particular the notion of performance as a shared act of creation in the moment. This chapter establishes connections between the sketches of Nichols and May and two aspects of May's filmmaking above all. First, all of her films are built around double acts, implying a complicity between performers even when the characters they are playing are at odds or deceiving each other―an extension of the “yes, and...” principle associated with the tradition of theatre improvisation founded by Viola. Second, the allegedly “troubled” production histories of all her films can be seen as implying a commitment to filmmaking as existential adventure which places her at odds with standard Hollywood practice―and which can be linked to the way the films explicitly question conventional notions of success and failure.Less
Before Elaine May was a film director, she was famous for her improvised comedy skits with Mike Nichols. While May's subsequent films may not be improvised in the literal sense, this essay will argue that in many respects they can be seen as extensions of the principles guiding her early work with Nichols, in particular the notion of performance as a shared act of creation in the moment. This chapter establishes connections between the sketches of Nichols and May and two aspects of May's filmmaking above all. First, all of her films are built around double acts, implying a complicity between performers even when the characters they are playing are at odds or deceiving each other―an extension of the “yes, and...” principle associated with the tradition of theatre improvisation founded by Viola. Second, the allegedly “troubled” production histories of all her films can be seen as implying a commitment to filmmaking as existential adventure which places her at odds with standard Hollywood practice―and which can be linked to the way the films explicitly question conventional notions of success and failure.
Chester E. Finn and Andrew E. Scanlan
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9780691178721
- eISBN:
- 9780691185828
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691178721.003.0002
- Subject:
- Education, Higher and Further Education
This chapter discusses the earliest days of Advanced Placement (AP) and the growing pains of its first two decades. At the outset, AP was explicitly intended for the strongest students at top high ...
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This chapter discusses the earliest days of Advanced Placement (AP) and the growing pains of its first two decades. At the outset, AP was explicitly intended for the strongest students at top high schools, those who “already had the luxury of being bound for prestigious colleges and universities, room to excel and an inducement to continue to work hard.” However, while the lore surrounding the program's birth associates it mostly with eastern prep schools, in fact the “pioneer schools” were a mix of independent and public institutions, the latter mostly located in upper-middle-class suburbs of major cities in the East and Midwest. Acceleration and degree credit were not the only appeal—or benefit—of AP. Many students were “content with the enrichment that the AP courses had provided” and “never applied for either AP credit or advancement in college.” For all the excitement and expansion, however, after two decades AP remained predominantly a boon for relatively privileged kids.Less
This chapter discusses the earliest days of Advanced Placement (AP) and the growing pains of its first two decades. At the outset, AP was explicitly intended for the strongest students at top high schools, those who “already had the luxury of being bound for prestigious colleges and universities, room to excel and an inducement to continue to work hard.” However, while the lore surrounding the program's birth associates it mostly with eastern prep schools, in fact the “pioneer schools” were a mix of independent and public institutions, the latter mostly located in upper-middle-class suburbs of major cities in the East and Midwest. Acceleration and degree credit were not the only appeal—or benefit—of AP. Many students were “content with the enrichment that the AP courses had provided” and “never applied for either AP credit or advancement in college.” For all the excitement and expansion, however, after two decades AP remained predominantly a boon for relatively privileged kids.
Wendy B. Smith
- Published in print:
- 2011
- Published Online:
- May 2011
- ISBN:
- 9780195375596
- eISBN:
- 9780199893355
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195375596.003.0009
- Subject:
- Social Work, Children and Families
Chapter 9 opens with discussion of the mental health dimensions of aggression and delinquent behaviour are examined and theoretical perspectives are offered. The case of a foster youth who became a ...
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Chapter 9 opens with discussion of the mental health dimensions of aggression and delinquent behaviour are examined and theoretical perspectives are offered. The case of a foster youth who became a crossover kid is presented to illuminate underlying and situational factors that contribute to delinquency. Recent research on risk and protective factors, including maltreatment, is summarized. Conduct disorders and co-occurring disorders are described, followed by a section on assessment and evidence-supported treatment approaches. Key treatment principles are provided. The second part of the chapter provides a description of the juvenile justice system as context for “crossover kids,” children in care who are under the jurisdiction of child welfare and juvenile justice. Racial disparity in the juvenile justice system is outlined, along with gender and sexual orientation issues. Suggested practice principles are provided.Less
Chapter 9 opens with discussion of the mental health dimensions of aggression and delinquent behaviour are examined and theoretical perspectives are offered. The case of a foster youth who became a crossover kid is presented to illuminate underlying and situational factors that contribute to delinquency. Recent research on risk and protective factors, including maltreatment, is summarized. Conduct disorders and co-occurring disorders are described, followed by a section on assessment and evidence-supported treatment approaches. Key treatment principles are provided. The second part of the chapter provides a description of the juvenile justice system as context for “crossover kids,” children in care who are under the jurisdiction of child welfare and juvenile justice. Racial disparity in the juvenile justice system is outlined, along with gender and sexual orientation issues. Suggested practice principles are provided.
John McCusker
- Published in print:
- 2012
- Published Online:
- March 2014
- ISBN:
- 9781617036262
- eISBN:
- 9781617036279
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617036262.003.0001
- Subject:
- Music, History, American
This introductory chapter discusses the theme of this book, which is about the life and career of jazz musician Kid Ory. The book, which covers Ory’s life and career during the period from 1900 to ...
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This introductory chapter discusses the theme of this book, which is about the life and career of jazz musician Kid Ory. The book, which covers Ory’s life and career during the period from 1900 to 1933, suggests that Ory arrived at the scene at the same time as the music itself; that they reached maturity together, and ultimately faded from the scene together. It also considers the role of Ory as the bridge between the earliest jazz pioneers, including Louis Armstrong, King Oliver, and Jelly Roll Morton.Less
This introductory chapter discusses the theme of this book, which is about the life and career of jazz musician Kid Ory. The book, which covers Ory’s life and career during the period from 1900 to 1933, suggests that Ory arrived at the scene at the same time as the music itself; that they reached maturity together, and ultimately faded from the scene together. It also considers the role of Ory as the bridge between the earliest jazz pioneers, including Louis Armstrong, King Oliver, and Jelly Roll Morton.
Jana K. Lipman
- Published in print:
- 2008
- Published Online:
- March 2012
- ISBN:
- 9780520255395
- eISBN:
- 9780520942370
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520255395.003.0003
- Subject:
- History, American History: 20th Century
Lino Rodriguez Grenot decided to set his sights on the base in December 1940. Rodriguez was twenty-seven years old, black, unemployed, and a boxer known as “Kid Chicle.” He was born in Santiago de ...
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Lino Rodriguez Grenot decided to set his sights on the base in December 1940. Rodriguez was twenty-seven years old, black, unemployed, and a boxer known as “Kid Chicle.” He was born in Santiago de Cuba and lived a marginal existence in Guantánamo. He supported himself by means of boxing, but he was just as likely to be selling lottery tickets and trinkets in the streets. Rodriguez's best hope for work in Caimanera was with the Frederick Snare Corporation, a private company that had won the U.S government contract to enlarge the base. At first, the Snare Corporation had ferried workers back and forth between Caimanera's docks and GTMO on its own private launches, but job rivalry and barely suppressed violence made this unsustainable. Like many hopeful workers, Rodriguez arrived in Caimanera without the coveted pass, and so he waited jobless on the docks.Less
Lino Rodriguez Grenot decided to set his sights on the base in December 1940. Rodriguez was twenty-seven years old, black, unemployed, and a boxer known as “Kid Chicle.” He was born in Santiago de Cuba and lived a marginal existence in Guantánamo. He supported himself by means of boxing, but he was just as likely to be selling lottery tickets and trinkets in the streets. Rodriguez's best hope for work in Caimanera was with the Frederick Snare Corporation, a private company that had won the U.S government contract to enlarge the base. At first, the Snare Corporation had ferried workers back and forth between Caimanera's docks and GTMO on its own private launches, but job rivalry and barely suppressed violence made this unsustainable. Like many hopeful workers, Rodriguez arrived in Caimanera without the coveted pass, and so he waited jobless on the docks.
Paul French
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9789622099821
- eISBN:
- 9789882207622
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622099821.003.0010
- Subject:
- History, Asian History
The number of foreign journalists who happened to be in the vicinity of central Shanghai when the bombs fell on Black Saturday, 14 August 1937, was incredible. After Black Saturday, things went from ...
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The number of foreign journalists who happened to be in the vicinity of central Shanghai when the bombs fell on Black Saturday, 14 August 1937, was incredible. After Black Saturday, things went from bad to worse. In addition, the situation was immediately bad for the foreign press corps: even getting to China could be problematic. As if the fighting to date had not been terrible enough with the slaughter in Shanghai, worse was to come as the Japanese army swarmed into Nanjing and, after defeating the Chinese army, went on an horrific and genocidal rampage through the city for six weeks in what swiftly became known as the “Rape of Nanking”. The Last Ditchers and Iconoclasts are outlined. Christopher Isherwood and Wystan Hugh Auden arrived in China as “amateur war correspondents”. It was not necessarily clear that they would sympathise with China's plight any more than some other foreign leftists had. Gung Ho Kids were the group gathered outside Shanghai in 1940 to avoid internment. By the end of 1941, most of the press corps had been forced to leave China, and others had been interned, tortured, or killed.Less
The number of foreign journalists who happened to be in the vicinity of central Shanghai when the bombs fell on Black Saturday, 14 August 1937, was incredible. After Black Saturday, things went from bad to worse. In addition, the situation was immediately bad for the foreign press corps: even getting to China could be problematic. As if the fighting to date had not been terrible enough with the slaughter in Shanghai, worse was to come as the Japanese army swarmed into Nanjing and, after defeating the Chinese army, went on an horrific and genocidal rampage through the city for six weeks in what swiftly became known as the “Rape of Nanking”. The Last Ditchers and Iconoclasts are outlined. Christopher Isherwood and Wystan Hugh Auden arrived in China as “amateur war correspondents”. It was not necessarily clear that they would sympathise with China's plight any more than some other foreign leftists had. Gung Ho Kids were the group gathered outside Shanghai in 1940 to avoid internment. By the end of 1941, most of the press corps had been forced to leave China, and others had been interned, tortured, or killed.
Rebecca A. Adelman
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780823281671
- eISBN:
- 9780823284788
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823281671.003.0003
- Subject:
- Society and Culture, Media Studies
This chapter explores how a range of institutions, both state and non-state, negotiate the instability latent in the term ‘military child.’ Focusing on internet resources for military children, the ...
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This chapter explores how a range of institutions, both state and non-state, negotiate the instability latent in the term ‘military child.’ Focusing on internet resources for military children, the chapter analyzes how the websites represent the emotional experiences of military childhood back to that very audience. The chapter begins with the story of Omar Khadr, illustrating the politics of recognizing the militarized political subjectivities of young people. It then turns to a genealogy of the so-called military brat and an overview of the various ways that the U.S. military has interfaced with children, and how these histories inform the investments of affection, admiration, gratitude, pity, and anger circulating around military children today. The core of the analysis is a comparison of two websites, Sesame Street for Military Families (SSMF) and Military Kids Connect (MKC). Military homes on Sesame Street are characterized by warmth, intimacy, and intense focus on children’s needs. By contrast, Military Kids Connect presumes a military household marked by varying degrees of stress, constraint, and dysfunction. In disparate ways, both of these websites acknowledge and deny the impact of militarization on children, while also instrumentalizing their emotional well-being and transform coping into a child’s patriotic obligation.Less
This chapter explores how a range of institutions, both state and non-state, negotiate the instability latent in the term ‘military child.’ Focusing on internet resources for military children, the chapter analyzes how the websites represent the emotional experiences of military childhood back to that very audience. The chapter begins with the story of Omar Khadr, illustrating the politics of recognizing the militarized political subjectivities of young people. It then turns to a genealogy of the so-called military brat and an overview of the various ways that the U.S. military has interfaced with children, and how these histories inform the investments of affection, admiration, gratitude, pity, and anger circulating around military children today. The core of the analysis is a comparison of two websites, Sesame Street for Military Families (SSMF) and Military Kids Connect (MKC). Military homes on Sesame Street are characterized by warmth, intimacy, and intense focus on children’s needs. By contrast, Military Kids Connect presumes a military household marked by varying degrees of stress, constraint, and dysfunction. In disparate ways, both of these websites acknowledge and deny the impact of militarization on children, while also instrumentalizing their emotional well-being and transform coping into a child’s patriotic obligation.
Schaeffer Kurtis R.
- Published in print:
- 2004
- Published Online:
- October 2011
- ISBN:
- 9780195152999
- eISBN:
- 9780199849932
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195152999.003.0009
- Subject:
- Religion, Buddhism
This chapter relates how at age eleven Orgyan Chokyi became a goatherd and she felt more times of misery. The chapter tells the story that one day Chokyi went to Ratso Ruri and as she was going ...
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This chapter relates how at age eleven Orgyan Chokyi became a goatherd and she felt more times of misery. The chapter tells the story that one day Chokyi went to Ratso Ruri and as she was going through the thick woods, a thorn became stuck in her leg and she stopped to remove it. A nanny goat had had a kid, and it was about seven days old. Suddenly an eagle swept out of the sky and carried the kid away. The nanny goat looked into the sky and wept. Chokyi also looked into the sky and wept. The chapter also recounts another occasion when many goats and sheep were killed up on the mountain. Chokyi was distraught. She saw many kid goats being carried off by the lowlanders for sacrifice to the gods, and she wept a great deal.Less
This chapter relates how at age eleven Orgyan Chokyi became a goatherd and she felt more times of misery. The chapter tells the story that one day Chokyi went to Ratso Ruri and as she was going through the thick woods, a thorn became stuck in her leg and she stopped to remove it. A nanny goat had had a kid, and it was about seven days old. Suddenly an eagle swept out of the sky and carried the kid away. The nanny goat looked into the sky and wept. Chokyi also looked into the sky and wept. The chapter also recounts another occasion when many goats and sheep were killed up on the mountain. Chokyi was distraught. She saw many kid goats being carried off by the lowlanders for sacrifice to the gods, and she wept a great deal.
Uwe Hasebrink, Kjartan Ólafsson, and Václav Štětka
- Published in print:
- 2009
- Published Online:
- March 2012
- ISBN:
- 9781847424396
- eISBN:
- 9781447302643
- Item type:
- chapter
- Publisher:
- Policy Press
- DOI:
- 10.1332/policypress/9781847424396.003.0004
- Subject:
- Social Work, Children and Families
This chapter addresses some of the key theoretical and methodological questions related to cross-national comparative research, focusing on the research field of (new) media and communication ...
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This chapter addresses some of the key theoretical and methodological questions related to cross-national comparative research, focusing on the research field of (new) media and communication technologies. Following their presentation and some critical reflections in the first part of the chapter, these methodological considerations are applied to the topic of children's online behaviour and online risks and opportunities, taking the research conducted within the European Union (EU) Kids Online project as a concrete empirical example.Less
This chapter addresses some of the key theoretical and methodological questions related to cross-national comparative research, focusing on the research field of (new) media and communication technologies. Following their presentation and some critical reflections in the first part of the chapter, these methodological considerations are applied to the topic of children's online behaviour and online risks and opportunities, taking the research conducted within the European Union (EU) Kids Online project as a concrete empirical example.
Dominic Johnson
- Published in print:
- 2019
- Published Online:
- May 2019
- ISBN:
- 9780719091605
- eISBN:
- 9781526141958
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719091605.003.0006
- Subject:
- Art, Visual Culture
From the early 1970s, the Kipper Kids (Harry Kipper and Harry Kipper, aka Brian Routh and Martin Von Haselberg) became notorious for the danger, excess, strangeness, and baffled hilarity of their ...
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From the early 1970s, the Kipper Kids (Harry Kipper and Harry Kipper, aka Brian Routh and Martin Von Haselberg) became notorious for the danger, excess, strangeness, and baffled hilarity of their frequently drunken ‘ceremonies’. This chapter accounts for the former notoriety of the Kipper Kids to ask further questions about the performance of extremity as an aesthetic category in the 1970s. The theme of sabotage – or self-sabotage – emerges as a crucial element in the performance art of the Kipper Kids, in terms of their devising and presentation of specific ceremonies and works, and in their pursuit of careers as artists committed to art’s anti-aesthetic sensibility.Less
From the early 1970s, the Kipper Kids (Harry Kipper and Harry Kipper, aka Brian Routh and Martin Von Haselberg) became notorious for the danger, excess, strangeness, and baffled hilarity of their frequently drunken ‘ceremonies’. This chapter accounts for the former notoriety of the Kipper Kids to ask further questions about the performance of extremity as an aesthetic category in the 1970s. The theme of sabotage – or self-sabotage – emerges as a crucial element in the performance art of the Kipper Kids, in terms of their devising and presentation of specific ceremonies and works, and in their pursuit of careers as artists committed to art’s anti-aesthetic sensibility.
Kysa Nygreen
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780226031422
- eISBN:
- 9780226031736
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226031736.003.0003
- Subject:
- Education, Secondary Education
This chapter examines how youth Participatory Action Research Team for Youth (PARTY) members and prospective PARTY members from Jackson High School interacted with the “discourse of these kids.” It ...
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This chapter examines how youth Participatory Action Research Team for Youth (PARTY) members and prospective PARTY members from Jackson High School interacted with the “discourse of these kids.” It shows how youth participants mobilized, reproduced, and contested the discourse of these kids by alternately positioning themselves in opposition to it, in accordance with it, or by contesting certain aspects of it.Less
This chapter examines how youth Participatory Action Research Team for Youth (PARTY) members and prospective PARTY members from Jackson High School interacted with the “discourse of these kids.” It shows how youth participants mobilized, reproduced, and contested the discourse of these kids by alternately positioning themselves in opposition to it, in accordance with it, or by contesting certain aspects of it.
Alexandra Heller-Nicholas
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0001
- Subject:
- Film, Television and Radio, Film
While not unknown, the films of Elaine May and the importance of her career have been hidden in plain sight. Beginning her career in stand-up comedy with her long-time collaborator Mike Nichols, ...
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While not unknown, the films of Elaine May and the importance of her career have been hidden in plain sight. Beginning her career in stand-up comedy with her long-time collaborator Mike Nichols, while he would go on to win major awards for his directorial work, May’s four features — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — have until recently spanned from the forgotten to the unobtainable to the maligned. Presenting a fascinating set of challenges for how film history, gender, authorship and other subjects are typically approached, this introduction outlines why May is important, why her work long overdue critical reassessment, and outlines the broader approach of the book ReFocus: The Films of Elaine May.Less
While not unknown, the films of Elaine May and the importance of her career have been hidden in plain sight. Beginning her career in stand-up comedy with her long-time collaborator Mike Nichols, while he would go on to win major awards for his directorial work, May’s four features — A New Leaf (1971), The Heartbreak Kid (1972), Mikey and Nicky (1976) and Ishtar (1987) — have until recently spanned from the forgotten to the unobtainable to the maligned. Presenting a fascinating set of challenges for how film history, gender, authorship and other subjects are typically approached, this introduction outlines why May is important, why her work long overdue critical reassessment, and outlines the broader approach of the book ReFocus: The Films of Elaine May.
Maya Montañez Smukler
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474440189
- eISBN:
- 9781474476607
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474440189.003.0003
- Subject:
- Film, Television and Radio, Film
Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, ...
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Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.Less
Elaine May began her career as a filmmaker during the 1970s when the mythology of the New Hollywood male auteur defined the decade; and the number of women directors, boosted by second wave feminism, increased for the first time in forty years. May’s interest in misfit characters, as socially awkward as they were delusional, and her ability to seamlessly move them between comedy and drama, typified the New Hollywood protagonist who captured America’s uneasy transition from the hopeful rebellion of the 1960s into the narcissistic angst of the 1970s. However, the filmmaker’s reception, which culminated in the critical lambast of her comeback film Ishtar in 1987, was uneven: her battles with studio executives are legendary; feminist film critics railed against her depiction of female characters; and a former assistant claimed she set back women directors by her inability to meet deadlines. This chapter investigates Elaine May’s career within the lore 1970s Hollywood to understand the industrial and cultural circumstances that contributed to the emergence of her influential body of work; and the significant contributions to cinema she made in spite of, and perhaps because of, the conflicts in which she was faced.
Edward Lamberti
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474444002
- eISBN:
- 9781474476621
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474444002.003.0005
- Subject:
- Film, Television and Radio, Film
This third chapter shows, primarily through The Kid with a Bike (2011), how the Dardennes have evolved their film style in recent years and how we can read this in terms of an evolving approach to ...
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This third chapter shows, primarily through The Kid with a Bike (2011), how the Dardennes have evolved their film style in recent years and how we can read this in terms of an evolving approach to Emmanuel Levinas’s ethics and film. Whereas in earlier films such as La Promesse and Le Fils the style was relentlessly focused on a protagonist’s struggle to be ethical and involved abundant use of close-ups and fast movement so as to convey the character’s struggles largely through physical action, more recent Dardenne films have exhibited a somewhat less frantic style, deploying a number of more ‘conventional’ cinematic tropes, such as establishing shots, soundtrack music and a focus on a larger number of characters. The result is a change in focus, but not a reduction in ethical concerns. I relate this more conventionally classical use of film style to Judith Butler’s notion of ‘reinscription’, the reusing of linguistic terms for new socio-political ends. In doing so, I highlight the ways in which the Dardennes use this more classical film style to explore their Levinasian concerns in new ways, deploying classical cinematic tools so as to ‘reinscribe’ them as ethical with in their films’ fictional worlds.Less
This third chapter shows, primarily through The Kid with a Bike (2011), how the Dardennes have evolved their film style in recent years and how we can read this in terms of an evolving approach to Emmanuel Levinas’s ethics and film. Whereas in earlier films such as La Promesse and Le Fils the style was relentlessly focused on a protagonist’s struggle to be ethical and involved abundant use of close-ups and fast movement so as to convey the character’s struggles largely through physical action, more recent Dardenne films have exhibited a somewhat less frantic style, deploying a number of more ‘conventional’ cinematic tropes, such as establishing shots, soundtrack music and a focus on a larger number of characters. The result is a change in focus, but not a reduction in ethical concerns. I relate this more conventionally classical use of film style to Judith Butler’s notion of ‘reinscription’, the reusing of linguistic terms for new socio-political ends. In doing so, I highlight the ways in which the Dardennes use this more classical film style to explore their Levinasian concerns in new ways, deploying classical cinematic tools so as to ‘reinscribe’ them as ethical with in their films’ fictional worlds.
