As for why a straight woman writes gay romance, Penley suggests, it has to do with body politics. Women’s bodies are a political and social battleground. Women are told how to behave, and whether or not they can abort fetuses. They are held to impossibly high standards of beauty. Maybe they write with men’s bodies, she theorizes, because those bodies aren’t as problematic as their own. Maybe men’s bodies are just easier. Linda Williams, a Berkeley professor who wrote the first serious book about porn film, Hard Core: Power, Pleasure, and the “Frenzy of the Visible,” suggests a similar freedom — specifically, one from worry. When women watch straight pornography, there’s always the problem of who’s on top, or who’s on the bottom. “On the other hand,” Williams says, “if you’re watching two men having sex, you don’t have to worry about a woman being mishandled, or abused or overpowered.”Or it could simply be a fantasy of abundance. “If you presume that these women are heterosexual,” Williams adds, “and their own desire is for men, then you’ve doubled the pleasure.”Another prevailing belief is that the pleasure these women derive from reading erotic romances about two men has less to do with the sex than with the romance. The main pleasure comes from the romantic story, i.e., the plot. And the plots are essentially female. The sex is just the cherry on top.
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Man on Man: The New Gay Romance ... written by and for straight women - 0 views
www.laweekly.com/...799568
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The results for men, Bailey says, were as expected. Their arousal was “category-specific.” Men were turned on, in other words, only by the categories of people they prefer to have sex with. The women, however, had a different, far more surprising pattern of arousal: It didn’t matter whether the women said they were gay or straight, they were turned on by all the films. Bailey concluded that men’s and women’s brains are likely organized differently.As you might guess, Bailey is a controversial figure. That study, published in the journal Psychological Science, as well as his other research concerning the etiology of sexual arousal, has been attacked by everyone from The Washington Times and conservative congressmen to gay activists. (Bailey was also one of the first researchers to suggest that homosexuality is substantially genetic.)But why should a woman be turned on by a variety of stimuli any more so than a man? It may not make sense politically, but one of Bailey’s co-researchers, Meredith Chivers, might have found an answer by pushing the reasoning even further. She speculates that women’s genitals tend to lubricate in the presence of sexual cues as a defense against rape. Ancestral women whose bodies didn’t automatically lubricate during unwanted vaginal penetration might have sustained more serious injuries and would not have survived to pass the trait along to offspring. Becoming physically (if not mentally) aroused by a whiff of sex in the air, in other words, is evolutionarily adaptive for women. Which is not of course the same thing as pleasure. On that score, Bailey’s findings are reinforced by Abramson’s scientific experiments on masturbation from the early ’70s. He showed his subjects films of people masturbating to orgasm. As in the other studies, straight women were aroused equally by both genders. Abramson concluded that women are equally adept at imagining themselves as either the pleasurer or the receiver.
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sparkindarkness: More on the M/M genre (because I'm not above flogging a dead horse :P) - 0 views
sparkindarkness.livejournal.com/289804.html
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A straight woman is using a male pseudonym to seem more authentic writing about gay men. Why is this not seen as wrong? Why is this not seen as a gross appropriation?
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However - for a straight woman to summarise coming to terms with homophobia, your sexuality and the closet as “not having the balls to be happy.” Really, no. Seriously no. There is so much ignorant privilege there I can’t even begin to address it. Sorry if depiction of the reality of homophobia spoiled your Happily Ever After.
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But not gay male experiences - but some of these authors feel free to claim they have and appropriate at will.
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Participation, Reciprocity and Generosity in Art: On Open Work by Umberto Eco - 1 views
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Eco distinguishes between the concept within aesthetic theory that every text is more or less open, because every text can be read in an infinite number of ways depending on what the reader brings to the text, and his more specific concept of the open work.
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As examples
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He also cites texts which on the surface are more traditional.
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“In Opera Aperta, Eco argued that literary texts are fields of meaning, rather than strings of meaning, that they are understood as open, internally dynamic and psychologically engaged fields. Those works of literature that limit potential understanding to a single, unequivocal line are the least rewarding, while those that are most open, most active between mind and society and line, are the most lively (and, although valorizing terminology is not his business, best)
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What the preceding entry leaves out is the historical context in which Eco puts openness. He feels that this type of work, open work, is the work of his age.
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A sub-category of open work is work in movement which he describes as works which “characteristically consist of unplanned or physically incomplete structural units.”
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Eco sees open work as essentially political; work that is open expresses a pluralistic worldview.
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Work which is calling into question its own forms and assumptions has a valuable function – it teaches us how to operate with agency within a highly mediated world.
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1) Eco sees science as driving the worldview of an age, to which art responds
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Forty or more years after the essays in The Open Work were written do we live in a world where the openness of our habits of interpretation makes the openness of the text less crucial?
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The Poetics of the Open Work By Umberto Eco - 0 views
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the instrumentalist's freedom is a function of the "narrative" structure of the piece
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the instrumentalist's freedom is a function of the "narrative" structure of the piece
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the instrumentalist's freedom is a function of the "narrative" structure of the piece
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the instrumentalist's freedom is a function of the "narrative" structure of the piece
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the instrumentalist's freedom is a function of the "narrative" structure of the piece
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the instrumentalist's freedom is a function of the "narrative" structure of the piece,
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the instrumentalist's freedom is a function of the "narrative" structure of the piece
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the instrumentalist's freedom is a function of the "narrative" structure of the piece,
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the instrumentalist's freedom is a function of the "narrative" structure of the piece, w
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the new musical works referred to above reject the definitive, concluded message and multiply the formal possibilities of the distribution of their elements.
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initiative of the individual performer
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As he reacts to the play of stimuli and his own response to their patterning, the individual addressee is bound to supply his own existential credentials, the sense conditioning which is peculiarly his own, a defined culture, a set of tastes, personal inclinations, and prejudices. Thus, his comprehension of the original artifact is always modified by his particular and individual perspective. In fact, the form of the work of art gains its aesthetic validity precisely in proportion to the number of different perspectives from which it can be viewed and understood.
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A work of art, therefore, is a complete and closed form in its uniqueness as a balanced organic whole, while at the same time constituting an open product on account of its susceptibility to countless different interpretations which do not impinge on its unadulterable specificity.
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it is obvious that works like those of Berio and Stockhausen are "open" in a far more tangible sense.
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the poetics of the "open" work tends to encourage “acts of conscious freedom” on the part of the performer and place him at the focal point of a network of limitless interrelations,
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Instead nowadays it is primarily the artist who is aware of its implications.
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However, in this type of operation, "openness" is far removed from meaning "indefiniteness" of communication, "infinite" possibilities of form, and complete freedom of reception. What in fact is made available is a range of rigidly preestablished and ordained interpretative solutions,
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and these never allow the reader to move outside the strict control of the author.
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It is not that the four solutions of the allegorical passage are quantitatively more limited than the many possible solutions of a contemporary "open" work. As I shall try to show, it is a different vision of the world which lies under these different aesthetic experiences
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Now if Baroque spirituality is to be seen as the first clear manifestation of modern culture and sensitivity, it is because here, for the first time, man opts out of the canon of authorized responses and finds that he is faced (both in art and in science) by a world in a fluid state which requires corresponding creativity on his part.
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the new man's inventive role. He is no longer to see the work of art as an object which draws on given links with experience and which demands to be enjoyed; now he sees it as a potential mystery to be solved, a role to fulfill, a stimulus to quicken his imagination.
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W. Y. Tindall, in his book on the literary symbol, offers an analysis of some of the greatest modern literary works in order to test Valéry's declaration that "il n'y a pas de vrai sens d'un texte" ("there is no true meaning of a text"). Tindall eventually concludes that a work of art is a construct which anyone at all, including its author, can put to any use whatsoever, as he chooses. This type of criticism views the literary work as a continuous potentiality of "openness"-in other words, an indefinite reserve of meanings. This is the scope of the wave of American studies on the structure of metaphor, or of modern work on "types of ambiguity" offered by poetic discourse.
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Clearly, the work of James Joyce is a major example of an "open" mode, since it deliberately seeks to offer an image of the ontological and existential situation of the contemporary world.
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Here the work is "open" in the same sense that a debate is "open." A solution is seen as desirable and is actually anticipated, but it must come from the collective enterprise of the audience. In this case the "openness" is converted into an instrument of revolutionary pedagogics.
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the examples considered in the preceding section propose an "openness" based on the theoretical, mental collaboration of the consumer, who must freely interpret an artistic datum, a product which has already been organized in its structural entirety (even if this structure allows for an indefinite plurality of interpretations). On the other hand, a composition like Scambi, by Pousseur, represents a fresh advance.
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it is clear that a composition such as Scambi poses a completely new problem. It invites us to identify inside the category of "open" works a further, more restricted classification of works which can be defined as "works in movement," because they characteristically consist of unplanned or physically incomplete structural units
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If we turn to literary production to try to isolate an example of a work in movement," we are immediately obliged to take into consideration Mallarmé's Livre, a colossal and far- reaching work, the quintessence of the poet's production. He conceived it as the work which would constitute not only the goal of his activities but also the end goal of the world:
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However, Mallarmé's immense enterprise was utopian:
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In every century, the way that artistic forms are structured reflects the way in which science or contemporary culture views reality.
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Hence, it is not overambitious to detect in the poetics of the "open" work – and even less so in the "work in movement” – more or less specific overtones of trends in contemporary scientific thought.
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The notion of "possibility" is a philosophical canon which reflects a widespread tendency in contemporary science; the discarding of a static, syllogistic view of order, and a corresponding devolution of intellectual authority to personal decision, choice, and social context.
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The two-value truth logic which follows the classical aut-aut, the disjunctive dilemma between true and false, a fact and its contradictory, is no longer the only instrument of philosophical experiment. Multi-value logics are now gaining currency, and these are quite capable of incorporating indeterminacy as a valid stepping-stone in the cognitive process. In this general intellectual atmosphere, the poetics of the open work is peculiarly relevant: it posits the work of art stripped of necessary and foreseeable conclusions, works in which the performer's freedom functions as part of the discontinuity which contemporary physics recognizes, not as an element of disorientation, but as an essential stage in all scientific verification procedures and also as the verifiable pattern of events in the subatomic world.
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Here are no privileged points of view, and all available perspectives are equally valid and rich in potential.
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This is not the place to pass judgment on the scientific validity of the metaphysical construct implied by Einstein's system. But there is a striking analogy between his universe and the universe of the work in movement
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Therefore, to sum up, we can say that the "work in movement" is the possibility of numerous different personal interventions, but it is not an amorphous invitation to indiscriminate participation. The invitation offers the performer the opportunity for an oriented insertion into something which always remains the world intended by the author.
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All these examples of "open" works and "works in movement" have this latent characteristic, which guarantees that they will al- ways be seen as "works" and not just as a conglomeration of random components ready to emerge from the chaos in which they previously stood and permitted to assume any form whatsoever.
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Now, a dictionary clearly presents us with thousands upon thou- sands of words which we could freely use to compose poetry, essays on physics, anonymous letters, or grocery lists. In this sense the dictionary is clearly open to the reconstitution of its raw material in any way that the manipulator wishes. But this does not make it a "work." The "openness" and dynamism of an artistic work consist in factors which make it susceptible to a whole range of integrations. They provide it with organic complements which they graft into the structural vitality which the work already possesses, even if it is incomplete. This structural vitality is still seen as a positive property of the work, even though it admits of all kinds of different conclusions and solutions for it
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We have, therefore, seen that (1) "open" works, insofar as they are in movement, are characterized by the invitation to make the work together with the author and that (2) on a wider level (as a subgenus in the species "work in movement") there exist works which, though organically completed, are "open" to a continuous generation of internal relations which the addressee must uncover and select in his act of perceiving the totality of incoming stimuli. (3) Every work of art, even though it is produced by following an explicit or implicit poetics of necessity, is effectively open to a virtually unlimited range
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of possible readings, each of which causes the work to acquire new vitality in terms of one particular taste, or perspective, or personal performance
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The poetic theory or practice of the "work in movement" senses this possibility as a specific vocation. It allies itself openly and selfconsciously to current trends in scientific method and puts into action and tangible form the very trend which aesthetics has
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already acknowledged as the general background to performance. These poetic systems recognize "openness" as the fundamental possibility of the contemporary artist or consumer.
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The poetics of the "work in movement" (and partly that of the "open" work) sets in motion a new cycle of relations between the artist and his audience, a new mechanics of aesthetic perception, a different status for the artistic product in contemporary society. It opens a new page in sociology and in pedagogy, as well as a new chapter in the history of art. It poses new practical problems by organizing new communicative situations. In short, it installs a new relationship between the contemplation and the utilization of a work of art.
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The World According to Eco - 0 views
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Then there's his idea that any text is created as much by the reader as by the author, a dogma that invaded the lit crit departments of American universities in the mid-'70s and that underlies thinking about text in cyberspace and who it belongs to. Eco, mind you, got his flag in first, with his 1962 manifesto Opera aperta (The Open Work).
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Because before you start talking about a Minister of Culture you have to decide what you mean by "culture." If it refers to the aesthetic products of the past -- beautiful paintings, old buildings, medieval manuscripts -- then I'm all in favor of state protection; but that job is already taken care of by the Heritage Ministry. So that leaves "culture" in the sense of ongoing creative work -- and I'm afraid that I can't support a body that attempts to encourage and subsidize this. Creativity can only be anarchic, capitalist, Darwinian.
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And how about your own sense of time? If you had the chance to travel in time, would you go backward or forward - and by how many years? And you, sir, if you had the chance to ask someone else that question, who would you ask? Joking aside, I already travel in the past: haven't you read my novels? And as for the future - haven't you read this interview?
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The Future of the Book - 0 views
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The present and the forthcoming young generation is and will be a computer- oriented generation. The main feature of a computer screen is that it hosts and displays more alphabetic letters than images.
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Moreover, the new generation is trained to read at an incredible speed. An old-fashioned university professor is today incapable of reading a computer screen at the same speed as a teenager
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I am a rare-book collector, and I feel delighted when I read the seventeenth-century titles that took one page and sometimes more. They look like the titles of Lina Wertmuller's movies. The introductions were several pages long. They started with elaborate courtesy formulas praising the ideal addressee, usually an emperor or a pope, and lasted for pages and pages explaining in a very baroque style the purposes and the virtues of the text to follow. If baroque writers read our contemporary scholarly books they would be horrified. Introductions are one-page long, briefly outline the subject matter of the book, thank some national or international endowment for a generous grant, shortly explain that the book has been made possible by the love and understanding of a wife or husband and of some children, and credit a secretary for having patiently typed the manuscript. We understand perfectly the whole of human and academic ordeals revealed by those few lines, the hundreds of nights spent underlining photocopies, the innumerable frozen hamburgers eaten in a hurry.... But I imagine that in the near future we will have three lines saying "W/c, Smith, Rockefeller," which we will decode as "I thank my wife and my children; this book was patiently revised by Professor Smith, and was made possible by the Rockefeller Foundation." That would be as eloquent as a baroque introduction. It is a problem of rhetoric and of acquaintance with a given rhetoric.
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The quest for a new and surviving literacy ought not to be the quest for a preinformatic quantity. The enemies of literacy are hiding elsewhere
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the radical mistake of irresponsible deconstructionists or of critics like Stanley Fish was to believe that you can do everything you want with a text. This is blatantly false. Busa's hypertext on the Aquinas corpus is a marvelous instrument, but you cannot use it to find out a satisfactory definition of electricity.
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Then there is the third possibility, the one outlined by Michael Joyce. We may conceive of hypertexts which are unlimited and infinite. Every user can add something, and you can implement a sort of jazzlike unending story. At this point the classical notion of authorship certainly disappears, and we have a new way to implement free creativity. As the author of The Open Work I can only hail such a possibility. However there is a difference between implementing the activity of producing texts and the existence of produced texts. We shall have a new culture in which there will be a difference between producing infinitely many texts and interpreting precisely a finite number of texts. That is what happens in our present culture, in which we evaluate differently a recorded performance of Beethoven's Fifth and a new instance of a New Orleans jam session
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The problem is in saying that we have replaced an old thing with another one; we have both, thank God. TV zapping is an activity that has nothing to do with reading a movie
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Debray has reminded us that the invention of the photograph has set painters free from the duty of imitation.
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Certainly the advent of cinema or of comic strips has freed literature from certain narrative tasks it traditionally had to perform. But if there is something like postmodern literature, it exists because it has been largely influenced by comic strips or cinema. This means that in the history of culture it has never happened that something has simply killed something else. Something has profoundly changed something else
Umberto Eco and the Open Text: Semiotics, Fiction, Popular Culture (by Peter Bondanella) - 0 views
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ceitean: demographics in animanga fandom - no, really, they're important - 0 views
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The age issue is something I don't usually see addressed in discussions about animanga fandom, at least in a way that isn't derisive. Obviously there are plenty of fans who aren't in the range of the general anime marketing demographic (which is another topic about the way US companies frame animanga), but after the huge boom in popularity/marketing push in the early 00s, the majority of animanga fans have been pre- to late-teenagers. And there is no group in the world that is as uneducated, inexperienced, and defensive about sexuality/gender/cultural issues than pre- to late-teenagers. Better yet, most of those fans in this particular corner of the internet are girls, who are not only inexperienced, but are also the demographic most likely to be scared of their own sexuality. There's meta floating around of the 'why do we slash?' variety, and one of the proposed ideas was that some fans use slashing as a way to explore sexuality without making it personal. It's the best description of a Yaoi FanGurl I've ever heard.
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Sandvoss, Cornel. Fans: The Mirror of Consumption. Cambridge: Polity, 2005. - 0 views
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The extensive theoretical background and literature review he provided is surely invaluable...despite his somewhat morally questionable, cannibalistic poaching of everyone elses' empirical legwork (not to mention self-congratulatory use of his own prior research).
Should Copyright of Academic Works Be Abolished? by Steven Shavell - 0 views
Simona's BL Research Lab Special: Gijinka! Personification frenzy! (do you know... Heta... - 0 views
Technologies of the Childhood Imagination: Media Mixes, Hypersociality, and Recombinant... - 0 views
Amateur Aesthetics Sean Cubitt - 0 views
Amateur-to-Amateur - 0 views
Women and Children Last: The Discursive Construction of Weblogs - 0 views
文学としてのマンガ - 0 views
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Russian LiveJournal: National specifics in the development of a virtual community - 0 views
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Academic Evolution: Scholarly Communications must be Mobile - 0 views
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Genres of scholarship will change in terms of their length and their appearance as mobile computers become a primary outlet for intellectual work.
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Genres of scholarship will change in terms of their length and their appearance as mobile computers become a primary outlet for intellectual work.
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But perhaps even more significantly, scholarship on a cell phone will be more social and more interactive -- and therefore more aligned or coincidental with teaching. We may begin thinking less in terms of scholarly publications as vetted objects, and more in terms of scholarly activities being conducted by trusted authorities. This raises profound questions about peer reviewing practices, as well it should. We are going to find that sophisticated intellectual work is going to be conducted outside of the ivory tower, and those within those elite walls must find ways to articulate their skills and knowledge through these new intellectual mechanisms (hardware, software, social practices) -- or risk getting excluded from the more consequential conversations.
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But perhaps even more significantly, scholarship on a cell phone will be more social and more interactive -- and therefore more aligned or coincidental with teaching. We may begin thinking less in terms of scholarly publications as vetted objects, and more in terms of scholarly activities being conducted by trusted authorities. This raises profound questions about peer reviewing practices, as well it should. We are going to find that sophisticated intellectual work is going to be conducted outside of the ivory tower, and those within those elite walls must find ways to articulate their skills and knowledge through these new intellectual mechanisms (hardware, software, social practices) -- or risk getting excluded from the more consequential conversations.
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But perhaps even more significantly, scholarship on a cell phone will be more social and more interactive -- and therefore more aligned or coincidental with teaching. We may begin thinking less in terms of scholarly publications as vetted objects, and more in terms of scholarly activities being conducted by trusted authorities. This raises profound questions about peer reviewing practices, as well it should. We are going to find that sophisticated intellectual work is going to be conducted outside of the ivory tower, and those within those elite walls must find ways to articulate their skills and knowledge through these new intellectual mechanisms (hardware, software, social practices) -- or risk getting excluded from the more consequential conversations.
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Scholarship has in many ways retained its authority relative to its erudite isolation; but reputation and authority are rapidly evolving online within popular culture and across a vast array of online social interaction.
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So, by claiming that scholarly communication must be mobile, I am also claiming that this will drive and/or accompany profound epistemological and rhetorical shifts for learned communication.
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"Genres of scholarship will change in terms of their length and their appearance as mobile computers become a primary outlet for intellectual work. "
Like Holding a Bird: What the Prevalence of Fansubbing can Teach Us about the Use of St... - 0 views
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