bluuebunny/crossref_metadata_2025 huggingface dataset:
Love Connection
Authors: Miley Mike
Published: September 2020

A game show seems to be the last place where one would find love; however, many artists have seen a deeper quest hidden inside the game show’s pursuit of trivial knowledge: the desire to know another person completely. Round Two argues that game-show discourse and romantic discourse are not as dissimilar as one would initially think. Films such as Ron Shelton’s White Men Can’t Jump and Jim Sharman’s Shock Treatment,works of fiction such as Alexandra Kleeman’s You Too Can Have a Body Like Mine and Helen De Witt’s Lightning Rods, and the unexpected-but-nevertheless-real subgenre of game-show erotica demonstrate the ways in which the game show can help lovers navigate the romantic hypermarket.
Introduction
Authors: Henry Frances , Plaza Dwaine
Published: September 2020

While the literature on Carnivals is fairly substantial, especially in the Americas, the subject of women in Carnival as a serious topic of inquiry is relatively new. While the glamour of skimpily clad young and very beautiful women celebrated in the Rio Carnival makes annual headlines, increasingly similarly dressed women in the Caribbean Carnivals also attracts media attention. One of the main differences between the Rio Carnival and those in the Caribbean and its diaspora is that in the former those who are chosen to head the glamorous floats are always young, slim, beautiful, and invariably white. The current Caribbean Carnivals, on the other hand, celebrate ordinary women of all ages, all skin colors, all ethnicities, and most of them are far from slim. As the numbers of women have grown in recent years to about 80 percent of the participants, this phenomenon has caught the attention not only of the media but also of scholars. The growth of feminist research, especially in the social sciences, has spurred on scholars to more closely examine the reasons for this growth in numbers as well as what these large ranks of women are actually expressing as they wine and carouse in very skimpy bikini-and-beads types of costumes (Hosein 2017; ...
Women and the De-Africanization of Trinidad Carnival: From the Jamette to Bikini, Beads, and Feathers
Authors: Plaza Dwaine , DeCosmo Jan
Published: September 2020

This chapter examines the evolution of Carnival traditions in Trinidad and Tobago as they relate to the historical context in which Carnival evolved from European traditions with distinct African customs as part of its DNA. The chapter examines the evolving African content in the annual Carnival celebrations from the 1950s to the present.Evidence is presented to show thatcurrent trends across most Carnival bands in Trinidad and the Diaspora has been to move away from epic theatricalproductions that have deep cultural meaning to themes and costumes that are superficial, homogenous and intimately interwoven with the sexual objectification of female masqueraders. These trends aremost apparent in the de-Africanization ofmas’ bands.
“Thirty Gyal to One Man”: Women’s Prolific Presence in the Trinidad Carnival
Authors: Bernard Asha St.
Published: September 2020

This chapter examines the very nuanced ways race, class and gender are used in the marketing of Carnival in Trinidad. The chapter pays particular attention to various texts on organizers’ websites, and their promotional material – while in some instances, juxtaposing and/or comparing them to other Carnival texts. Due to the popularity of some of these businesses, their authority is inevitable and as such, they have a huge impact on how locals and foreigners understand and experience Carnival.
Caribana in Toronto: From Male Dominance to Female Agency
Authors: Plaza Dwaine
Published: September 2020

This paper is to examine the current state of Caribbean women’s participation in the Caribana festival in Toronto. Caribbean-origin women in general have, over time, developed transnational identities that are a logical extension of their roles as modern, assertive feminist subjects who are employed full time, juggle familial responsibilities and are also actively participating in the Caribana cultural festival each year as spectators, supporters, and dancers who provocatively express their agency and independence.
Bechdel’s Men and Masculinity
Authors: Gardiner Judith Kegan
Published: September 2020

In both Fun Home and Dykes to Watch Out For, Alison Bechdel draws avatars of herself as a butch lesbian who has an admiration for “masculine beauty,” while preferring the company of women and the politics of Leftist lesbian feminism. In the “Cartoonist’s Introduction” to Dykes to Watch Out For, she describes how as a child she had “a curious fixation with the iconography of masculinity” and drew only male figures until years later she asked herself, “What if I stopped drawing guys and started drawing dykes?” (Essential Dykes viii, xiii). But she did continue drawing men as well, centering Fun Home on the depiction of her father’s dilemmas as a closeted gay man trying to fit American ideals of manhood. So Bechdel gives us sad past and potentially optimistic future visions of masculinity and sexuality. This chapter analyzes Bechdel’s men both externally and internally, first with attention to the ways in which she draws the repressed Bruce Bechdel, Alison’s father in Fun Home, and outgoing Stuart, progressive partner to one of Bechdel’s Dykes to Watch Out For, then to considering what she shows us of their thoughts and emotions in the social environments they inhabit.
Dancing With Memory In Fun Home
Authors: Bourbonnais Alissa S.
Published: September 2020

To think of choreography as a theorization of identity allows for a conception of movement in which bodies are more than the object of theory; bodies become the active subject, the Merleau-Pontian point of view in the world in which they move. Bechdel choreographs memory structurally through the complex relationship between chapter title panels and the chapter contents. Another way in which Fun Home embodies the act of remembering is through the myriad interactions Bechdel the creator has with Alison the character in the text. Multimodal narrative makes this type of interaction visible to the reader. “Dancing with memory” in Fun Home means traversing narrative lines where much of the meaningful dialogue between past and present becomes visible only through the relationship between text and image. Multimodal narrative allows for creators and audiences alike to witness from the outside in more explicitly the implicit affective responses to the very act of remembering through storytelling. Some of the most potent instances of embodied reading in Fun Home are those in which we see Bechdel the creator in dialogue with Alison the character. Excavating past selves to follow the trajectory of past movement is part of the work of autobiography and artistic expression of memory. The textual and visual choreography operates on multiple temporal levels, and through multiple modes of communication. Reading a graphic memoir is an embodied performative act. Considering the ephemeral nature of performance alongside the ephemeral nature of memory in Fun Home illuminates new ways of understanding both.
“It Both Is and Isn’t My Life”
Authors: Anderst Leah
Published: September 2020

From the perspective of autobiography studies and theory, the musical adaptation of Alison Bechdel’s important graphic memoir Fun Home is a fascinating case study. What of one’s life and experiences can one represent in words and in images? How much “fiction” might creep in given the imprecise nature of memory? How can one sign one’s name as the sole author of one’s life story when the often myriad people surrounding one contributed important pieces within one’s life—when all life writing is in fact relational? How, then, do these questions shift, in what new light can we see them, when an autobiographical text is adapted into another medium, by new writers, and performed nightly by actors? In particular, how does the musical and theatrical performance, experienced collectively, communicate experiences and feelings to an audience differently than does a book that one consumes alone? By comparing particular scenes and songs from the musical with their “source” scenes in Bechdel’s graphic memoir, this chapter will explore these questions paying close attention especially to scenes and strategies in each text that seem to call out for affective response and emotional connection from the audience and the reader.
The Experimental Interiors of Alison Bechdel’s Are You My Mother?
Authors: Howard Yetta
Published: September 2020

Before Alison Bechdel became widely read with the publication and subsequent Broadway adaptation of Fun Home (2006), her work reflected non-mainstream-oriented queer experience and the alternative comix legacy exemplified in Dykes to Watch Out For (1983–2008). In this spirit, this chapter takes Bechdel’s Are You My Mother? (2012) as its subject, but does so by thinking alternatively about how the book works as a graphic narrative pertaining to queer erotics and its associated relational contexts. What this essay will conceptualize as the text’s avant-garde aesthetics of interiority refers to qualities of the text that deploy representations of interiority that exceed and complicate the explicitly clinical or strictly psychoanalytic approaches to Are You My Mother?; an aesthetics of interiority, this chapter will show, more readily accommodates the formations and disruptions that accompany the queer “self” in—and as—the text. “Interiority” as defined here thus signifies textual-spatial instances of queer constructions of the “self.” This chapter contends that interiority is infinitely open-ended, resists closure, and ultimately provides a way out that the text uses as its own beginning and/or revision of a conclusion.
Decolonizing Rural Space In Alison Bechdel’s Fun Home
Authors: Hogan Katie
Published: September 2020

Although not done deliberately, Alison Bechdel’s Fun Home intervenes in rural queer studies by showing how geography, sexuality, and gender are vital to understanding the complexities of rural queer lives. Based on Bechdel’s experiences growing up in Beech Creek in the 1960s and 70s, Fun Home unwittingly resonates with the aims of rural queer studies by exploring, among other things, complex queer attachments to rural place—with a particular focus on the author’s father, Bruce Bechdel. Bruce was raised on a dairy farm, where he had his first same-sex experience with a farmhand. When he became an adult, his non-normative sexual activity was an open secret, until his arrest for providing an alcoholic beverage to a minor, the younger brother of one of his upper-class high school students. Bruce’s arrest threatens his reputation, livelihood, marriage, and family in an unprecedented way, and Alison Bechdel believes it drove him to suicide. Because Bruce is white, male, and college educated, and belongs to a family with a long history in Beech Creek, he escapes prison and is instead ordered to begin sessions with a psychiatrist for his “disorder.” Contrary to the impression given of Bruce in Fun Home scholarship, and even in Fun Home itself, in many ways life in Beech Creek suits him.
Inside The Archives of Fun Home
Authors: Van Dyne Susan R.
Published: September 2020

For Alison Bechdel, autobiography and biography were twinned in drafting her groundbreaking queer graphic memoir Fun Home. She recognized that unless she could write the story of the father who defined her childhood and adolescence, she could not create the narrative of her own queer becoming. The archives for Fun Home, part of the Alison Bechdel collection held by Smith College, offer unparalleled access to her creative process and to Bechdel’s struggle to understand her father’s sexuality in relation to her own in order to write a queer family history that could include them both. This chapter proposes that Bechdel’s autobiographical subject is constituted through recurring writing strategies that try to inhabit her father’s consciousness, first through entering his language by transcribing his letters to her at college, and later, toward the end of her lengthy drafting process, by drawing father and daughter as mirror images of each other.
Put Some Light into the World: Interview with Brian Michael Bendis and David Walker
Authors: Parker Johnny
Published: September 2020

High school English teacher and comics author Johnny Parker interviews acclaimed comics writers David Walker and Brian Michael Bendis in a rousing conversation discussing their intentions and goals as writers and educators.
Teaching the Unthinkable Image: An Interview with Lynda Barry
Authors: Misemer Leah
Published: September 2020

Leah Misemer interviews influential comic book creator and professor, Lynda Barry, discussing the role of pedagogy within Barry’s classroom practices. Barry’s words here complement the varied nature across the chapters in this section and her diverse array of publications.
In the Cards: Collaboration and Comics-Making in the Traditional English Classroom
Authors: Køhlert Frederik Byrn , Sousanis Nick
Published: September 2020

Linking theory and practice, Frederik Byrn Køhlert and Nick Sousanis offer myriad examples of what their co-teaching approach with and through comics looks like. Sharing prompts, students’ work, and their pedagogical decisions, Køhlert and Sousanis give readers a peek under the hood of what their comics pedagogy looks like within traditional English settings.
Transforming the Schizophrenic through Cinematic Therapy
Authors: Reynolds Eileen Anastasia
Published: September 2020

The author shares her directorial experience in the making of her short film where she invited her aunt to participate in the production process. As her aunt had been diagnosed with schizophrenia in the past and was going through depression when the film was planned, it was supposed that perhaps the film-making process would help improve her mental health with her being part of a creative project. From script-writing, to acting, and even animating, the author had fully engaged her aunt from start to finish. The essay documents the author’s reflections of her aunt’s participation and how her sense of mental wellbeing improved dramatically as the film project progressed. The issue of exploitation is also considered in the essay as there is a difference between engagement and empowerment as opposed to deception and participation. Though the film did not win any awards at the 48-Hour Film Festival; the cinematic therapy experience highlighted the potential of seeking new pathways in supporting mental health patients.
“We Are All Humans”
Authors: Horvath Gyongyi
Published: September 2020

Can a comic effectively convey a message of empathy, challenge attitudes, and render accessible one of the most violent episodes in history to children as young as 8 years old? This essay examines the possibility via an analysis of primary school students’ interpretation of 100 Days in the Land of the Thousand Hills, a comic developed by the United Nations International Criminal Tribunal for Rwanda (ICTR) about the Rwandan genocide. It demonstrates how the comic challenges students’ attitudes, and in turn how their reading and discussion of the text leads to the creation of new perspectives that shape how they relate to one another. In doing so, it explores the shifts in thinking and normalization of empathy via a profound realization of shared humanity, shedding light on the transformation experienced by the children through their individual and shared interaction with the comic.
Understanding Thai Animation Narratives
Authors: Young Millie
Published: September 2020

To date, there has been a lack of academic writing on Thai animation; this essay provides a timely survey and analysis of the subject. The author observes that Japanese/Western narrative styles seem to influence the development of Thai animation. However, her goal is to highlight that increasingly, the local culture is beginning to bear weight on the current and future progress of Thai animation. Indeed, Buddhism and the local mix of cultural beliefs and values, including environmentalism, are being expressed in the narrative contents of Thai animation. By discussing the cultural idiosyncrasies and contradictions inherent in Thai society, the author also self-reflects on her pedagogic experience in Thailand and aspiration of encouraging the students to create and improve upon their storytelling skills besides attaining the technical know-how. She argues that there are emergent narrative alternatives in comparison to the dominantly ideological ones, with the former having the potential to shape a promising future for Thai animation.
Reviewing the South: Competing Canons in South Today and the Kenyon Review
Authors: Dominy Jordan J.
Published: September 2020

This chapter considers the editorial careers of Lillian Smith and John Crowe Ransom. Lillian Smith co-edited the little magazine South Today from 1936 to 1945 out of Clayton, Georgia, while John Crowe Ransom was the long-time editor of the Kenyon Review, a journal important in the proliferation of the New Criticism. This chapter uses these two figures, their periodicals, and their editorial decisions to show two competing criteria for a literary canon at the moment of World War II. Smith, whose magazine published many of her own essays on southern culture, was an anti-segregationist, and values literary works that established a progressive view on race relations. Smith’s ideal literary canon was a socially and politically engaged one. On the other hand, the optics of being apolitical by emphasizing aesthetics were the guiding principles for Ransom in his leadership of Kenyon Review, evidenced by the kinds of criticism and reviews published.
Southern Studies as Area Studies: Faulkner and Provincial Nationalism during the Cold War
Authors: Dominy Jordan J.
Published: September 2020

This chapter considers William Faulkner’s role as a literary giant and cultural ambassador during the Cold War and how his canonization into both American and southern literature reveals the usefulness of southern identity and values to the diplomatic ambitions of America on the world stage. His canonization help establish connections between area studies, American studies, and southern studies. This role is explored through close reading of Intruder in the Dust (1948), and Faulkner’s prominence in Louis D. Rubin, Jr. and Robert Jacob’s Southern Renascence (1953), the first published collection of scholarship on southern literature. Both cast the racial problems in the South as moral ones that can be solved by an exceptional culture of honor and tradition, which in turn bolsters American democratic values and dismisses race as a serious social and political problem at a moment when the country attempts to exert hegemonic influence on the world stage.
Shakespeare’s Villains1
Authors: Charney Maurice
Published: September 2020

Supervillains have been stock characters in popular culture for decades, and, just as we can trace the roots of modern superheroes to ancient hero tales, we can find precursors to supervillains in myths as well. In this paper I examine a “proto-supervillain” from ancient India: Aṅgulimāla, a vicious murderer who, subdued by Buddha, renounces his outlaw ways for monastic life and eventually attains nirvana, the supreme goal in early Buddhism. Aṅgulimāla is well-known in Buddhist tradition, and over the years his story has been the focus of various paintings, sculptures, folktales, popular rites, and movies. More interestingly, though, like many modern supervillains, Aṅgulimāla is deeply complex and compelling – an undeniably evil figure who is also a “victim,” and who turns out to be rather heroic. I maintain that Aṅgulimāla’s redemption reveals something important about the relationship between heroes and villains that we do well to heed.
Caligari1
Authors: Kracauer Siegfried
Published: September 2020

J.K. Rowling’s Voldemort shows readers a uniquely unusual type of evil seen alongside the pantheon of super-villains we know and love to revile. This essay posits that Voldemort’s unusual evil resides in Rowling’s treatment of the idea of the horcrux and its power to influence Harry, the protagonist of the Harry Potter series, as well as other characters. Building on insights from feminist ethics and moral philosophy, this essay explores Voldemort’s particular evil through its relational effects, beyond the personality and actions of the villain himself.
“You Were the Chosen One!”
Authors: Lomax Tara
Published: September 2020

In recent years, Harley Quinn has become one of DC Comics most recognizable—and bankable—properties. The character has been featured in numerous comic book series, video games, toy lines, and live-action films, but it was her introduction in Batman: The Animated Series that positioned her in the popular imaginary as The Joker’s psychologically conflicted accomplice and lover. This chapter documents and examines Harley Quinn’s origins and character development in Batman: The Animated Series. The authors deconstruct Harley’s efforts to reconcile her dual roles as victim and victimizer in a cartoon show that, although intended for children, sexualizes her through innuendo and aesthetics, and fetishizes gender violence.
The Kingpin
Authors: Litsey Ryan
Published: September 2020

In consonance with several contemporary television series in which one of their main narrative purposes is to delve into the murderer’s universe, this research focuses on the representation of some of the most relevant fictional serial killers (i.e., Dexter Morgan, Hannibal Lecter, Norman Bates, or Joe Carroll). Specifically, this chapter deepens different resources used to enhance the persuasive attraction that defines these monstrous protagonists. Firstly, from a narrative perspective, the study explores some of the key-elements in the humanization process of the character, such as motivations, traumas, and personal relationships. Secondly, from a mise-en-scène approach, the chapter examines the construction of the serial killer and the environment he inhabits as defining mechanisms. Finally, the socio-cultural context in which these shows are produced is also analyzed, studying some of the essential reasons of the re-emergence of these characters.
The Absence of Black Supervillains in Mainstream Comics1
Authors: Cunningham Phillip Lamarr
Published: September 2020

During the Watergate scandal, in the pages of Captain America and the Falcon, writer Steve Englehart embarked on a multi-issue storyline revolving around a “Secret Empire” that sought to covertly rule America. In issue#175 (1974), the organization’s leader, “Number One,” was exposed as President Richard Nixon. Rather than being publicly exposed, “Nixon” chooses to commit suicide. The storyline would result in the hero’s questioning of what America had become, and whether he could continue as a symbol of the country. Coming months before Nixon would resign in real-life, the reader can see how far he had fallen in the eyes of Americans. The use of a comic book fiction to portray the angerand frustration with someone seen by the general public as villainous, provides an excellent window into America’s ideas of “villainy” in the mid-1970s.
Excerpts from Japanese Demon Lore
Authors: Reider Noriko T.
Published: September 2020

This paper examines the relationship between the superhero and the sidekick to problematize the hero’s complicity in violence, focusing on the relationship between Captain America and his sidekick-turned-antihero Bucky Barnes, AKA the Winter Soldier. The political allegory of Captain America as a heroic figure in wartime is problematized by Bucky as a child soldier in WWII, an assassin during the Cold War, and a villain seeking redemption during the War on Terror. The diegetic revisions of Bucky’s character make him a fascinating proxy for the necessary omissions in superhero storytelling and historical revisionism that separate heroism and villainy.
From Perfect Hero to Murderous Villain
Authors: Mceniry Matthew
Published: September 2020

In Superman: Red Son (2003), Mark Millar reimagines America’s fictional “Man of Steel” as the surrogate son and ideological heir of Joseph Stalin, Soviet Russia’s historical “man of steel.” In doing so, Millar and his collaborators reimagine the power dynamics of the Cold War and grapple with questions of villainy and heroism in such a redefined political landscape. This essay considers how, in separating Superman’s idealized morality from his ideological association with America, Red Son challenges the reader’s conceptions of “good” and “evil” and raises questions about leadership, hero worship, terrorism, and the influence of political ideologies on our ideas of ends versus means. This was particularly poignant in the three-issue series’ consideration of national security and mass surveillance, a theme that continues to be relevant even as it was especially effectual for the post-9/11 moment in which the series was released.
Distortions of Supervillainy, Radical Interiority, and Victimhood in Sam Kieth’s The Maxx
Authors: Hong Tiffany
Published: September 2020

It's often stated that Superman is a boring hero because of his perfection in power, integrity, and character. What if this super-powered individual were to turn away from preserving humanity through justice and decided to save humanity from itself through brute force? This is the premise of Tom Taylor's series Injustice: Gods Among Us and seeing Superman's descent into villainy is one of the most compelling reversals in the superhero universes. Mark Waid's series, Irredeemable, also explores this concept of a god-hero turning his back to the world he swore to protect and annihilating it and the heroes he once called friends. This chapter analyzes the Superman of Injustice and the Plutonian of Irredeemable, exposes their burdens and responsibilities to the societies they live in, and shows why those that are framed as perfect gods can turn out to be the most insidious devils.
Afterword
Authors: Duncan Randy
Published: September 2020

The Maxx, like so many other productions of the 1990s, is currently enjoying a resurgence and return to cultural relevance in a remastered IDW edition (with new colors by Ronda Pattison) in celebration of the twentieth anniversary of its first printing with Image Comics.The Maxx remains equal parts provocative, disturbing, and inscrutable because of Sam Kieth’s confrontation of the psychological landscape and conditions of the superhero genre itself: the inherent schizophrenia of the masked split identity, the interdependent triangulation of hero/villain/victim, and the necessity of victimhood as a precondition of heroism and rescue. In tandem with this, Kieth’s aesthetics – particularly his use of panels, insets, colors, and gutters – almost weaponizes the technical aspects of sequential art in order to impose the scattered, unreliable, and atemporal experience of trauma itself on the reader.
Rising from the Gutter
Authors: Cole Jean Lee
Published: September 2020

This chapter shows how the early comic strip was developed and then came to influence comic fiction in the early twentieth century. As the editor of the New York Journal‘s comic supplement, Rudolph Block regularized the use of panels, repetitive storylines, and caricature, resulting in the multi-panel format that defines the comic-strip genre. Block’s role in the development of the comic strip has gone largely unrecognized; as a writer of Jewish American literature, Block has been forgotten. Using the pseudonym Bruno Lessing, Block published nearly a hundred stories between 1905 and 1920 in popular magazines. These humorous stories, full of rich dialect and accompanied by vibrant illustrations, translated the multiethnic culture of the Lower East Side for a mainstream, English-speaking audience. Block represented dialect and caricature as opportunities for negotiation and play, providing ways to display identity in multiple and shifting forms.
Coda
Authors: Cole Jean Lee
Published: September 2020

The comic sensibility can ultimately be described as a way to make sense of trauma through collective feeling. This chapter offers avenues to explore further, especially the comic sensibility as expressed by women on stage, in comic strips, in fiction, and in art. Initial readings of strips by Grace Gebbie Wiederseim (later Grace Drayton, creator of the Campbell’s Soup Kids), Katherine P. Rice, and Marjorie Organ show that women comic strip artists presented a singularly grotesque vision of American domestic life and the courtship rituals of the New Woman. Paintings of Edith Dimock Glackens, wife of William Glackens, also display the comic sensibility through a visceral engagement with color and the grotesque possibilities of the human form.
“Real” Wrestling
Authors: Mazer Sharon
Published: September 2020

Professional wrestling is an unsporting sport, a theatrical entertainment that is not theatre. Its display of violence is less contest than ritualized encounter between opponents, replayed repeatedly over time for an exceptionally engaged audience. To watch wrestling and write about its performance is to attempt to come to terms with the significance of a highly popular performance practice as it intersects, exploits, and parodies the conventions of both sport and theatre. Rather than simply reflecting and reinforcing moral clichés, professional wrestling puts contradictory ideas into play, as with its audience it replays, reconfigures, and celebrates a range of performative possibilities. Beyond its spectacular elements, professional wrestling is an athletic performance practice, constructed around the display of the male body and a tradition of cooperative rather than competitive exchanges of apparent power between men as directed by the promoter. The fight is fixed, in the squared circle as in life.
From Beefcake to Cheesecake
Authors: Mazer Sharon
Published: September 2020

The presence of women in the arena—as “girl” wrestlers, managers, etc.—is bound up in conventionally eroticized ideas of female power, the sale of her performance conflated simultaneously with male desire to see two women “together” and with male desire to experience domination without danger. If the performances of male wrestlers may be seen to celebrate a range of masculine possibilities while affirming the essential “man” within, then it is possible to see that the performances of female wrestlers also serve to celebrate and affirm masculine ideals. The performance of the girl wrestler serves to legitimize the male wrestler’s performance both by taking the place of the “not-man” and by deflecting the event’s otherwise homoerotic energies onto herself. In doing exactly what the men do in performance, she also serves to bring to the surface the otherwise repressed sense of wrestling’s sensuousness and its sexual implications.
“Real” Life
Authors: Mazer Sharon
Published: September 2020

What fans come to recognize and interact with as they “get in on the game” and move from “mark” to “smart,” is the play outside the play: first the signs of a hero or villain, then the inevitable failure of the representatives of authority in the ring to assure a fair fight and a just end, and finally that the true power lies in the hands of the promoter whose purchase of a wrestler includes the right to dictate his success or failure. For fans, not only are the stories that are told to them in the ongoing professional wrestling narratives drawn from life, life itself can be read through the structures and understandings that professional wrestling provides. The real contest is not between wrestlers, with whom fans identify, but between themselves as competing experts and, most important, between themselves as consumers and the guys with the money and power.
Ms. Marvel is an Immigrant
Authors: Rashid Hussein
Published: September 2020

Kamala Khan is often described as a Muslim superhero. But her official description mentions more than her religion: her family is​ ​from Pakistan, she is a teenager, and she is from New Jersey. She is a clearly a multi-identified individual, many facets of which put her in opposition to a conception of what it means to be American that is enshrined in the founding documents of the United States, which privilege race, class, and gender explicitly, and establish norms around religious belonging. The integration of a marginalized community to the cultural center is not unidirectional, but dialogic; both the center and the margin change. The mechanism for this change is the process of hybridity, but that process cannot be fully understood without an engagement with how the dominant society is marginalizing Khan’s various identifications, and how she is being written in response to that marginalization.
“The Only Nerdy Pakistani-American-Slash-Inhuman in the Entire Universe”
Authors: Dagbovie-Mullins Sika A. , Berlatsky Eric
Published: September 2020

As a Muslim Pakistani-American whose parents are immigrants, Kamala Khan occupies a neither/nor position familiar in both American “mulatto” literature and in postcolonial immigrant literature, wherein the mixed-race character is frequently marginalized, alienated, and Other. She is one of many examples in contemporary superhero comics both of an increased attention to the representation of people of color, and of a potentially ahistorical/apolitical postracialism. Ms. Marvel’s metaphorical mixed-racedness serves to place her in the vicinity of the postracial or in the lineage of the “multicultural” which preceded it, a vision of the world (or at least the nation) wherein race no longer has political significance, but is instead merely a signifier of multiculturalism. The political facts of being a Muslim and/or South Asian in America, and particularly in Jersey City, are either underplayed or ignored throughout Khan’s first Ms. Marvel series.
Kamala Khan, Miles Morales, and Marvel Now!
Authors: Pumphrey Nicholaus
Published: September 2020

In 2012, Marvel Comics created a diversity campaign called Marvel Now! Several new characters were developed in order to add diverse superheroes to the Marvel Universe in an attempt to attract new fans through representation. This introduction of new heroes brought readers a Pakistani-American, Muslim Ms. Marvel in Kamala Khan, as well as Miles Morales, a Spider-Man of Black and Latino heritage. Given the stereotype that the majority of comic book fans are white, cisgender males, there was considerable resistance from traditional readers regarding these two new characters. This chapter examines the responses that arose from the assumed threat to white, cismale identity, the gatekeeping within comic book readership, and the toxic culture of the white, male fanboy.
Introduction
Authors: Wales Freedman Eden
Published: September 2020

The introduction explicates theories of dual-witnessing and Venn liminality and introduces the reader to the terminology the author developed to address readerly engagement of (African) American traumatic and testimonial literature. The introduction also explains how the author’s modes of reading trauma intersect with American literature, critical race theory, and gender criticism and unpacks what (and how) this Venn conversation contributes to the fields of trauma, race, gender, and reception studies and (African) American literature.
“To Be Free to Say So”
Authors: Wales Freedman Eden
Published: September 2020

This chapter examines Afra-American emancipatory narratives as fundamentally testimonial literature, foundational to ensuing readings of trauma, blackness, and womanhood. Specifically, the chapter analyzes Sojourner Truth’s Narrative (1850), Harriet Jacobs’s Incidents in the Life of a Slave Girl (1861), and Elizabeth Keckley’s Behind the Scenes (1868) to consider how black and female speakers witness through nineteenth-century emancipatory narratives. The chapter also considers an Afra-American narrator’s (in)ability to testify to her personal experience of the prevalence of sexual abuse in American slavery and the misogynoir it reflects; how the intrusion of an amanuensis, editor, or pseudonym into a narrative affects its witnessing potential; and how gender and race work together and against each other to help and hinder witnessing. Finally, the chapter considers how contemporary readers may respond to these narratives, laying a foundation for succeeding readings of trauma and reception theory and race and gender studies in (African) American literature.
“You Cant Understand It”
Authors: Wales Freedman Eden
Published: September 2020

This chapter analyzes how Faulkner’s work (anti-)witnesses American trauma, race, and gender. Explicitly, the chapter explores how Faulkner’s Afra-American characters (e.g., Dilsey Gibson in The Sound and the Fury, the “womanshenegro” in Light in August, and Clytie and Eulalia Bon in Absalom, Absalom!) are co-opted to speak to a primarily white and androcentric perspective. They thus reveal more about the position and privilege of white men living in the American South than about the marginalization of black women in the same geocultural space. The chapter also argues, however, that a redeeming feature of Faulkner’s work is that his texts impel readers to dual-witness where and when he, as author, does not. A benefit, then, to reading Faulkner’s work is that, in considering its problematic treatment of trauma, race, and gender, readers can learn to recognize the dangers of anti-witnessing and to practice dual-witnessing, even when characters and storylines do not.
“You Got Tuh Go There Tuh Know There”
Authors: Wales Freedman Eden
Published: September 2020

This chapter examines how African American literature models and promotes dual-witnessing by underscoring the necessity of primary witnessing and impelling the reluctant reader to witness the narrative experience secondarily. To explore this doubly testimonial orientation, the chapter analyzes two key texts: Zora Neale Hurston’s Their Eyes Were Watching God (1937)—in which the life-narrative of the protagonist, Janie, is witnessed dually through conversation with her friend Pheoby—and Margaret Walker’s Jubilee (1966), which likewise embraces dual-witnessing and additionally moves the conversation from two speakers of the same community, race, and gender (e.g., Janie and Pheoby in Their Eyes Were Watching God) to many speakers who partake in an epic-scaled, multiethnic, multi-gendered, and multi-classed communal witnessing. In reading these novels together, the chapter considers how Their Eyes
Were Watching God witnesses primarily to Jubilee, which in turn witnesses the earlier work secondarily and intertextually.
Owning It
Authors: Winslow J. D. A.
Published: September 2020

This paper analyses the constructed reality TV show Made in Chelsea as a vision of a post-work world. Specifically I situate the programme as providing a more realistic vision of a post-work economy than that set out by left futurists advocating for fully automated luxury communism. Through an analysis of the depiction of work and play within the show it becomes apparent that any apparent boundaries between the two are rapidly collapsing, with both subsumed under the auspices of performative authenticity. I argue that increasing automation will more likely lead to fully automated luxury communicative capitalism, unless left futurists acknowledge the affective aspects of social media use.
Analisis Hubungan KarakteristiK Pasien Peserta BPJS dengan Tingkat Kepuasan Pasien Peserta BPJS terhadap Pelayanan Rawat Inap di Rumah Sakit Umum Darul Istiqomah Kendal
Authors: Hakim Fanny Ardhitunggal , Suryawati Chriswardani
Published: September 2020

RS Muhammadiyah Darul Istiqomah Kendal merupakan RS tipe D yang ingin meningkatkan mutu pelayanannya setelah bekerjasama dengan BPJS Kesehatan. Peningkatan mutu pelayanan berhubungan erat dengan tingkat kepuasan pasien. Untuk mengukur tingkat kepuasan pasien ada sepuluh indikator  yang dikembangkan Linder-pelz(1982) dalam krowinski antara lain accessibility/convenience;availability of resources; continuity of care; efficacy/outcomes of care; finances; humaneness; information gathering; information giving; pleasantness of surroundings; quality/competence.Desain penelitian ini cross sectional dengan pendekatan kuantitatif, jumlah sampel 120 dengan mengukur tingkat kepuasan antara karakteristik pasien yang meliputi umur; jenis kelamin; pendidikan; pekerjaan; penghasilan; status kepesertaan JKN dengan 10 indikator  yang dikembangkan Linder-pelz(1982).Hasil penelitian ini menunjukkan bahwa sebagian besar responden merupakan pasien peserta BPJS PBI dengan berpenghasilan < 1500000. Rata-rata pasien puas terhadap pelayanan rawat inap. Indikator dengan skor kepuasan tertinggi adalah indikator quality/competence(87,5%) dan dimensi dengan skor kepuasan terendah adalah dimensi availability of Resources (61,66%). Penelitian ini menunjukkan tidak ada hubungan yang bermakna antara jenis kelamin dengan kepuasan (p=0,304), dan antara usia dengan kepuasan (p=0, 346), ada hubungan yang bermakna antara pekerjaan dengan kepuasan,  penghasilan dengan kepuasan, status kepesertaan BPJS dengan kepuasan, antara pendidikan dengan kepuasan (p=0,00).Kesimpulan dari penelitian ini untuk manajemen RSDI yang harus segera diprioritaskan Kesiap siagaan perawat, kelengkapan alat pemeriksaan kesehatan, kemudahan cara pembiayaan pelayanan, tidak adanya biaya tambahan untuk obat tertentu, keseragaman dalam pelayanan keperawatan, penyampaian informasi tindakan, penyampaian informasi keadaan klinis, kebersihan dan kenyamanan lingkungan RS dan kompetensi karyawan..
Gambaran Kepesertaan JKN Tahun 2019
Authors: Nurvita Silvia
Published: September 2020

National Health Insurance (JKN) is a program of the National Social Security System with the principle of social health insurance that is mandatory for the Indonesian population under Law No. 40 of 2004. The National Health Insurance has been implemented by the BPJS since January 1, 2014. BPJS of Health is a public legal entity that coordinates directly under the President and in 2019 all Indonesian people have to become JKN participants to make Universal Health Coverage (UHC). The purpose of this study was to study the JKN participant in 2019. This study used a descriptive type of research. The subject of this study is the all population of Indonesia. This study will discuss the number of JKN participants, types of JKN participation, rights and obligations, procedures for registration, cost, and how to use a National Health Insurance card. The results of this study show data from BPJS of Health on August 8, 2014 that National Health Insurance participants 126,487,166 people from total population 257,5 million. JKN participation continues to increase every year until 2019. Data from BPJS Health of JKN participants as of April 1, 2019 amounted to 219,669,453 people with a total PBI-APBN 96,517,386 people, PBI-APBD 35,925,726 people, PPU – PN 17,279,621 people, PPU-BU 33,187,465 people, PBPU 31,600,985 people, and Not Workers 5,158,270 people. In 2019 all Indonesia people became JKN participants. The conclusion that the number of JKN participants continued to increase, April 1, 2019 JKN participants 219.669.453 people from total population 257,5 million and in 2019 Indonesia be expected UHC. Suggestions  this research, companies that have not yet register their employees in JKN and people have not yet become JKN participants are immediately register through the office / website BPJS of Health or care center 1500400, Mobile JKN, e-DABU.
Drift – A change of perspective
Authors: Roelcke Thorsten
Published: September 2020

Using the example of the German language, this contribution discusses different models of a drift between synthetic and analytical construction. As an alternative to existing models, a design that combines different perspectives is presented. Linguistic developments are not viewed as monodirectional or even monocausal, but as polydirectional and polycausal so that the question of the direction and causality of typological changes is answered with the assumption of a complex structure of dependencies. This model of typological change integrates both extra-linguistic and intra-linguistic factors. On the one hand, developments in the cultural environment are made responsible for changes in the linguistic system, since these developments require a different communicative behavior of the members of the language community. On the other hand, the model also takes into account the principle of self-regulation of a linguistic system based on an optimal relationship between communicative effort and communicative result.
Hybridität als Motor und als Ergebnis von Sprachwandel
Authors: Földes Csaba
Published: September 2020

This paper deals with constellations in which, as consequences of linguistic interculturality, elements of two or more languages encounter each other and result in something partially or completely new, an – occasionally temporary – “third quality”, namely hybridity. The paper contributes to the meta-discourse and theory formation by questioning the concept, term and content of “linguistic hybridity”. It also submits a proposal for a typology of linguistic-communicative hybridity that consists of the following prototypical main groups, each with several subtypes: (1) language-cultural, (2) semiotic, (3) medial, (4) communicative, (5) systematic, (6) paraverbal and (7) nonverbal hybridity. At last, the paper examines hybridity as an explanatory variable for language change. In conclusion, hybridity is generally a place of cultural production, with special regard to communication and language it is potentially considered as an incubator of linguistic innovation. Hybridity can be seen as the engine and as the result of language change, or language development. It represents an essential factor by which language functions and develops as a complex adaptive system. Hybridity operates as a continuous cycle. By generating innovation, it triggers language change, which in turn, leads to further and new hybridizations. The processuality of hybridity creates diversity, while at the same time it can cause the vanishing of diversity.
The prevalence of weight-control behaviors and associated factors among adolescent girls in Tehran
Authors: Hoseini-Esfidarjani Sara-Sadat , Negarandeh Reza , Janani Leila
Published: September 2020

Objectives

Weight control behavior is a strategy for weight loss or weight gains that range from healthy to unhealthy. This study is aimed to determine the prevalence of weight control behaviors and their related factors in adolescent girls in Tehran.

Methods

Adolescent girls in the last grade of high school (n=491) that were selected by a multi-stage sampling method completed a cross-sectional survey (2018) in Tehran city in Iran. Data were collected using questionnaires (standard and researcher-made) by the self-report method and analyzed using descriptive and inferential statistics, including Chi-square, independent t-test, and logistic regression.

Results

17.5% of adolescents had healthy, 60.6% had unhealthy, 15.8% had extreme unhealthy weight control behaviors, and 6.1% had no weight control behaviors. 74.8% of adolescents were in the normal body mass index (BMI) percentile. Unhealthy weight control behaviors were observed more than healthy behaviors at all BMI levels. Weight control behaviors had significant relationships with weight control intention (p=0.005), family (p=0.016) and peers (p=0.011) encouragement to weight control, engagement of relatives in weight control behaviors (p=0.016), anxiety (p<0.001), and age (p=0.030). BMI has a positive correlation with body weight satisfaction (p<0.001) and body weight perception (p<0.001). The results of logistic regression showed that increasing anxiety score can increase the possibility of engaging in unhealthy weight control behaviors (odd ratio=1.086, p=0.006).

Conclusions

Considering that a significant percentage of adolescents have unhealthy and extreme unhealthy weight control behaviors, and some of these behaviors leave irreversible effects on the health of this age group, design, and implementation of educational programs to prevent such behaviors seem imperative.