This book addresses the pervasive representation of women with unique visionary abilities in postfeminist television series and films from the 1990s to the present. These women mediate between the living and the dead or between different worlds of experience, redefining what it means to be "normal" and challenging the traditional boundary between science and the inner world of visionary, mystical experience. Part 1 includes a discussion of modern-day Cassandra figures, including the witches and other "seers" of the television series Buffy the Vampire Slayer, Angel, Firefly, Charmed, Hex, and Tru Calling. Part 2 discusses modern television shows whose main characters represent a contemporary spin on Joan of Arc, including Joan of Arcadia and the short-lived Wonderfalls. Finally, Part 3 investigates female mediums and other "psychic detectives" in reality television series such as Psychic Investigators and Rescue Mediums; the popular television dramas Medium, Ghost Whisperer, and Afterlife; and contemporary films such as Ghost, The Gift, and Premonition.
Whether they graphically depict an individual's or a community's beliefs, express the defiance of authority, or brand marginalized groups, tattoos are a means of interpersonal communication that dates back thousands of years. Evidence of the tattoo's place in today's popular culture is all around--in advertisements, on the stereotypical outlaw character in films and television, in supermarket machines that dispense children's wash-away tattoos, and even in the production of a tattooed Barbie doll. This book explores the tattoo's role, primarily as an emblem of resistance and marginality, in recent literature, film, and television. The association of tattoos with victims of the Holocaust, slaves, and colonized peoples; with gangs, inmates, and other marginalized groups; and the connection of the tattoo narrative to desire and violence are discussed at length.
In 1998, the series "Charmed", the story created by Constance M. Burge of three sisters who discover that they are powerful witches, first aired on the WB network. The series ran for eight series and into top-rating DVDs, and has established a continuing presence as cult TV. The world of "Charmed" is distinctively one of female solidarity, with sisters Piper, Prudence, Phoebe and, with the death of Pru, half-sister Paige making up the 'power of three'. In their crusade against the demonic population of their home city of San Francisco, the Halliwell sisters have also inherited their powers and "The Book of Shadows" through the female line. The expert contributors to "Investigating 'Charmed'", all of them fans of the show, explore its nature as ground breaking TV. They debate the status of "Charmed" as third wave feminist narrative, as well as its upturning of notions of sexuality, and its creation of alternative forms of family life. The San Francisco setting is explored as is "Charmed's" brand of witchcraft and fantasy, its mythological antecedents and female heroes. Looking also at the fans' relationship to the show, as well as its novelizations, fan fiction and blogs, the book on this fantastic magical show concludes with a complete Episode Guide.
This book addresses the pervasive representation of women with unique visionary abilities in postfeminist television series and films from the 1990s to the present. These women mediate between the living and the dead or between different worlds of experience, redefining what it means to be "normal" and challenging the traditional boundary between science and the inner world of visionary, mystical experience. Part 1 includes a discussion of modern-day Cassandra figures, including the witches and other "seers" of the television series Buffy the Vampire Slayer, Angel, Firefly, Charmed, Hex, and Tru Calling. Part 2 discusses modern television shows whose main characters represent a contemporary spin on Joan of Arc, including Joan of Arcadia and the short-lived Wonderfalls. Finally, Part 3 investigates female mediums and other "psychic detectives" in reality television series such as Psychic Investigators and Rescue Mediums; the popular television dramas Medium, Ghost Whisperer, and Afterlife; and contemporary films such as Ghost, The Gift, and Premonition.
Whether they graphically depict an individual's or a community's beliefs, express the defiance of authority, or brand marginalized groups, tattoos are a means of interpersonal communication that dates back thousands of years. Evidence of the tattoo's place in today's popular culture is all around--in advertisements, on the stereotypical outlaw character in films and television, in supermarket machines that dispense children's wash-away tattoos, and even in the production of a tattooed Barbie doll. This book explores the tattoo's role, primarily as an emblem of resistance and marginality, in recent literature, film, and television. The association of tattoos with victims of the Holocaust, slaves, and colonized peoples; with gangs, inmates, and other marginalized groups; and the connection of the tattoo narrative to desire and violence are discussed at length.
In 1998, the series "Charmed", the story created by Constance M. Burge of three sisters who discover that they are powerful witches, first aired on the WB network. The series ran for eight series and into top-rating DVDs, and has established a continuing presence as cult TV. The world of "Charmed" is distinctively one of female solidarity, with sisters Piper, Prudence, Phoebe and, with the death of Pru, half-sister Paige making up the 'power of three'. In their crusade against the demonic population of their home city of San Francisco, the Halliwell sisters have also inherited their powers and "The Book of Shadows" through the female line. The expert contributors to "Investigating 'Charmed'", all of them fans of the show, explore its nature as ground breaking TV. They debate the status of "Charmed" as third wave feminist narrative, as well as its upturning of notions of sexuality, and its creation of alternative forms of family life. The San Francisco setting is explored as is "Charmed's" brand of witchcraft and fantasy, its mythological antecedents and female heroes. Looking also at the fans' relationship to the show, as well as its novelizations, fan fiction and blogs, the book on this fantastic magical show concludes with a complete Episode Guide.
First published in 2000. Women's Anger brings together, in an integrated presentation of anger over the lifespan, theoretical understandings, clinical experiences, empirical research, and the lived experience of anger for women and girls. Women's Anger offers a combined focus of feminist and developmental perspectives on anger, the psychology of emotion, and applied theory. It also focuses on the adaptive and functional aspects of women's anger rather than on the traditional, psychopathology-based models. The reader will be introduced to several clinical illustrations from actual clients as well as to personal accounts of women and girls talking about their own perspectives on anger.
This dictionary provides a record of the Kanien’kéha (Mohawk) language as spoken by fluent first- and second-language speakers at the Kanien’kéha Mohawk Territory outside of Montréal, Canada. The Kanien’kéha language has been written since the 1600s, and these dictionary entries include citations from published, archival, and informal writings from the seventeenth century onwards. These citations are a legacy of the substantial documents of missionary scholars and several informal vocabulary lists written by Kanien’kéha speakers, among others. The introduction to the dictionary provides a description of the organization and orthography of the historical works so that they can be used in the future by those studying and learning the language. A Dictionary of Kanien’kéha (Mohawk) with Connections to the Past allows scholars and students to learn the meaning, composition, and etymology of words in a language known for its particularly complex word structure. The organization of the entries, according to noun and verb roots, highlights the remarkable potential and adaptability of the language to express traditional concepts, as well as innovations that have resulted from contact with other customs and languages that have become part of the contemporary culture of the Kanien’kehá:ka.
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