Platonic studies

Thesis (Ph.D.)--Boston Universit

For The Flag I Die, Dear Mother! : Song And Refrain

https://digitalcommons.library.umaine.edu/mmb-vp/3487/thumbnail.jp

Love, I Adore You

https://digitalcommons.library.umaine.edu/mmb-vp/4642/thumbnail.jp

My True Heart In Days Of Old

https://digitalcommons.library.umaine.edu/mmb-vp/2246/thumbnail.jp

Sissy!: the effeminate grotesque in U.S. literature and culture since 1940

In his memoir Firebird, Mark Doty explains that being effeminate in postwar America means being treated paradoxically: The queer boy's dynamic, he writes, is to be simultaneously debased and elevated. This study explores the paradox that Doty describes by examining representations of effeminate men and boys in U.S. literature and culture from 1940 to the present. I argue that effeminacy has routinely been depicted in terms of the grotesque, a mode of visual and textual representation concerned with bodies that provoke mixed feelings of both revulsion and fascination. By reading effeminacy through the critical lens of the grotesque, I re-evaluate its queer theoretical potential, and highlight a previously overlooked discursive tradition in U.S. literature and culture. In this tradition, effeminacy is embraced, rather than rejected, because it models new modes of masculine embodiment and functions symbolically as an alternative to the strictures of heteronormativity. This claim both extends and complicates previous scholarship on effeminacy, which focuses almost exclusively on how effeminacy has been hated in U.S. culture (for instance, sociologist Michael Kimmel's claim that American men have always been anxious about appearing feminine). Sissy! acknowledges the breadth and depth of effeminacy's negative reception while also drawing new attention to a wide variety of texts and performances--including literature by Carson McCullers, Truman Capote, James Baldwin, Tony Kushner, and Mark Doty, as well as non-textual performances by figures such as the pianist Liberace--in which effeminacy has been portrayed as something otherworldly, powerful, and desirable. The project thus explains why effeminacy is--as Doty would say--both debased and elevated; effeminacy signals other ways of living and being gendered that are both threatening to those empowered by a given regime of sex/gender and fascinating to those marginalized by it

When The Leaves Are Brown and Gold / music by Nat. Osborne; words by Maurice Jacobs and Harry Robinson

Cover: a drawing of a woman under a tree standing and waving; Publisher: American Music Co. (New York)https://egrove.olemiss.edu/sharris_b/1038/thumbnail.jp

The Pickaninny\u27s Paradise / music by Nat. Osborne; words by Sam Ehrlich

Cover: photo of the Courtney Sisters; drawing of an elderly African American woman talking to a young African American girl; Publisher: Harry von Tilzer Music Publishing Co. (New York)https://egrove.olemiss.edu/sharris_c/1145/thumbnail.jp

The Pickaninnys Paradise / music by Nat. Osborne; words by Sam M. Ehrlich

Key of G. Cover: a photo of the Courtney Sisters and a drawing of a African American people working on the Field; Publisher: Harry von Tilzer Music Publishing Co. (New York)https://egrove.olemiss.edu/sharris_c/1151/thumbnail.jp