Search Results for fig

...Stephanie Clare This essay considers a form of relation that is neither sameness nor difference but correspondence. It does so by analyzing the palindromes in two films, John Greyson's Fig Trees and Miranda July's Me and You and Everyone We Know . Within a palindrome, letters here...

... it is inhuman, and Orpheus’s passion is the condition of humanity. Baur’s Orpheus story begins in Hades and focuses on Orpheus at the moment of Eurydice’s disappearance back among the shades, or devils, as they appear to be here (fig. 2): she is, appropri- ately, as Baur imagines...

... outside the Stonewall bar, were taken just after the riots had ended (figs. 1, 2).4 The graffiti on the exterior...

... (the drawings were made during the period from the turn of the century to his death), the female body is caught with a few lines and patches of color: bodies sleeping, playing with each other like young athletes (fig. 1), or sexually active and alone (fig. 2). Many...

... prototype for pictures of angels, and who had fig- ured for Walter Pater in the 1870s as the very type of male beauty. Writing of the 312 GLQ: A JOURNAL OF LESBIAN and GAY STUDIES Figure 1. Unidentified youth (portrait of Francesco Melzi from Walter Pater, The Renaissance...

... artists, for whom biographical information can be found below. Maggie Parr’s paintings expose the cycles of emotional and bodily flux and growth throughout life that often dictate the changing terms of one’s desire (fig. 1). Her style evokes an intensely emotional consideration...

.... It was a sharp breath, expelled over several lingering and uncertain days in a hospital room much like this one (fig. 1), after a seizure that robbed my friend of both speech and movement. I think that we all knew we did not want to keep finding her, actually or imaginatively, in such a room. Toni...

... that uses an old design to give new and eroticized life to the triangle ( fig. 8 ). Simultaneously archival and brimming with new meaning, these images suggest Herstory Inventory 's strategic power to deploy the archive. One of the values of Herstory Inventory over time is that its status...

... in Phila- delphia, is one of two crucial gay male sites of identification for the lesbian pro- tagonist (fig. 2). The basis for this identification is threefold: (1)Ray comments on the pain of rejection by his family as a trope of expulsion from an entire commu...

... installments, or fascicles, before being bound in hardcover volumes (fig. 1). The year before my arrival in Istanbul a graduate student had mentioned in passing that I might want to check out a reference to a mid-­twentieth-­century gay Turkish historian she had come across in Pamuk’s essay collection...

... the page from corner to corner, masturbating, solid black outlined in white, with her ecstasy symbolized by starbursts, a moon, and a flower in the negative space above and below her silhouette. In Kaymarion’s endplate (fig. 1), another voluptuous full- page nude has one arm raised and her face turned...

... of new audiences. Theatrical images such as I’m in Training, Don’t Kiss Me (ca. 1928) seemed to parallel today’s postmodern, feminist, and queer theories of gender and embodiment (fig. 1). Costumed in boxer shorts, wrist guards, and a leo- tard inscribed with hearts and the admonition “I’m...

... to “resurrect ancient Greek life” (or his particular, nine- teenth-century fantasy of ancient Greek life) is easily read in the pictures them- selves. In one undated group scene, for example, four youths bask on a terrace above the sea (fig. 1). The tableau has obviously been orchestrated for the purpose...

.... A 1924 issue shows the prototypical Vogue reader con- trolling three marionettes attired in up-to-date cubist-style dresses acting on a toy stage emblazoned with the magazine’s signature “V” (fig. 1), while one in 1925 shows her projecting a film of fashionable women posing...

..., these accounts put forward the idea that the AIDS crisis is over. In the absence of a cure or vaccine, this “end-of-AIDS” dis- course is striking. In his controversial article “When AIDS Ends,” published in the 10 November 1996 New York Times Magazine (fig. 1), for example, Andrew Sullivan writes...

... of shots that appear to justify the DataLounge subject heading “SO HOT (fig. 1). Many of these photos are taken, image titles tell us, in natural surroundings (e.g., at the Old Confederate Bridge), and in each Allen is shown in an explicitly homo- erotic pose. In the majority of the images, Allen...

... she imag- GLQ 26:3 DOI 10.1215/10642684-8311772 © 2020 by Duke University Press 406 GLQ: A JOURNAL OF LESBIAN AND GAY STUDIES ines actualized in the spaces beyond it. Leaning against a palm tree, Kewpie is modelling Dior Gown Paris 73 (fig. 1), while a couple of the girls posing with a bus...

..., newspaper headlines, a strip of photo negatives, handwritten and typed letters, book covers, historical images, an obituary, passports, a poem in typescript, dic- tionary entries, a college course catalog, several maps, pages from half a dozen novels, a Charles Addams cartoon, and more (fig. 1...

.... It may be helpful to use images to establish some of the methods of drag-king performance. In “Mo B. Dick with Muscles,” Del LaGrace Volcano’s photographic method allows us to visualize the drag-king technique of “de-authentication” (fig. 1). The mirror...

... of Cocteau’s caricatures of the duo attests (fig. 1). Diaghilev’s lifelong collaborator Walter Nouvel openly teased the impresario about this perception: “How odd it is that Nijinsky should always be the slave in your ballets-in Puvillon d’Armide, in Clkopcitre, and now again in Schkhkruzude. I hope...