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Journal Article
GLQ (1998) 4 (4): 557–630.
Published: 01 October 1998
Journal Article
GLQ (2022) 28 (1): 55–86.
Published: 01 January 2022
... they address have stopped caring. The article describes perverse homogenization processes as “homotribalism,” arguing that they provide an erotic basis for ethnonationalism. It then provides a detailed reading of Call Me by Your Name (2017), claiming that its striking contemporary relevance during the first...
FIGURES
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Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 1. Oliver giving Elio a foot massage. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 2. Elio wearing the Star of David necklace. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figures 10–11. Elio in front of the apricot tree. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 12. Elio learns that Oliver is engaged. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Journal Article
GLQ (2010) 16 (1-2): 191–206.
Published: 01 April 2010
..., and possession demonstrates the ongoing impact of the history of colonialism in North America. Duke University Press 2010 “And through its naming
became owner”
Translation in James Thomas Stevens’s Tokinish
Sarah Dowling
In the introduction to his collection of poems Combing the Snakes from His...
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 4. Elio and Oliver at the archaeological site. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 8. Oliver and Elio look at a poster of Mussolini. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 9. “Somewhere in northern Italy.” Opening scene. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 3. Elio in the opening scene behind the Mapplethorpe print. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figures 5–7. Avowal scene at the monument to the Battle of Piave. Film still, Call Me by Your Name (dir. Luca Guadagnino).
More
Image
in A Critique of “Mascquerade”: Homotribalism and Call Me by Your Name
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 January 2022
Figure 13. Elio cries facing the fireplace. The circle denotes the fly. Film still, Call Me by Your Name (dir. Luca Guadagnino).
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Image
in Queer Time and the Cinematic Pleasures of the Locus Amoenus in Free Fall
> GLQ: A Journal of Lesbian and Gay Studies
Published: 01 April 2023
Figure 1. Oliver (Armie Hammer) on the left and Elio (Timothée Chalamet) on the right in Elio's personal “spot”: a secluded pond. Call Me by Your Name (dir. Luca Guadagnino, 2017).
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Journal Article
GLQ (2016) 22 (3): 381–408.
Published: 01 June 2016
... that the new national heroes trope functions ideologically to praise, cultivate, and broker flexible Filipino labor while seeking to quell a host of moral anxieties about gender, sexuality, and globalization. I argue that the naming of outsourced laborers as new national heroes extends the logic of the labor...
Journal Article
GLQ (2011) 17 (2-3): 309–329.
Published: 01 June 2011
... subjectivity. The third section considers an example of the intersection of queer family romance and the collection of visual culture, namely, the collection of paintings, objets d'art, and other items of visual and material culture gathered and exhibited by William Beckford at Fonthill Abbey from about 1795...
Journal Article
GLQ (2011) 17 (4): 457–481.
Published: 01 October 2011
...Eve Kosofsky Sedgwick This essay, written in 1976–77, is concerned primarily with James Merrill's long poem “The Book of Ephraim,” which was published in 1976. The poem tells of many nights spent by Merrill and his partner, David Jackson, in communication with a spirit named Ephraim, whose messages...
Journal Article
GLQ (2012) 18 (1): 47–69.
Published: 01 January 2012
... of this fantasy (its relegation to the “origins” of kinship and exchange) produces the effect of concealing the repeated return of the same in late capitalism. Commodity fetishism is the name of one of the most explicit figural convergences of psychoanalysis and Marxism, and its critical genealogy continues...
Journal Article
GLQ (2008) 14 (4): 509–535.
Published: 01 October 2008
... that “there is not one but many silences,” queer theory continues to read celibacy as the sign of another practice: homosexuality as “the love that dare not speak its name” or the “impossibility” of lesbian sex. Mapping celibacy across sexuality studies' major conceptual grids (homo/hetero, acts/identities, fantasy...
Journal Article
GLQ (2018) 24 (2-3): 315–341.
Published: 01 June 2018
... literature to the present: Audre Lorde’s biomythography Zami: A New Spelling of My Name (1982), Craig Womack’s (Muscogee-Creek and Cherokee) novel Drowning in Fire (2001), and Janet Mock’s memoir Redefining Realness (2014). Although these narratives imagine and claim other cultural histories and frames...
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