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Full-Text Articles in Arts and Humanities
Romancing The University: Bipoc Scholars In Romance Novels In The 1980s And Now, Jayashree Kamble
Romancing The University: Bipoc Scholars In Romance Novels In The 1980s And Now, Jayashree Kamble
Publications and Research
English-language mass-market romance novels written by BIPOC (Black, Indigenous, and People of Color) writers and starring BIPOC protagonists are a small but important group. This article is a comparative analysis of how recent representations of diversity in this sub-set of the genre, specifically the character of the Black academic and the language of racial justice, compare with the first group of BIPOC novels that were published in 1984 (Sandra Kitt’s Adam and Eva and All Good Things as well as Barbara Stephens’s A Toast to Love). In Adrianna Herrera’s American Love Story (2019), Katrina Jackson’s Office Hours (2020), and …
“In The Beginning Was Body Language” Clowning And Krump As Spiritual Healing And Resistance, Sarah S. Ohmer
“In The Beginning Was Body Language” Clowning And Krump As Spiritual Healing And Resistance, Sarah S. Ohmer
Publications and Research
In the neighborhood of HollyWatts in Los Angeles, dance allows a shift from existing as bodies presented as sites of threat and extinction to sources of spiritual empowerment. Clowning and Krump dancers—their subjectivity and their dancing bodies—negotiate survival from trauma and socioeconomic marginalization. I argue that the dancers’ performances act as embodied narratives of “re-membering in the flesh.” The performance acts as a spiritual retrieval and re-integration of traumatic memories and afflictions into memory through the body. Choreography and quotes from dancers support the claim that Krump and Clowning is “re-membering in the flesh” that enacts self-worth, self-defined sexuality, and …
"Must Be Heavyset": Casting Women, Fat Stigma, And Broadway Bodies, Ryan Donovan
"Must Be Heavyset": Casting Women, Fat Stigma, And Broadway Bodies, Ryan Donovan
Publications and Research
This article surveys how contemporary Broadway musicals cast fat women and focuses on Hairspray. The use of fat suits and contractual weight clauses figure into the discussion of fat stigma and casting practices. Seemingly body-positive musicals both celebrate and undermine the identities staged in them.