Dani Cavallaro

"French Feminist Theory" offers an introduction to the key concepts and themes in French feminist thought, both the materialist and the linguistic/psychoanalytic traditions. These are explored through the work of a wide range of theorists. The book outlines the philosophical and political diversity of French feminism, setting developments in the field in the particular cultural and social contexts in which they have emerged and unfolded. The principal areas covered are: ongoing debates on the cultural construction and definition of sexual and gendered identities; the relationship between subjectivity and language; the roles played by both private and public institutions in the shaping of sexual relations; the issue of embodiment; and the relationship between gender, sexuality and race. Finally, the book traces the connections between French and Anglo-American feminist approaches and methodologies.

"This work considers the visual conventions of Japanese comic books and animated films, Miyazaki's early foray into comic books and animation, the Studio Ghibli era, and the company's development. It analyzes all of Miyazaki's productions between 1984 and 2004, including such hits as My Neighbor Totoro"--Provided by publisher.

The Gothic Vision examines a broad range of tales of horror, terror, the uncanny and the supernatural, spanning the late eighteenth century to the present, and of related theoretical approaches to the realm of dark writing. Dani Cavallaro argues that such narratives are objects for historical analysis, due to their implication in specific ideologies, while also focusing on the recurrence over time of themes of physical and psychological disintegration, spectrality and monstrosity. Central to the book's argument is the proposition that fear is a ubiquitous phenomenon, capable of awakening consciousness even as it appears to paralyze it.

Offering an introduction to the key concepts and themes in French feminist thought, both the materialist and the linguistic/psychoanalytic traditions, this title explores the work of a wide range of theorists: Simone de Beauvoir, Chantal Chawaf, Helene Cixous, Catherine Clement, Christine Delphy, Marguerite Duras, Colette Guillaumin, Madeleine Gagnon, Luce Irigaray, Julia Kristeva, Nicole-Claude Mathieu, Michele Montreley, Monique Plaza, Paola Tabet and Monique Wittig. It outlines the philosophical and political diversity of French feminism, setting developments in the field in the particular cultural and social contexts in which they have emerged and unfolded. The principal areas covered are: ongoing debates on the cultural construction and definition of sexual and gendered identities; the relationship between subjectivity and language; the roles played by both private and public institutions in the shaping of sexual relations; the issue of embodiment; and the relationship between gender, sexuality and race. Finally, the book traces the connections between French and Anglo-American feminist approaches and methodologies.

The Gothic Vision examines a broad range of tales of horror, terror, the uncanny and the supernatural, spanning the late-eighteenth century to the present, and of related theoretical approaches to the realm of dark writing. It argues that such narratives are objects for historical analysis, due to their implication in specific ideologies, while also focusing on the recurrence over time of themes of physical and psychological disintegration, spectrality and monstrosity. This is an excellent overview of a genre that is increasingly studied in literature, film, and cultural studies courses.

This radical, new book brings together the key concepts, issues and debates in critical and cultural theory today. Each chapter presents a self-contained analysis of each concept as well providing a range of discussion questions and further reading. Throughout, text-links connect related material across chapters, enabling the reader to pursue their own line of disciplinary or cross-disciplinary inquiry.

Cyberpunk and Cyberculture explores the work of a wide range of writers- Acker, Cadigan, Rucker, Shierley, Sterling, Williams and, of course, Gibson - setting their work in the context of science fiction, other literary genres, genre cinema - from Metropolis to Terminator to The Matrix - and contemporary work on the culture of technology.

The body has been the focus of much recent critical attention, but the clothed body less so. In answering the need to theorize dress, this book provides an overview of recent scholarship and presents an original theory of what dress means in relation to the body. Identity relies on boundaries to individuate the self. Dress challenges boundaries: it frames the body and serves both to distinguish and connect self and 'Other'. The authors argue that clothing is, then, both a boundary and not a boundary, that it is ambiguous and produces a complex relation between self and 'not self'. In examining the role of dress in social structures, the authors argue that clothing can be seen as both restricting and liberating individual and collective identity. In proposing that dress represents 'a deep surface,' a manifestation of the unconscious at work through apparently superficial phenomena, the book also questions the relationship between surface and depth and counters the notion of dress as disguise or concealment. The concept of the gaze and the role of gender are approached through a discussion of masks and veils. The authors argue that masks and veils paradoxically combine concealment and revelation, 'truth' and 'deception'. Here the body and dress are both seen as forms of absence, with dress concealing not the body, but the absence of the physical body. This provocative book is certain to become a landmark text for anyone interested in the intersection of dress, the body and critical theory.

This text presents a theory of what dress means in relation to the body. Identity relies on boundaries to individuate the self. Dress challenges boundaries: it frames the body and serves both to distinguish and connect self and "Other". It argues that clothing is both a boundary and not a boundary.