Caroline J. S. Picart taucht in die dunkleren Aspekte der menschlichen Psyche und Kultur ein und synthetisiert Erkenntnisse aus Philosophie, Literaturtheorie und Filmwissenschaft. Ihre Arbeit erforscht oft Genres wie die Romantik und das Horrorkino, um tiefere Wahrheiten über die menschliche Verfassung und gesellschaftliche Ängste aufzudecken. Mit ihrem Hintergrund, der Wissenschaft und Geisteswissenschaften verbindet, bietet Picart eine einzigartige Perspektive darauf, wie Kunst unser Weltverständnis widerspiegelt und formt.
This book explores the concept of "monster-talk" in popular culture and public policy, analyzing its presence in film and media. It serves as a comprehensive resource for students and instructors studying "teratologies," or the discourse surrounding the monstrous, using diverse approaches.
Ballroom dancing and DanceSport serve as reflections of broader social, political, and cultural tensions, according to Caroline Joan S. Picart. With a resurgence in popularity and debates about Olympic inclusion, these dance forms highlight how bodies are racialized, sexualized, and classed. Writing from her experience as a participant-critic, Picart examines the evolution of choreography and costuming, emphasizing their commercialization and theatricality. The narrative of competitive melodrama enhances audience engagement, revealing deeper societal implications within the dance community.
Exploring the intersection of psychoanalysis and cultural studies, this volume presents a collection of essays that delve into the complexities of human behavior and societal norms. Edited by Henry Sussman, it examines how psychoanalytic theory can illuminate cultural phenomena, offering fresh perspectives on literature, art, and social dynamics. The contributions aim to bridge the gap between psychoanalytic thought and cultural critique, making it a significant resource for scholars and students interested in these interdisciplinary fields.
Whiteness as Status Property
The book explores the complex journey of securing federal protection for dance in the U.S., highlighting the racial and gender dynamics involved. It examines the shift from non-copyrightable choreographic works to the potential for copyright under the 1976 Copyright Act. Key figures such as Loíe Fuller, George Balanchine, and Martha Graham are analyzed, showcasing their influence on the evolution of dance and legal recognition within the arts.