Research into homosexuality in Spain is in its infancy. The last ten or fifteen years have seen a proliferation of studies on gender in Spain but much of this work has concentrated on women's history, literature and femininity. In contrast to existing research which concentrates on literature and literary figures, Los Invisibles focuses on the change in cultural representation of same-sex activity of through medicalisation, social and political anxieties about race and the late emergence of homosexual sub-cultures in the last quarter of the twentieth century. As such, this book constitutes an analysis of discourses and ideas from a social history and medical history position. Much of the research for the book was supported by a grant from the Wellcome Trust to research the medicalisation of homosexuality in Spain. A PDF version of this book is available for free in open access via the OAPEN Library platform. It has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives 3.0 license and is part of the OAPEN-UK research project.

In 1973, a sweet-tempered, ferociously imaginative ten-year-old boy named Patrick Horrigan saw the TV premiere of the film version of Hello, Dolly! starring Barbra Streisand. His life would never be the same. Widescreen Dreams: Growing Up Gay at the Movies traces Horrigan's development from childhood to gay male adulthood through a series of visceral encounters with an unexpected handful of Hollywood movies from the 1960s and 1970s: Hello Dolly!, The Sound of Music, The Poseidon Adventure, Dog Day Afternoon, and The Wiz.

Coined in the early 1990s to describe a burgeoning film movement, "New Queer Cinema" has turned the attention of film theorists, students, and audiences, to the proliferation of intelligent, stylish, and daring work by lesbian and gay filmmakers within independent cinema and to the proliferation of "queer" images and themes within the mainstream. Why did this transition take place? Was it political gains, cultural momentum, or market forces that energized the evolution and transformation of this cinematic genre? The volume is divided into four sections: defining "new queer cinema," assessing its filmmakers, examining geographic and national differences, and theorizing spectatorship. Chapters address the pivotal directors (Todd Haynes and Gregg Araki) and salient films (Paris is Burning, Boys Don't Cry), as well as nonmainstream and non-Anglo-American work (experimental filmmaking and third world cinema). With a critical eye to its uneasy relationship to the mainstream, New Queer Cinema explores the aesthetic, sociocultural, political, and, necessarily, commercial investments of the movement. Although there are certainly other books on gay and lesbian issues in film, this is the first full-length study of recent developments in queer cinema, combining indispensable discussions of central issues with exciting new work by key writers. Features .Provides a definitive introduction to New Queer Cinema .Clear structure with each section addressing a key topic in the study of New Queer Cinema .Themes covered include genre, gender and race, politics, media, and the relationship between New Queer Cinema and the mainstream. Michele Aaron is Lecturer in Film Studies at Brunel University, London.

What does camp have to do with capitalism? How have queer men created a philosophy of commodity culture? Why is cinema central to camp? With chapters on the films of Vincente Minnelli, Andy Warhol, Kenneth Anger, and John Waters, "Working Like a Homosexual "responds to these questions by arguing that post-World War II gay male subcultures have fostered their own ways not only of consuming mass culture but of producing it as well.
With a special emphasis on the tensions between high and low forms of culture and between good and bad taste, Matthew Tinkcom offers a new vision of queer politics and aesthetics that is critically engaged with Marxist theories of capitalist production. He argues that camp--while embracing the cheap, the scorned, the gaudy, the tasteless, and what Warhol called "the leftovers" of artistic production--is a mode of intellectual production and a critical philosophy of modernity as much as it is an expression of a dissident sex/gender difference. From Minnelli's musicals and the "everyday glamour" of Warhol's films to Anger's experimental films and Waters's "trash aesthetic," Tinkcom demonstrates how camp allowed these gay men to design their own relationship to labor and to history in a way that protected them from censure even as they struggled to forge a role for themselves within a system of "value" that failed to recognize them.

Based on long-term field research carried out over more than 15 years, "Beneath the Equator" examines the changing shape of male homosexuality and the emergence of diverse and vibrant gay communities in urban Brazil. Drawing on detailed ethnographic description of multiple sexual worlds organized around street cruising and impersonal sex, male prostitution, transgender performances, gay commercial markets and establishments, gay rights activism and AIDS service provision, Richard Parker examines the changing sexual identities, cultures and communities that have taken shape in Brazil in recent years. Also includes 15 maps.

The last sixteen years of James Baldwin's life (1971-87) unfolded in a village in the South of France, in a sprawling house nicknamed "Chez Baldwin." In Me and My House Magdalena J. Zaborowska employs Baldwin's home space as a lens through which to expand his biography and explore the politics and poetics of blackness, queerness, and domesticity in his complex and underappreciated later works. Zaborowska shows how the themes of dwelling and black queer male sexuality in The Welcome Table, Just above My Head, and If Beale Street Could Talk directly stem from Chez Baldwin's influence on the writer. The house was partially torn down in 2014. Accessible, heavily illustrated, and drawing on interviews with Baldwin's friends and lovers, unpublished letters, and manuscripts, Me and My House offers new insights into Baldwin's life, writing, and relationships, making it essential reading for all students, scholars, and fans of Baldwin.

A taboo subject in many cultures, homosexuality has been traditionally repressed in Latin America, both as a way of life and as a subject for literature. Yet numerous writers have attempted to break the cultural silence surrounding homosexuality, using various strategies to overtly or covertly discuss lesbian and gay themes. In this study, David William Foster examines more than two dozen texts that deal with gay and lesbian topics, drawing from them significant insights into the relationship between homosexuality and society in different Latin American countries and time periods.

Foster's study includes works both sympathetic and antagonistic to homosexuality, showing the range of opinion on this topic. The preponderance of his examples come from Argentina, Brazil, and Mexico, countries with historically active gay communities, although he also includes material on other countries. Noteworthy among the authors covered are Reinaldo Arenas, Adolfo Caminha, Isaac Chocron, Jose Donoso, Sylvia Molloy, Alejandra Pizarnik, and Luis Zapata.

David William Foster is Regents' Professor of Spanish at Arizona State University.

Critical analysis of the dramatisation of homosexuality in British fiction about the Second World War is noticeable only by its relative absence from the field. Whereas feminist literary criticism has broadened the canon of war fiction to include narratives by and about women, queer scholars have seldom focused on literary representations of homosexuality during the war. Natalie Marena Nobitz closes a glaring gap in the critical attention of four novels dealing with the disruption of gender roles and institutionalised heteronormativity: Walter Baxter's Look Down in Mercy (1951), Mary Renault's The Charioteer (1953), Sarah Waters' The Night Watch (2006) and Adam Fitzroy's Make Do and Mend (2012).

Over the course of the last half century, queer history has developed as a collaborative project involving academic researchers, community scholars, and the public. Initially rejected by most colleges and universities, queer history was sustained for many years by community-based contributors and audiences. Academic activism eventually made a place for queer history within higher education, which in turn helped queer historians become more influential in politics, law, and society. Through a collection of essays written over three decades by award-winning historian Marc Stein, Queer Public History charts the evolution of queer historical interventions in the academic sphere and explores the development of publicly oriented queer historical scholarship. From the AIDS crisis of the 1980s and the rise of queer activism in the 1990s to debates about queer immigration, same-sex marriage, and the politics of gay pride in the early twenty-first century, Stein introduces readers to key themes in queer public history. A manifesto for renewed partnerships between academic and community-based historians, strengthened linkages between queer public history and LGBT scholarly activism, and increased public support for historical research on gender and sexuality, this anthology reconsiders and reimagines the past, present, and future of queer public history.

It passes for an unassailable truth that the slave past provides an explanatory prism for understanding the black political present. In None Like Us Stephen Best reappraises what he calls "melancholy historicism"-a kind of crime scene investigation in which the forensic imagination is directed toward the recovery of a "we" at the point of "our" violent origin. Best argues that there is and can be no "we" following from such a time and place, that black identity is constituted in and through negation, taking inspiration from David Walker's prayer that "none like us may ever live again until time shall be no more." Best draws out the connections between a sense of impossible black sociality and strains of negativity that have operated under the sign of queer. In None Like Us the art of El Anatsui and Mark Bradford, the literature of Toni Morrison and Gwendolyn Brooks, even rumors in the archive, evidence an apocalyptic aesthetics, or self-eclipse, which opens the circuits between past and present and thus charts a queer future for black study.

'It's no mystery or secret how much I enjoy Lawrence Chaney.' - RuPaul 'Tackles everything from gender identity, the thrill of a wig and why Scottish talent is often overlooked.' - i News Lawrence Chaney has wowed audiences across the globe as the winner of RuPaul's Drag Race UK. In Lawrence (Drag) Queen of Scots, Lawrence shares heartfelt and candid moments from their past. From being bullied as a child to what it's like to date as a drag queen, they give us an insight to their journey towards acceptance and better mental health. The loch ness legend themself takes us through the struggles faced to get to where they are now. From their childhood, growing up as a queer kid in Glasgow, feeling self-conscious and turning to humour to avoid being bullied, Lawrence shares their painfully relatable coming out story, and how finding drag was a vehicle towards confidence and self-love. __________ 'Gorgeous, hugely talented, funny, charismatic, adorable, Chaney is a goddess and brings us joy.' - Lorraine 'Lawrence shares some of [their] most intricate and personal stories...such as concocting a drag name, mental health and dating.' - Gay Times 'Lawrence Chaney is the funniest queen by a country mile. She has delivered the laughs a locked down nation needed in abundance. But there's much more to Chaney than her quick wit. Her vulnerability is also part of her natural gift.' - Vogue

Cynthia Wu's provocative Sticky Rice examines representations of same-sex desires and intraracial intimacies in some of the most widely read pieces of Asian American literature. Analyzing canonical works such as John Okada's No-No Boy, Monique Truong's The Book of Salt, H. T. Tsiang's And China Has Hands, and Lois-Ann Yamanaka's Blu's Hanging, as well as Philip Kan Gotanda's play, Yankee Dawg You Die, Wu considers how male relationships in these texts blur the boundaries among the homosocial, the homoerotic, and the homosexual in ways that lie beyond our concepts of modern gay identity. The "sticky rice" of Wu's title is a term used in gay Asian American culture to describe Asian American men who desire other Asian American men. The bonds between men addressed in Sticky Rice show how the thoughts and actions founded by real-life intraracially desiring Asian-raced men can inform how we read the refusal of multiple normativities in Asian Americanist discourse. Wu lays bare the trope of male same-sex desires that grapple with how Asian America's internal divides can be resolved in order to resist assimilation.

Finanze, Ttributi, Imposte, Tasse, Politica Economica e Finanziaria, Bilancio dello Stato, Contabilita di Stato

This book explores representations of intersex - intersex persons, intersex communities, and intersex as a cultural concept and knowledge category - in contemporary North American literature and popular culture. The study turns its attention to the significant paradigm shift in the narratives on intersex that occurred within early 1990s intersex activism in response to biopolitical regulations of intersex bodies. Focusing on the emergence of recent autobiographical stories and cultural productions like novels and TV series centering around intersex, Viola Amato provides a first systematic analysis of an activism-triggered resignification of intersex.

Feet, bras, autopsies, hair - Peggy Shinner takes an honest, unflinching look at all of them in You Feel So Mortal, a collection of searing and witty essays about the body: her own body, female and Jewish; those of her parents, the bodies she came from; and the collective body, with all its historical, social, and political implications. What, she asks, does this whole mess of bones, muscles, organs, and soul mean? Searching for answers, she turns her keen narrative sense to body image, gender, ethnic history, and familial legacy, exploring what it means to live in our bodies and to leave them behind. Over the course of twelve essays, Shinner holds a mirror up to the complex desires, fears, confusions, and mysteries that shape our bodily perceptions. Driven by the collision between herself and the larger world, she examines her feet through the often-skewed lens of history to understand what makes them, in the eyes of some, decidedly Jewish; considers bras, breasts, and the storied skills of the bra fitter; asks, from the perspective of a confused and grieving daughter, what it means to cut the body open; and takes a reeling time-trip through myth, culture, and history to look at women's hair in ancient Rome, Laos, France, Syria, Cuba, India, and her own past. Some pieces investigate the body under emotional or physical duress, while others use the body to consider personal heritage and legacy. Throughout, Shinner writes with elegance and assurance, weaving her wide-ranging thoughts into a firm and fascinating fabric. Turning the category of body books on, well, its ear, You Feel So Mortal offers a probing view of our preoccupation with the body that is both idiosyncratic and universal, leaving us with the deep satisfaction of our shared humanity.

Si tratta di una ricerca Promossa dall'Associazione Nazionale Yoga Educazione che ha coinvolto una rete di quattro scuole pugliesi e La cattedra di pedagogia sperimentale diretta dal prof. Michele Baldassarre dell'Universit di Bari. La metodologia di lavoro quella codificata dalla dott.ssa Cavalluzzi nel libro "bimbi a scuola" di yoga Ed. Lulu. Il libro "Yoga a scuola" si divide in cinque aree. La prima parte presenta il disegno di ricerca, la seconda, come abbiamo lavorato; la terza, la ricaduta sui processi di apprendimento; la quarta, le osservazioni e riflessioni di docenti genitori e alunni; la quinta, le riflessioni dei docenti sulla ricerca.

Il linguaggio ha, per sua natura, un carattere dinamico e cangiante. Si rinnova costantemente per esprimere significati e orientamenti, utili a rappresentare tempi e spazi. Lo sport uno di contenuti pi utilizzati per raccontare i cambiamenti sociali, ma anche un sistema sociale complesso che utilizza la comunicazione per dialogare e concorrere allo sviluppo della societ . Nell'era del digitale e dell'iperconnessione, quali sono le modalit espressive pi idonee ad assecondare le diverse funzioni che lo sport assolve a livello glocale? I contributi affrontano i diversi aspetti della comunicazione sportiva: dal giornalismo al marketing, dalla comunicazione delle organizzazioni sportive a quella dei media, sino a ricomprendere gli utenti che dialogano sui social network. L'intento di fornire al lettore - studenti, addetti al settore, ma anche semplici appassionati e curiosi - un quadro sullo stato dell'arte attuale della comunicazione sportiva.