Ugly DifferencesPub Date : 2018-07-01DOI: 10.5622/ILLINOIS/9780252041884.003.0003
Y. Howard
{"title":"The Language of Violation","authors":"Y. Howard","doi":"10.5622/ILLINOIS/9780252041884.003.0003","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252041884.003.0003","url":null,"abstract":"In this chapter, ugliness is observable as conceptual and textual in Sapphire’s underground performance poetry and subsequent body of work. Physical, verbal, and sexual abuse operates as a distinctively disquieting poetics that transvalues racial and sexual ugliness for a recognition of the role that abuse plays in conceiving of minority difference. This chapter locates the violated body in and through the Black-Arts–inspired explicit and experiential language of violation in poems from Sapphire’s American Dreams (1994) and Black Wings & Blind Angels (1999). Legacies of survival, abuse, and the pejorative surface as reinscriptions of violence on the queer black body in Sapphire’s related texts: Push (1996), its film adaptation, Precious (2009), and its follow-up novel, The Kid (2011).","PeriodicalId":122819,"journal":{"name":"Ugly Differences","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122069918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ugly DifferencesPub Date : 2018-07-01DOI: 10.5622/ILLINOIS/9780252041884.003.0004
Y. Howard
{"title":"Politically Incorrect, Visually Incorrect","authors":"Y. Howard","doi":"10.5622/ILLINOIS/9780252041884.003.0004","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252041884.003.0004","url":null,"abstract":"This chapter moves to an analysis of comix—a contemporary example of primitivism that continues to have a vexed relationship with cultural legitimacy. Ugliness in this chapter is recognizable as the visual aesthetics of underground comix and, as conceptual, nihilistic, and disempowering perspectives outlined as the mechanisms that restrict opting out of stigmatizing political and representational logics. Focusing on the depictions of such restrictions, this chapter explores the limits of allowable and expressible queer identities in the late twentieth century. Examining what affective states such as queer anger in Roberta Gregory’s Bitchy Butch (1991–1999) and ethnic anxiety in Erika Lopez’s Lap Dancing for Mommy (1997) look like, this chapter reads visual discrepancies and identificatory impossibilities as specific issues of depicting nonnormatively gendered and non-white bodies.","PeriodicalId":122819,"journal":{"name":"Ugly Differences","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131284848","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ugly DifferencesPub Date : 2018-07-01DOI: 10.5622/ILLINOIS/9780252041884.003.0005
Y. Howard
{"title":"The Erotics of Artificiality","authors":"Y. Howard","doi":"10.5622/ILLINOIS/9780252041884.003.0005","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252041884.003.0005","url":null,"abstract":"This chapter theorizes the figure of the mannequin and noise as modes of erotic investment in artificiality and unnaturalness. Routing sexual libertinism through the body of difference, ugliness is conspicuous as mannequin fetish, noise music, and disabled performance. After offering a critical genealogy that rethinks the mannequin’s association with beauty, this chapter shows how the figure of the mannequin becomes an emblem of nonnormative desires and fetishistic impulses, championing forms of the erotic that reflect artificiality in material and auditory contexts. Calling into question both the artificial object and objectification, it explores the sonic textures of Narcissister and A. L. Steiner’s experimental art-film Winter/Spring Collection (2013) whose “semi-live nude mannequin” functions as a radical critique of dominant sexual embodiment via the oppositional backdrop of noise.","PeriodicalId":122819,"journal":{"name":"Ugly Differences","volume":"122 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128032649","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ugly DifferencesPub Date : 2018-07-01DOI: 10.5622/illinois/9780252041884.003.0006
Y. Howard
{"title":"The Negative","authors":"Y. Howard","doi":"10.5622/illinois/9780252041884.003.0006","DOIUrl":"https://doi.org/10.5622/illinois/9780252041884.003.0006","url":null,"abstract":"This book’s conclusion epitomizes this book’s claims with an analysis of Lisa Cholodenko’s High Art (1998), a film falling under New Queer Cinema’s non-redemptive, underground narratives of queerness. Ugliness as the negative operates as both literal and conceptual. It refers to an inherent erotic tangibility in older media processes of photographic documentation—the use of negatives—and it describes the ways that lesbian desire becomes defined through heroin addiction. This chapter shows how queer erotics communicates as a photographic negative, that is, a desire paradigm without the ability to be properly “developed.” The deeply counterintuitive possibilities of ugliness here reinforce the book’s larger argument about the importance of nondominant expressions of difference that queer female sexuality requires.","PeriodicalId":122819,"journal":{"name":"Ugly Differences","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122894699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ugly DifferencesPub Date : 2018-07-01DOI: 10.5622/ILLINOIS/9780252041884.003.0001
Y. Howard
{"title":"Ugliness, Underground, Queer Difference","authors":"Y. Howard","doi":"10.5622/ILLINOIS/9780252041884.003.0001","DOIUrl":"https://doi.org/10.5622/ILLINOIS/9780252041884.003.0001","url":null,"abstract":"The introductory chapter of Ugly Differences provides a theoretical overview of the book and its central interventions on the concepts of ugliness and the underground. It turns to early-twentieth-century examples by Gertrude Stein and Claude McKay to frame genealogical connections between ugliness and queer female difference. This literary history highlights the roles that avant-garde, experimental, primitivist, and vernacular approaches to cultural production play in reflecting nondominant subjects whose differences are routed through de-privileged sites of the aesthetic.","PeriodicalId":122819,"journal":{"name":"Ugly Differences","volume":"52 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134097430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ugly DifferencesPub Date : 2018-07-01DOI: 10.5622/illinois/9780252041884.003.0002
Yetta Howard
{"title":"Postpunk Desires","authors":"Yetta Howard","doi":"10.5622/illinois/9780252041884.003.0002","DOIUrl":"https://doi.org/10.5622/illinois/9780252041884.003.0002","url":null,"abstract":"This chapter explores underground nightlife in the context of subcultural resistance to normative models of liberation. Ugliness in the chapter is visible as an antagonistically expressed gender and sexual nonnormativity within the postpunk aesthetics of cult film Liquid Sky (1982). The film is theorized as a dystopian feminism that aligns itself with alienated sexual and sonic space. The conceptual ugliness, in this chapter, corresponds to the queer female body as site of estrangement, ensconced in sexual and substance-desiring practices.","PeriodicalId":122819,"journal":{"name":"Ugly Differences","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117106476","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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