The Watchman in Pieces

Rosen, David; Santesso, Aaron

doi:10.12987/yale/9780300155419.001.0001

Cited by 35 publications

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“…If this isn't a striking instance of a "noncoercive (or even benign)" use of surveillance, it is certainly an exquisite iteration of the power of ideology. 22 The desire to solicit divine approval for a well-executed performance extends even to the Son who confirms Lok's ascription of divine spectatorship being "like [that of] a king." Cast in the part of the gladiator or athlete who vanquishes his sovereign's enemies in the arena, his is a well-known incarnation of the performer in theatrum mundi, and one notably adopted by Ficino in the elegy to Ugolino's son.…”

Section: The Theater Of the Worldmentioning

confidence: 99%

Paradise Lost Under Heaven: Milton's Surveillance Society

Neelakanta¹

2022

ELH

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Section: The Theater Of the Worldmentioning

confidence: 99%

Paradise Lost Under Heaven: Milton's Surveillance Society

Neelakanta¹

2022

ELH

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“…she was claiming her right to own her own image and sexuality; she willingly was participating in a culture that objectifies women; she was objectifying the Black female body; she was appropriating Black culture to create a minstrel show routine; she was being slut shamed by critics who regarded her as self-objectifying (see Cottom, 2013;Juzwiak, 2013;Rosen, 2013;Yates, 2013).…”

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confidence: 99%

Moving from sisterhood to girl power.

Zaslow¹

APA Handbook of the Psychology of Women: History, Theory, and Battlegrounds (Vol. 1).

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In a 2013 interview with BBC News, pop star Miley Cyrus announced that she sees herself as "one of the biggest feminists in the world" because "I tell women not to be scared of anything and . . . girls are beautiful. . . . Guys get to show their titties on the beach, why can't we?" (Butterly, 2013). In 2015 she added, "Feminism . . . is the greatest thing ever" because "I think it's cool to be a woman and be, like, super in charge. . . . I think [women] are more free than we've ever been" (Press, 2015).Cyrus's statements, analyzed alongside the media discourse surrounding her, shed light on popular definitions and (mis)interpretations of feminism in the new millennium. Just months before the BBC interview, Cyrus had performed at the MTV Video Music Awards. In a skin-toned body suit, Cyrus sang her hit "We Can't Stop," moving around the stage "mugging and twerking, and paused to spank and simulate analingus upon the ass of a thickly set African-American backup dancer" (Rosen, 2013, para. 4). Later in the performance, Robin Thicke, a White male pop star, joined her for a duet of his single "Blurred Lines," a song that had been facing criticism from feminists for promoting rape culture with its repetitive hook "I know you want it" and lines such as "So, hit me up when you pass through / I'll give you something big enough to tear your ass in two." During this part of the performance, Cyrus danced with a fully suited Thicke while grinding her behind into his crotch and then used a giant foam finger to caress her own and Thicke's genitalia.Critics were split on their analysis of the politics of Cyrus's performance: She was molesting Thicke;

show abstract

Introduction: Surveillance and Terror in Post-9/11 British and American Television

Rives-East

2019

Surveillance and Terror in Post-9/11 British and American Television

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The Watchman in Pieces

Cited by 35 publications

References 0 publications

Paradise Lost Under Heaven: Milton's Surveillance Society

Paradise Lost Under Heaven: Milton's Surveillance Society

Moving from sisterhood to girl power.

Introduction: Surveillance and Terror in Post-9/11 British and American Television

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