After giving a short insight into the ambivalent relationship between science fiction (SF) and futurology, this article sheds light on the current trend of what can be called science-fictional scenario writing, focusing on the publications of the Center for Science and the Imagination at the Arizona State University. The stories published in projects, such as Hieroglyph, the Climate Fiction short story contest Everything Change or the Tomorrow Project, are indistinguishable from conventional SF short stories. However, the frameworks of these projects share a certain futurological ambition. Also, they seek to enable the readers and writers of these stories to actively shape possible futures. In search for a label for this specific text form, Rebecca Wilbanks aptly coined the term ‘incantatory fictions’. This article explores the nature, the self-understanding und the practices of these speculations, fabulations and incantations by considering the metatexts of the afore-mentioned publications and by talking to people who work at the interface between SF and futurology.
{"title":"Speculations, fabulations, incantations: Science fiction, contemporary futurology and how to change the world","authors":"Julia Grillmayr","doi":"10.1386/ejac_00079_1","DOIUrl":"https://doi.org/10.1386/ejac_00079_1","url":null,"abstract":"After giving a short insight into the ambivalent relationship between science fiction (SF) and futurology, this article sheds light on the current trend of what can be called science-fictional scenario writing, focusing on the publications of the Center for Science and the Imagination at the Arizona State University. The stories published in projects, such as Hieroglyph, the Climate Fiction short story contest Everything Change or the Tomorrow Project, are indistinguishable from conventional SF short stories. However, the frameworks of these projects share a certain futurological ambition. Also, they seek to enable the readers and writers of these stories to actively shape possible futures. In search for a label for this specific text form, Rebecca Wilbanks aptly coined the term ‘incantatory fictions’. This article explores the nature, the self-understanding und the practices of these speculations, fabulations and incantations by considering the metatexts of the afore-mentioned publications and by talking to people who work at the interface between SF and futurology.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49104221","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}
This article explores the ways in which US graphic novels have responded to, narrated and politically framed the Trump presidency. Analysing a generically diverse range of texts from non-fiction to science fiction, I argue that comics artists were quick to mobilize the medium’s unique qualities in the service of ideological critique. The article offers a detailed account of how publications such as Sabrina (2018), The Hard Tomorrow (2019), LaGuardia (2019) and Welcome to the New World (2020) were developed, shaped and reshaped against the backdrop of Donald Trump’s election victory and presidential term. Through an assortment of formal and stylistic devices ‐ spatial and temporal jumps and juxtapositions afforded by panel arrangement, a weaving together of historical and contemporaneous iconography, the interplay of various textual cues and registers ‐ these graphic novels offered complex portrayals of the impact of Trump and ‘Trumpism’ on various individuals, groups and communities. In different ways, they evidence the medium’s ability to intervene in wider political discourse, construct challenging historical and speculative narratives and offer fresh, resonant engagements with pressing issues of the day.
{"title":"Gutter politics: Graphic novels in the age of Trump","authors":"Oliver Gruner","doi":"10.1386/ejac_00070_1","DOIUrl":"https://doi.org/10.1386/ejac_00070_1","url":null,"abstract":"This article explores the ways in which US graphic novels have responded to, narrated and politically framed the Trump presidency. Analysing a generically diverse range of texts from non-fiction to science fiction, I argue that comics artists were quick to mobilize the medium’s\u0000 unique qualities in the service of ideological critique. The article offers a detailed account of how publications such as Sabrina (2018), The Hard Tomorrow (2019), LaGuardia (2019) and Welcome to the New World (2020) were developed, shaped and reshaped against\u0000 the backdrop of Donald Trump’s election victory and presidential term. Through an assortment of formal and stylistic devices ‐ spatial and temporal jumps and juxtapositions afforded by panel arrangement, a weaving together of historical and contemporaneous iconography, the interplay\u0000 of various textual cues and registers ‐ these graphic novels offered complex portrayals of the impact of Trump and ‘Trumpism’ on various individuals, groups and communities. In different ways, they evidence the medium’s ability to intervene in wider political discourse,\u0000 construct challenging historical and speculative narratives and offer fresh, resonant engagements with pressing issues of the day.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47933748","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}
Review of: Swedish-American Borderlands: New Histories of Transatlantic Relations, Dag Blanck and Adam Hjorthén (eds) (2021)Minneapolis, MN: University of Minnesota Press, 363 pp.,ISBN 978-1-51790-751-8, h/bk, $120ISBN 978-1-51790-858-4, p/bk, $30
{"title":"Swedish-American Borderlands: New Histories of Transatlantic Relations, Dag Blanck and Adam Hjorthén (eds) (2021)","authors":"R. Johnsen","doi":"10.1386/ejac_00073_5","DOIUrl":"https://doi.org/10.1386/ejac_00073_5","url":null,"abstract":"Review of: Swedish-American Borderlands: New Histories of Transatlantic Relations, Dag Blanck and Adam Hjorthén (eds) (2021)Minneapolis, MN: University of Minnesota Press, 363 pp.,ISBN 978-1-51790-751-8, h/bk, $120ISBN 978-1-51790-858-4, p/bk, $30","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46159515","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}
Review of: Queering the South on Screen, Tison Pugh (ed.) (2020)Athens: University of Georgia Press, 302 pp.,ISBN 9-780-82035-672-3, h/bk, $99.95ISBN 9-780-82035-672-3, p/bk, $34.95
评论：《在屏幕上寻找南方》，Tison Pugh（编辑）（2020）雅典：佐治亚大学出版社，302页，ISBN 9-780-82035-672-3，h/bk，$99.95 ISBN 9-780-82035-672-2，p/bk，$34.95
{"title":"Queering the South on Screen, Tison Pugh (ed.) (2020)","authors":"Sabrina Mittermeier","doi":"10.1386/ejac_00072_5","DOIUrl":"https://doi.org/10.1386/ejac_00072_5","url":null,"abstract":"Review of: Queering the South on Screen, Tison Pugh (ed.) (2020)Athens: University of Georgia Press, 302 pp.,ISBN 9-780-82035-672-3, h/bk, $99.95ISBN 9-780-82035-672-3, p/bk, $34.95","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45549956","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}
In the wake of the 2020 election, commentators noted that while Trump himself would eventually leave office, ‘Trumpism’ would likely remain. ‘Trumpism’, however, has not been clearly defined, beyond a vague reference to some blend of populism and nativism that pre-existed his presidential bid, coming eventually to coalesce around him as a cult figure and subsequently acquiring a name of its own. But it seems insufficient to reduce Trumpism to mere populism or even to the so-called ‘alt-right’. ‘Fascism’ has offered a tempting comparison in light of both Republican policies under the Trump administration and the White nationalist base whose support he never disavowed, but most specialists have stopped short of equating the two. This article examines Trumpism in the specific context of what I have previously called a ‘neoliberal mediascape’ structured by financialization and characterized by hypercommercialism and updates Walter Benjamin’s thesis on the ‘aestheticization of politics’ to accommodate a neo-liberal convergence of capital and technology that he himself could scarcely have imagined. Ultimately it defines ‘Trumpism’ in its historical specificity as a primarily affective disposition that is both a product of the neo-liberal mediascape and a phenomenon it has been singularly unable to contain.
{"title":"Exit stage right: Neo-liberalism, cable news and the persistence of Trumpism","authors":"Liane Tanguay","doi":"10.1386/ejac_00067_1","DOIUrl":"https://doi.org/10.1386/ejac_00067_1","url":null,"abstract":"In the wake of the 2020 election, commentators noted that while Trump himself would eventually leave office, ‘Trumpism’ would likely remain. ‘Trumpism’, however, has not been clearly defined, beyond a vague reference to some blend of populism and nativism that\u0000 pre-existed his presidential bid, coming eventually to coalesce around him as a cult figure and subsequently acquiring a name of its own. But it seems insufficient to reduce Trumpism to mere populism or even to the so-called ‘alt-right’. ‘Fascism’ has offered a tempting\u0000 comparison in light of both Republican policies under the Trump administration and the White nationalist base whose support he never disavowed, but most specialists have stopped short of equating the two. This article examines Trumpism in the specific context of what I have previously called\u0000 a ‘neoliberal mediascape’ structured by financialization and characterized by hypercommercialism and updates Walter Benjamin’s thesis on the ‘aestheticization of politics’ to accommodate a neo-liberal convergence of capital and technology that he himself could\u0000 scarcely have imagined. Ultimately it defines ‘Trumpism’ in its historical specificity as a primarily affective disposition that is both a product of the neo-liberal mediascape and a phenomenon it has been singularly unable to contain.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45764327","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}
The development of the miniseries as a TV genre during the 1970s became central to American television’s dramatization of the nation’s history through stories that combined fact and fiction to relate the past to contemporary US culture. Rarely considered, however, is the ways in which increasing slippages between the screen and real-world events might work to presage the culture and politics of the future, illuminating historical connections that move beyond a television drama’s moment of production. This article explores the 1977 ABC miniseries Washington Behind Closed Doors, an adaptation of John Ehrlichman’s novel The Company and its fictional tale of a Nixon-like president, drawing on the author’s experiences as part of the Nixon administration. Emerging in the contexts of the historical miniseries and various screen depictions of Watergate, the show became part of a blurring of the boundaries between fiction and non-fiction in the re-telling of Richard Nixon’s doomed tenure as president. At the same time, the article contends, the explicit fictionalization of the nation’s recent political history in Washington Behind Closed Doors provides a space in which to read the show as a prescient imagining of the United States’ political future later realized in the presidency of Donald Trump.
{"title":"Nixon, Trump and Washington Behind Closed Doors: Fictionalizing Watergate and the prescience of the historical miniseries","authors":"K. McNally","doi":"10.1386/ejac_00068_1","DOIUrl":"https://doi.org/10.1386/ejac_00068_1","url":null,"abstract":"The development of the miniseries as a TV genre during the 1970s became central to American television’s dramatization of the nation’s history through stories that combined fact and fiction to relate the past to contemporary US culture. Rarely considered, however, is the ways in which increasing slippages between the screen and real-world events might work to presage the culture and politics of the future, illuminating historical connections that move beyond a television drama’s moment of production. This article explores the 1977 ABC miniseries Washington Behind Closed Doors, an adaptation of John Ehrlichman’s novel The Company and its fictional tale of a Nixon-like president, drawing on the author’s experiences as part of the Nixon administration. Emerging in the contexts of the historical miniseries and various screen depictions of Watergate, the show became part of a blurring of the boundaries between fiction and non-fiction in the re-telling of Richard Nixon’s doomed tenure as president. At the same time, the article contends, the explicit fictionalization of the nation’s recent political history in Washington Behind Closed Doors provides a space in which to read the show as a prescient imagining of the United States’ political future later realized in the presidency of Donald Trump.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44225337","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}
Though in production before Trump’s election, streaming service Hulu’s serial adaption of The Handmaid’s Tale premiered to acclaim in April 2017. Audiences denoted parallels between ultra-conservative, fictional Gilead and the United States’ own political climate. In response to women’s issues in particular, international groups utilized the central Handmaid’s Tale image as their costume ‐ a crimson robe, a white ‘wing’ bonnet ‐ then occupied public spaces to protest silently. WIRED dubbed the garb the ‘Viral Protest Uniform of 2019’, while online lifestyle/culture magazine Quartz named it the ‘ultimate symbol of women’s rights’. The activists’ presence is critical to their work. Mirroring their fictional handmaid counterparts, cosplay activists employ a bowed head, a slow steady gait and equidistant spacing to evoke the harrowing restrictions Gilead’s women face ‐ what ideologically fervent aunts call Gilead’s ‘new normal’. Activists’ physicality generates a doubleness: as they perform submissiveness and literally fall into line, they also craft solidarity via resistance. Likewise, the fiction hints at revolution, which may be why, in the #MeToo and Time’s Up era, the emancipatory potential of cosplay choreographies steeped in popular culture offer their own ‘new normal’, disrupting patriarchal paradigms modelled by the Trump administration while offering feminist fan activism as strategies that promote creative, inclusive political action.
尽管是在特朗普当选之前制作的，但流媒体服务Hulu的《使女的故事》系列改编版在2017年4月首播时就获得了好评。观众指出了极端保守、虚构的吉利德与美国自身的政治气候之间的相似之处。作为对妇女问题的回应，国际组织利用《使女的故事》的中心形象作为他们的服装——一件深红色的长袍，一顶白色的“翅膀”帽——然后占领公共场所，默默地抗议。《连线》杂志将这件衣服称为“2019年病毒式抗议制服”，而在线生活方式/文化杂志Quartz则将其称为“女权的终极象征”。活动人士的存在对他们的工作至关重要。与他们虚构的女仆同行一样，cosplay活动人士采用低着头、缓慢稳定的步态和等距间隔的方式来唤起吉利德女性面临的悲惨限制——意识形态狂热的阿姨们称之为吉利德的“新常态”。积极分子的身体产生了一种双重性:当他们表现出顺从和字面上的排队时，他们也通过抵抗来制造团结。同样，小说暗示了革命，这可能就是为什么，在#MeToo和Time ' s Up时代，沉浸在流行文化中的角色扮演编舞的解放潜力提供了自己的“新常态”，打破了特朗普政府塑造的父权范式，同时为女权主义粉丝行动主义提供了促进创造性、包容性政治行动的策略。
{"title":"The new normal: Activist handmaids and cosplay choreographies in Trump’s America","authors":"J. Atkins","doi":"10.1386/ejac_00071_1","DOIUrl":"https://doi.org/10.1386/ejac_00071_1","url":null,"abstract":"Though in production before Trump’s election, streaming service Hulu’s serial adaption of The Handmaid’s Tale premiered to acclaim in April 2017. Audiences denoted parallels between ultra-conservative, fictional Gilead and the United States’ own political\u0000 climate. In response to women’s issues in particular, international groups utilized the central Handmaid’s Tale image as their costume ‐ a crimson robe, a white ‘wing’ bonnet ‐ then occupied public spaces to protest silently. WIRED dubbed\u0000 the garb the ‘Viral Protest Uniform of 2019’, while online lifestyle/culture magazine Quartz named it the ‘ultimate symbol of women’s rights’. The activists’ presence is critical to their work. Mirroring their fictional handmaid counterparts, cosplay\u0000 activists employ a bowed head, a slow steady gait and equidistant spacing to evoke the harrowing restrictions Gilead’s women face ‐ what ideologically fervent aunts call Gilead’s ‘new normal’. Activists’ physicality generates a doubleness: as they perform\u0000 submissiveness and literally fall into line, they also craft solidarity via resistance. Likewise, the fiction hints at revolution, which may be why, in the #MeToo and Time’s Up era, the emancipatory potential of cosplay choreographies steeped in popular culture offer their own ‘new\u0000 normal’, disrupting patriarchal paradigms modelled by the Trump administration while offering feminist fan activism as strategies that promote creative, inclusive political action.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43044931","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}
Library music (also known as ‘stock’ or ‘production’ music) plays an important role in the depiction of Donald Trump in media productions, be it to cast him as a bold political hero, a glamorous millionaire, an authoritarian ruler or a clownish character. The various facets of Trump’s public brand are reflected in library music catalogues: tracks tagged with the keyword ‘Trump’ highlight, for example, his notoriety as business tycoon and host of reality show The Apprentice, or his candidacy and mandate as the 45th US president. In this article, we draw together original qualitative library music data with a close reading of specific television case studies to examine two main research areas. Firstly, how is Trump represented in library music catalogues, and what does this reveal about popular perceptions of him? Secondly, which library music tracks are used in media content about Trump? Where are the ‘Trump’-tagged tracks used in television, and what other kinds of library music are used in series about this president? This article explores the musical strategies which were deployed to depict Trump’s mandate and its political upheavals, and, more broadly, reappraises library music as a vital ‐ yet underexplored ‐ element in the construction of audio-visual meaning.
{"title":"Sounds like money? Stock music, television and Donald Trump","authors":"Toby Huelin, J. Durand","doi":"10.1386/ejac_00069_1","DOIUrl":"https://doi.org/10.1386/ejac_00069_1","url":null,"abstract":"Library music (also known as ‘stock’ or ‘production’ music) plays an important role in the depiction of Donald Trump in media productions, be it to cast him as a bold political hero, a glamorous millionaire, an authoritarian ruler or a clownish character. The\u0000 various facets of Trump’s public brand are reflected in library music catalogues: tracks tagged with the keyword ‘Trump’ highlight, for example, his notoriety as business tycoon and host of reality show The Apprentice, or his candidacy and mandate as the 45th US president.\u0000 In this article, we draw together original qualitative library music data with a close reading of specific television case studies to examine two main research areas. Firstly, how is Trump represented in library music catalogues, and what does this reveal about popular perceptions of him?\u0000 Secondly, which library music tracks are used in media content about Trump? Where are the ‘Trump’-tagged tracks used in television, and what other kinds of library music are used in series about this president? This article explores the musical strategies which were deployed to\u0000 depict Trump’s mandate and its political upheavals, and, more broadly, reappraises library music as a vital ‐ yet underexplored ‐ element in the construction of audio-visual meaning.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":"225 13","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41258841","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}
This introduction by the editor to the Special Issue on ‘Donald Trump, the Presidency and the Media’ outlines the issue’s theme and articles on the topics of the relationship between Trumpism and a ‘neo-liberal mediascape’, ABC’s 1977 historical miniseries Washington Behind Closed Doors as a prescient warning of the Trump presidency, the representation of Trump in the cataloguing and use of stock music, graphic novels’ depiction of Trump through form and style and cosplay activism drawing on Hulu’s The Handmaid’s Tale as a feminist response to the Trump presidency.
{"title":"Donald Trump, the presidency and the media","authors":"K. McNally","doi":"10.1386/ejac_00066_2","DOIUrl":"https://doi.org/10.1386/ejac_00066_2","url":null,"abstract":"This introduction by the editor to the Special Issue on ‘Donald Trump, the Presidency and the Media’ outlines the issue’s theme and articles on the topics of the relationship between Trumpism and a ‘neo-liberal mediascape’, ABC’s 1977 historical miniseries\u0000 Washington Behind Closed Doors as a prescient warning of the Trump presidency, the representation of Trump in the cataloguing and use of stock music, graphic novels’ depiction of Trump through form and style and cosplay activism drawing on Hulu’s The Handmaid’s\u0000 Tale as a feminist response to the Trump presidency.","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44661022","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}
Review of: Contingent Figure: Chronic Pain and Queer Embodiment, M. D. Snediker (2021)Minneapolis, MN: University of Minnesota Press, 259 pp.,ISBN 978-0-81669-190-6, p/bk, $27.00
{"title":"Contingent Figure: Chronic Pain and Queer Embodiment, M. D. Snediker (2021)","authors":"Benedict Welch","doi":"10.1386/ejac_00074_5","DOIUrl":"https://doi.org/10.1386/ejac_00074_5","url":null,"abstract":"Review of: Contingent Figure: Chronic Pain and Queer Embodiment, M. D. Snediker (2021)Minneapolis, MN: University of Minnesota Press, 259 pp.,ISBN 978-0-81669-190-6, p/bk, $27.00","PeriodicalId":35235,"journal":{"name":"European Journal of American Culture","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41337809","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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