#judith goetz

[intimatum]

intertextuality

desire / eating disorder / hunger: «to be the girl who lunges at people−wants to eat them» (letissier) / «a way to take all hungers and boil them down to their essence–one appetite to manage–just one» (knapp)

trauma / trauma theory / visceralities of trauma

writers

ada limón, adrienne rich, agnès varda, alana massey, alejandra pizarnik, alice notley, ana božičević, anaïs nin, andrea dworkin, andrew solomon, angela carter, angélica freitas, angélica liddell, ann cvetkovich, anna akhmatova, anna gien, anne boyer, anne carson, anne sexton, anne waldman, antonella anedda, aracelis girmay, ariana reines, audre lorde, aurora linnea

barbara ehrenreich, bell hooks, bessel van der kolk

carmen maria machado, caroline knapp, carrie lorig, cat marnell, catharine mackinnon, catherynne m. valente, cathy caruth, césar vallejo, chris kraus, christa wolf, clarice lispector, claudia rankine, czesław miłosz

daniel borzutzky, daphne du maurier, daphne gottlieb, david foster wallace, david wojnarowicz, dawn lundy martin, deirdre english, denise levertov, detlev claussen, dodie bellamy, don paterson, donna tartt, dora gabe, dorothea lasky, durs grünbein

édouard levé, eike geisel, eileen myles, elaine kahn, elena ferrante, elisabeth rank, elyn r. saks, emily dickinson, erica jong, esther perel, etty hillesum, eve kosofsky sedgwick

fanny howe, félix guattari, fernando pessoa, fiona duncan, frank bidart, franz kafka

gabriele schwab, gail dines, georg büchner, georges bataille, gertrude stein, gilles deleuze, gillian flynn, gretchen felker-martin

hannah arendt, hannah black, heather christle, heather o'neill, heiner müller, hélène cixous, héloïse letissier, henryk m. broder, herbert hindringer, herbert marcuse

ingeborg bachmann, iris murdoch

jacques derrida, jacques lacan, jade sharma, jamaica kincaid, jean améry, jean baudrillard, jean rhys, jeanann verlee, jeanette winterson, jenny slatman, jenny zhang, jerold j. kreisman, jess zimmerman, jia tolentino, joachim bruhn, joan didion, joanna russ, joanna walsh, johanna hedva, john berger, jörg fauser, joy harjo, joyce carol oates, judith butler, judith herman, julia kristeva, june jordan, junot díaz

karen barad, kate zambreno, katherine mansfield, kathrin weßling, kathy acker, katy waldman, kay redfield jamison, kim addonizio

lacy m. johnson, larissa pham, lauren berlant, le comité invisible, leslie jamison, lidia yuknavitch, linda gregg, lisa diedrich, louise glück, luce irigaray, lynn melnick

maggie nelson, margaret atwood, marguerite duras, marie howe, marina tsvetaeva, mark fisher, martha gellhorn, mary karr, mary oliver, mary ruefle, marya hornbacher, max horkheimer, melissa broder, michael ondaatje, michel foucault, miranda july, miya tokumitsu, monique wittig, muriel rukeyser

naomi wolf, natalie eilbert, natasha lennard, nelly arcan

ocean vuong, olivia laing, ottessa moshfegh

paisley rekdal, patricia lockwood, paul b. preciado, paul celan, peggy phelan

rachel aviv, rainald goetz, rainer maria rilke, rebecca solnit, richard moskovitz, richard siken, robert jensen, roland barthes, ronald d. laing

sady doyle, sally rooney, salma deera, samuel beckett, samuel salzborn, sandra cisneros, sara ahmed, sara sutterlin, sarah kane, sarah manguso, scherezade siobhan, sean bonney, sheila jeffreys, shoshana felman, shulamith firestone, sibylle berg, silvia federici, simone de beauvoir, simone weil, siri hustvedt, solmaz sharif, sophinette becker, soraya chemaly, stephan grigat, susan bordo, susan sontag, suzanne scanlon, sylvia plath

theodor w. adorno, thomas brasch, tiqqun, toni morrison

ursula k. le guin

valerie solanas, virginia l. blum, virginia woolf, virginie despentes

walter benjamin, wisława szymborska, wolfgang herrndorf, wolfgang pohrt

zadie smith, zan romanoff, zoë lianne, zora neale hurston

[korrektheiten]

Lieber „Standard“, vielen Dank für die gratis „Werbung“

Info-direkt: Wieder einmal „wirbt“ DerStandard kostenlos für Info-DIREKT. Das ist der „Genderforscherin“ und „Rechtsextremismus-Expertin“ Judith Goetz zu verdanken, die in einem ganzseitigen Artikel eigentlich die Werbetrommel für ihr neues Buch rühren wollte – dabei jedoch einige [...] Der Beitrag Lieber „Standard“, vielen Dank für die gratis „Werbung“ erschien zuerst auf Info-DIREKT. http://dlvr.it/RtTw7r

[rosiep66]

“LAURA” (1944) Review

"LAURA" (1944) Review When I had first saw the 1944 murder mystery, "LAURA", I felt inclined to read the 1943 Vera Caspary novel it was based upon. Needless to say, Caspary's novel seemed adequate. But I found myself preferring Otto Preminger's film adaptation a lot more. Surprisingly, Preminger had not been the first choice as the movie's director. Producer William Goetz, acting as 20th Century Fox's studio head in Darryl Zanuck’s absence, allowed Preminger to act as the film’s unit producer. When Zanuck returned to the studio, he expressed a lukewarm attitude toward the project. And he DID NOT want Preminger to act as the film’s director. Instead, Rouben Mamoulian was hired as the director. The latter proved to be a bust. Mamoulian wanted Laird Cregar, instead of Clifton Webb in the role of columnist Waldo Lyedecker. Nor did he seem to be utilizing the cast very well. In the end, Preminger convinced Zanuck and Goetz to allow him to direct the film. And the rest, as one would say, is history. "LAURA" centered on the brutal murder of a Manhattan advertising executive named Laura Hunt. Assigned to the case, police detective Mark McPherson interviewed those close to her. They included Laura's mentor and newspaper columnist Waldo Lyedecker; her Kentucky-born fiancé, Shelby Carpenter; Laura’s socialite aunt Ann Tredwell; and her maid, Bessie Clary. Via flashbacks and McPherson’s interviews, moviegoers learned that Laura was a warm and kind-hearted woman that also happened to be a talented advertising executive. Moviegoers also learned through her relationships with men like Waldo, Shelby and an artist named Jacoby, Laura had lousy tastes in men. Everything changed when Laura appeared at her Manhattan apartment following a prolonged weekend in the country . . . very much alive. The murdered woman proved to be a model that bored a strong resemblance to Laura named Diane Redfern. And since the latter was having an affair with Shelby Carpenter, Laura became a murder suspect. Most people would be inclined to believe that the literary source is superior to any film adaptation. I have read Caspary’s novel only once. And quite frankly, it failed to blow my mind, let alone impress me. Yet, the movie has managed to blow my mind or move me every time I see it. Thanks to Preminger’s direction and the screenplay written by Jay Dratler, Samuel Hoffenstein and Elizabeth Reinhardt; "LAURA" turned out to be a well-written mystery filled with sharp wit and a memorable plot twist. The movie could also boast some fascinating characters that were shadowed by their personal demons. Even the nearly perfect Laura seemed hampered by a particular flaw – namely bad taste in male companionship. I also have to give kudos to Preminger for injecting a rich atmosphere in a movie dominated by interior shots. "LAURA" could have easily spiraled into a filmed play without Preminger’s direction and cinematographer Joseph LaShelle's photography. No one cannot even think about the movie without considering David Raskin’s score. Which is deservedly considered to be one of the best in Hollywood's history. I have nothing against Duke Ellington and his famous piece, "Sophisticated Lady". But I must admit that I am glad that Raskin convinced Preminger to allow him to write his own score, instead of using Ellington's music for the movie. "LAURA" must also be one of those rare crime movies – even for those from the 1930s and 40s – that lacked any real action, save for the movie's last explosive scene that I find haunting, even to this day. One would be inclined to assume that I view this movie as perfect. Well, that person would be wrong. Although I consider "LAURA" to be well paced, it did threaten to drag in the minutes leading toward Laura’s so-called resurrection. Only a conversation between Lyedecker and McPherson over the latter's "obsession with a corpse" prevented me from falling asleep. As I had stated earlier, the Laura Hunt character did seem a bit too perfect at times. Which brings me to the character of Bessie Clary, Laura's maid. I have no problems with a movie servant being competent or profession . . . or even somewhat loyal to his or her servant. It is another matter when a servant lavishly worship the ground his or her employer walked upon. And Bessie seemed to belong to the latter category. Her worship over Laura came off so strongly that I found myself wondering if there had been a deleted scene that featured her on all fours, shining Laura’s shoes with her tongue. I mean . . . honestly! Her slavish loyalty toward Laura made me cringe so much that I almost considered becoming a Communist at one point. Many film critics and historians have commented upon Hollywood's racism and sexism over the years. Yet, I wonder if anyone had ever considered that class bigotry reared its ugly head in many of these old movies. Speaking of Bessie Clary, I must admit that actress Dorothy Adams did a solid job in her portrayal of Laura’s faithful maid. I especially enjoyed how she conveyed Bessie’s defiant attitude toward McPherson and other cops. It seemed a pity that screenwriters Dratler, Hoffenstein and Reinhardt seemed bent upon portraying her as an excessively loyal servant. Following her role as the sinister Mrs. Danvers in 1940’s "REBECCA", Judith Anderson gave a more subtle performance as Laura’s socialite aunt, AnnTredwell. What I enjoyed about Anderson's performance was that she portrayed Ann as a cool and calculating woman who was brutally honest about her love for Shelby Carpenter without being over-the-top about it. Vincent Prince became a rising star, thanks to his portrayal of Shelby Carpenter, Laura's impoverished Kentucky-born fiancé. Waldo Lyedecker had contemptuously described Shelby as a "male beauty". Shelby was also a "male beauty" with a nasty talent for sponging money and favors from women more fortunate than himself. And Price beautifully portrayed that unpleasant aspect of Shelby's character with warmth, subtlety and gutless charm. He also had the fortunate luck to be given the best line in the entire movie. Clifton Webb earned a well deserved Academy Award nomination (which he should have won) for his portrayal of the waspish and acid-tongued columnist Waldo Lyedecker. Despite his contempt for nearly everyone around him, Waldo harbored an obsessive love for Laura and Webb conveyed this beautifully. Many believe that Webb had managed to steal the picture from his fellow cast members. I would now go that far. But I do believe that he gave the movie's best performance. But Webb was surrounded by a strong cast in which three others also became stars. And this is why I cannot give him credit for stealing the movie. Although he had been around for a few years, Dana Andrews received his big break as Mark McPherson, the cynical police detective assigned to investigate the murdered body found in Laura’s apartment. Superficially, Andrews’ portrayed McPherson as a typical movie detective – tough, sarcastic and intelligent. But he also managed to convey McPherson’s growing obsession toward "dead" Laura without engaging in any theatrics. I doubt that very few would agree, but I have always considered Andrews to be one of the better screen actors I have ever seen – past or present. He had a gift for expressing an array of emotions with his eyes, with great ease. Even with body language, Andrews managed to convey his interest in Laura by the way his character diligently listened to the suspects' recollections of the "victim" and the manner in which he examined Laura's apartment. Frankly, I feel that Andrews has been somewhat under-appreciated as an actor. Gene Tierney gave a warm portrayal of the title character, Laura Hunt. As I had stated earlier, her character came off as superficially perfect. I am more inclined to blame Vera Caspary and the movie's screenwriters than the actress. Fortunately, Tierney had the talent to prevent Laura from becoming such an unbearable character. More importantly, she injected a good deal of spirit in her character . . . especially in the scenes she shared with Dana Andrews. I especially enjoyed the scenes in which she made it clear to McPherson that she was not in the habit of blindly obeying others, and when she finally expressed Laura's annoyance at Lyedecker's obsessive meddling. For a murder mystery that featured very little action and a great deal of dialogue, "LAURA" still managed to be an engrossing and atmospheric story. And producer-director Otto Preminger made this possible by bringing together a superb cast with an unforgettable score written by David Raskin, Joseph LaShelle's photography and one of the wittiest screenplays in Hollywood history. In fact, I would go as far to say that "LAURA" is probably one of the finest mystery films ever made.

[rikafofo]

Sage green pants by greensparkle1 featuring peep toe shoes ❤ liked on Polyvore

MANGO v neck top, 18 JOD / Slim fit trousers, 18 JOD / Tory Burch peep toe shoes, 120 JOD / Judith Leiber metallic clutch, 460 JOD / Mineral face powder, 8.862 JOD / Mineral Fusion paraben free eyeshadow, 18 JOD / The Aromatherapy Co body cleanser, 13 JOD / MALIN GOETZ body cleanser, 14 JOD

[jewsome]

The 61 books posted on JewishBookWorld.org in May 2020

Here is the list of the 61 books that I posted on this site, JewishBookWorld.org in May 2020. The image above contains some of the covers. The bold links take you to the book’s page on Amazon; the “on this site” links to the book’s page on this site.

The Abba Tree by Devora Busheri and Gal Shkedi (on this site)

All My Mother’s Lovers by Ilana Masad (on this site)

American Jewish Thought Since 1934: Writings on Identity, Engagement, and Belief by Michael Marmur, David Ellenson (on this site)

And in the Vienna Woods the Trees Remain by Elisabeth Asbrink (on this site)

Another Side of Paradise by Sally Koslow (on this site)

As I Was Burying Comrade Stalin: My Life Becoming a Jewish Dissident by Arkady Polishchuk (on this site)

Between Religion and Reason: The Dialectical Position in Contemporary Jewish Thought from Rav Kook to Rav Shagar, Part I by Ephraim Chamiel (on this site)

Blessed as We Were by Gerald Stern (on this site)

Blood Memory by Gail Newman (on this site)

A Body Of Her Own: Jewish Women Sharing Intimate Stories About Their Mikveh Rituals by Ella Kanner (on this site)

The Book of V. by Anna Solomon (on this site)

The Boy Who Followed His Father into Auschwitz: A True Story of Family and Survival by Jeremy Dronfield (on this site)

Boynton Beach Chronicles: Tails of Norman by Jerry Klinger (on this site)

Casting Down the Host of Heaven by Cat Quine (on this site)

A Ceiling Made of Eggshells by Gail Carson Levine (on this site)

Child Harold of Dysna by Moyshe Kulbak (on this site)

Cilka’s Journey by Heather Morris (on this site)

Citizenship and Antisemitism in French Colonial Algeria, 1870-1962 by Sophie B. Roberts (on this site)

The Coat by April Grunspan (on this site)

The Collaborator by Diane Armstrong (on this site)

A Companion to Late Ancient Jews and Judaism: 3rd Century BCE – 7th Century CE by Gwynn Kessler, Naomi Koltun-Fromm (on this site)

The Convert by Stefan Hertmans (on this site)

Deaf Republic by Ilya Kaminsky (on this site)

Defenders of the Faith: Studies in Nineteenth- and Twentieth-Century Orthodoxy and Reform by Judith Bleich (on this site)

Designated Hebrew: The Ron Blomberg Story by Ron Blomberg (on this site)

Don’t Tell Ima by Lisa Barness (on this site)

Dressed for a Dance in the Snow: Women’s Voices from the Gulag by Monika Zgustova (on this site)

Embracing Auschwitz: Forging a Vibrant, Life-Affirming Judaism that Takes the Holocaust by Joshua Hammerman (on this site)

Eve and All the Wrong Men by Aviya Kushner (on this site)

Exile Music by Jennifer Steil (on this site)

Hidden Heretics: Jewish Doubt in the Digital Age by Ayala Fader (on this site)

The Interpreter by A.J. Sidransky (on this site)

The Jewish Spy by Hayuta Katzenelson (on this site)

The Jewish Wedding: A Guide to the Rituals and Traditions of the Wedding Ceremony by Dovber Pinson (on this site)

The Jews Of Iraq: 3000 Years Of History And Culture by Nissim Rejwan (on this site)

Judaism, Race, and Ethics: Conversations and Questions by Jonathan K. Crane (on this site)

The King of Chicago: Memories of My Father by Daniel Friedman (on this site)

KOLOT: Raising a Jewish Daughter by Valley Beit Midrash (on this site)

Levinas and the Torah: A Phenomenological Approach by Richard I. Sugarman (on this site)

The Lost Book of Adana Moreau by Michael Zapata (on this site)

Man of My Time by Dalia Sofer (on this site)

Mendelevski’s Box by Roger Swindells (on this site)

The Mystery of the Kibbutz: Egalitarian Principles in a Capitalist World by Ran Abramitzky (on this site)

Never to Be Forgotten: A Young Girl’s Holocaust Memoir by Beatrice Muchman (on this site)

The New Zionists: Young American Jews, Jewish National Identity, and Israel by David L. Graizbord (on this site)

Other Covenants: Alternate Histories of the Jewish People by (on this site)

Pain by Zeruya Shalev (on this site)

Projecting the Nation: History and Ideology on the Israeli Screen by Eran Kaplan (on this site)

Rabbi Zalman Schachter-Shalomi: Essential Teachings by Or N. Rose, Netanel Miles-Yépez (on this site)

Rebbe Nachman’s Tales: Stories for Personal Refinement by Bruce D. Forman, Steven J. Kaplan, Shoshannah Brombacher (on this site)

Recipes for a Sacred Life: True Stories and a Few Miracles by Rivvy Neshama (on this site)

Refugees or Migrants: Pre-Modern Jewish Population Movement by Robert Chazan (on this site)

Rescued from the Ashes: The Diary of Leokadia Schmidt, Survivor of the Warsaw Ghetto by Leokadia Schmidt (on this site)

The Secret Music at Tordesillas by Marjorie Sandor (on this site)

Serenade for Nadia by Zülfü Livaneli (on this site)

The Shabbat Treasure by Evelyn Goldfinger (on this site)

Shrapnel Maps by Philip Metres (on this site)

Shuk: From Market to Table, the Heart of Israeli Home Cooking by Einat Admony, Janna Gur (on this site)

Stan Lee: A Life in Comics by Liel Leibovitz (on this site)

Villa of Delirium by Adrien Goetz (on this site)

Vladimir Jabotinsky’s Russian Years, 1900-1925 by Brian J. Horowitz (on this site)

The post The 61 books posted on JewishBookWorld.org in May 2020 appeared first on Jewish Book World.

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[schattenblick]

Tagesaktuell vom 7. September 2018

http://www.schattenblick.de/infopool/infopool.html

SCHACH-SPHINX/06677: Habsucht geht mit dem Raub unter (SB) http://www.schattenblick.de/infopool/schach/schach/sph06677.html

WETTER/8389: Und morgen, den 7. September 2018 (SB) http://www.schattenblick.de/infopool/dienste/wetter/wett8389.html

REPRESSION/1612: Hambacher Forst - von der Frucht getrennter Kern ... (SB) http://www.schattenblick.de/infopool/politik/kommen/repr1612.html

KRIEG/1709: Militär - planen, schmieden, Messer wetzen ... (SB) http://www.schattenblick.de/infopool/politik/kommen/volk1709.html

USA/1409: Washington - gewählte Feinde und unerwünschte Freunde ... (SB) http://www.schattenblick.de/infopool/politik/redakt/usa1409.html

INTERVIEW/104: Linke Buchtage Berlin - unterdrückte Überkommenheit ...    Judith Goetz im Gespräch (SB) http://www.schattenblick.de/infopool/d-brille/report/dbri0104.html

[frauenxkampftage-blog]

6.3. / Talk / Türkisblaue (Re)Naturalisierungen

Wann: Dienstag, 6.3. // 19 uhr - 21 uhr Wo: UFO, Uni Frauen Ort,  Berggasse 5/24, 1090 Wien Mit: Judith Goetz Einladungspolitik: all gender Zugänglichkeit: nicht barrierefrei *

Genderideologies with a Black-Blue government When: Tuesday, 6.3. // 7pm - 9pm Where: UFO, Uni Frauen Ort, Berggasse 5/24, 1090 Vienna With: Judith Goetz Invitation policy: all gender Accessibility: not fully accessible  Türkisblaue (Re)Naturalisierungen- Anmerkungen zur „Natur“ des Regierungsprogramms und rechtsextremen Geschlechterpolitiken in ÖsterreichVortrag Judith Goetz

Obgleich das Kapitel „Frauen“ im Programm der neuen blau-türkisen Regierung „Zusammen. Für unser Österreich“ nur knapp zweieinhalb der insgesamt rund 180 Seiten umfasst, bleiben auch FLIT* Personen nicht von ihren besorgniserregenden Vorhaben verschont. Beunruhigende Auswirkungen lassen u.a. die Aufwertungen von Zweigeschlechtlichkeit und heteronormativen Familienvorstellungen, die Einführung von Beratungen vor Schwangerschaftsabbrüchen sowie die Externalisierung der Bedrohung von Gewalt gegen Frauen* auf als migrantisch ausgemachte Kontexte befürchten.Im Vortrag mit anschließender Diskussion soll die Entwicklung rechtsextremer Geschlechterpolitiken am Beispiel der FPÖ nachgezeichnet und anhand des Regierungsprogramms die dahinter stehenden Ideologien offen gelegt werden. Zudem soll auch der Frage nachgegangen werden, wie Umgangs- und Widerstandsformen mit derartigen Politiken aussehen könnten.Judith Goetz ist Literatur- und Politikwissenschafterin, Mitglied der Forschungsgruppe Ideologien und Politiken der Ungleichheit (www.fipu.at) sowie des Forschungsnetzwerks Frauen und Rechtsextremismus (http://www.frauen-und-rechtsextremismus.de/cms/). Ihre Interessensschwerpunkte liegen bei Rechtsextremismus und Gender sowie Antifeminismus. Kürzlich erschien der von ihr mitherausgebene Sammelband „Untergangster des Abendlandes. Ideologie und Rezeption der rechtsextremen ,Identitären‘“.

Die Veranstaltenden behalten sich vor, von ihrem Hausrecht Gebrauch zu machen und Personen, die rechten Parteien oder Organisationen angehören, der rechten Szene zuzuordnen sind oder bereits in der Vergangenheit durch rassistische, nationalistische, antisemitische oder sonstige menschenverachtende Äußerungen in Erscheinung getreten sind, den Zutritt zur Veranstaltung zu verwehren oder von dieser auszuschließen.

https://www.facebook.com/events/198523150881772/

[magikant]

i was reading an article on early female gamers and there were a lot of interesting bits in it, but one that really stands out is in a passage about the variety of ways in which men tried to adapt the rules for female characters (lower strength, higher charisma, weird seduction rules, etc.). one section of it reads

An article in the pages of Paul Jaquays’s fanzine The Dungeoneer entitled “Those Lovely Ladies” reinvented the Fighting-man, Magic-user, and Cleric classes for women as “Valkyries,” “Circeans” and “Daughters of Delphi,” respectively. It retained the Charisma stat and awarded women a blanket Charisma bonus, though the Charisma of women suffered if their Strength was too high. This piece too received pushback from a female reader, Judith Preissle Goetz, who concedes that “women have higher charisma as far as men are generally concerned,” but observes, ”you have ignored the complementary phenomena that men have higher charisma as far as most women are concerned.”

but a commenter on the article notes that in the past decade, jaquays has come out as a lesbian and transwoman. which really. just adds a lot of layers to everything happening right here

[capecoddaily]

Deck: 9th Annual Quahog Day Towns: YarmouthTopic: NewsHub Category: OutdoorsAuthor: CapeCodToday StaffTeaser: 9th annual Quahog DayMain Image: Main Image Credit: Surrounded by heavy Quahog Security Detail, NBC Boston Meteorologist Michael Page poses for a photo with Cape Cod’s Prognosticating Bivalve “Doug” the Quahog and his human sidekick Johnny Quahog. (Photo by Judith Goetz, Regan Communications)Thumbnail Image: Related Content: NBC…

[korrektheiten]

Linke Tageszeitung „Kurier“: Für Experten ist Volksbegriff bereits rechtsextrem

Unzensuriert:Mariazell Foto: Bwag / Wikimedia (CC-BY-SA-3.0-AT) Immer bunter treiben es sogenannte „Rechtsextremismus-Experten“, wenn es um die aktuelle Diskussion rund um die Identitären und ihre ideologische Verortung geht. In der Sonntagsausgabe der linken Tageszeitung Kurier lässt man die beiden „Experten“ Jörg Flecker (Soziologe) und Judith Goetz (Politikwissenschafterin) mit wirren Theorien zu Wort kommen. Medien „Kurier“-Experten: „Volk“ ist rechtsextrem http://dlvr.it/R2nq0h