By Thomas L. Long
Looks at how either anti-gay and AIDS activists use apocalyptic language to explain the AIDS crisis.
Since public discourse approximately AIDS begun in 1981, it has characterised AIDS as an apocalyptic plague: a punishment for sin and an indication of the top of the realm. Christian fundamentalists had already configured the homosexual male inhabitants so much visibly tormented by AIDS as apocalyptic signifiers or symptoms of the "end times." Their discourse grew out of a centuries-old American apocalypticism that integrated photographs of concern, destruction, and supreme renewal. during this publication, Thomas L. lengthy examines the ways that homosexual and AIDS activists, artists, writers, scientists, and reporters appropriated this apocalyptic rhetoric as a way to mobilize recognition to the scientific situation, hinder the unfold of the affliction, and deal with the HIV infected.
utilizing the analytical instruments of literary research, cultural stories, functionality thought, and social semiotics, AIDS and American Apocalypticism examines many varieties of discourse, together with fiction, drama, functionality paintings, demonstration pictures and brochures, biomedical courses, and journalism and indicates that, whereas at the beginning necessary, the consequences of apocalyptic rhetoric within the long-term are harmful. one of the vital figures in AIDS activism and the humanities mentioned are David Drake, Tim Miller, Sarah Schulman, and Tony Kushner, in addition to the corporations ACT UP and Lesbian Avengers.
"Beyond being a tremendous examine the influence of religiously encouraged rhetoric on LGBT lives, this e-book can be a powerful documentation of queer responses to HIV/AIDS within the Eighties and Nineteen Nineties, and a highly priceless repository and remembrance of artwork and activism within the face of loss." — GLQ: A magazine of Lesbian and homosexual Studies
“His attempt to ‘acknowledge the worth of spiritual discourse with out endorsing its claims to symbolize the true’ is a magnificent and critical insight.” — CHOICE
"Thomas L. lengthy bargains perceptive readings of contemporary novels and dramas and hyperlinks the dialogue to his broader argument. His insights and conclusions are clever and definitely aid one take into consideration the works in clean and illuminating ways." — Paul S. Boyer, Editor-in-Chief of The Oxford spouse to usa History
"This e-book is remarkable in its intensity of scholarship and interesting to read." — Susan J. Palmer, writer of AIDS as an Apocalyptic Metaphor in North America
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Extra resources for AIDS And American Apocalypticism: The Cultural Semiotics Of An Epidemic
44 Yellow fever further destabilized the early republican government in a nation already imagining itself vulnerable to French Jacobinism, an anxiety eventually taking expression in the Alien and Sedition Laws. ” As Shirley Samuels has pointed out, “the novel in this period reveals itself ﬁnally as a major locus for contemporary anxiety about the stability of the family and its freedom from unfaithfulness and the contamination of the outside world. Timothy Dwight, for example, conﬁgured Jacobin democracy [as] .
Each text featured a solo performer, an avant-garde cultural role that became more visible during the late 1980s and early 1990s when some of its practitioners by their frank or startling representations of the body became embroiled in the conﬂict over public funding for the arts. Each also attempted to construct queer origins, a time in illo tempore of both the speaking subject and the gay and lesbian community; each presented the motif of an exilic landscape and journey during which the narrator undergoes ordeals (AIDS and homophobia); and each proposed the grounds for hope in an imaginary queer future.
Who] knows just how . . ” Reviewing Miller’s Naked Breath for a California gay and lesbian weekly newspaper, Kevin Thaddeus Paulson characterized the performer as “[A] queer evangelist. He preaches the gospel of blood and breath and sex that binds us Exile of the Queer Evangelist 39 together. ” 16 These critics were not responding to Miller’s parody of religious discourse so much as to the fact that Miller, preachers, and evangelical witnesses all present themselves as representative of and for their audiences.