Kayli McTague's Annotated Bibliography
Dublin Core
Title
Kayli McTague's Annotated Bibliography
Description
Marra, Kim. “Riding, Scarring, Knowing: A Queerly Embodied Performance Historiography.” Theatre Journal, vol. 64, no. 4, 2012, pp. 489–511. JSTOR.
Kim Marra, a scholar of theatre arts and American studies, investigates the emergence and evolution of equestrianism as a longstanding pastime for urban, upper class American women beginning with a quote from her autobiographical solo-piece, Horseback Views: A Queer Hippological Performance, “In academia, I have found it easier to come out as a lesbian than as an equestrian.” She examines various portrayals of equestrian practices from the end of the civil war to the present, specifically in search of pictorial evidence of embodied experiences that asserted queerness into historical record. Marra relates Charles Dana Gibson’s 1907 piece “The Story of the Hunt” to Fiona Shaw’s portrayal of Lady Gay Spanker to substantiate the claims she makes about female equestrian unsexing, stating, “riding could queer even fully formed ladies.” Though she discusses her own performance at extensive length, the cultural connections Marra makes between queerness, human and female development, and equestrianism, among other seemingly disjunctive areas point to the lasting influence of Gibson’s work and the role it may have played in altering expectations for women at the turn of the century.
Morton, Frederick W. “Charles Dana Gibson, Illustrator.” Brush and Pencil, vol. 7, no. 5, 1901, pp. 277–293. JSTOR.
Frederick W. Morton’s article discussing the work of Charles Dana Gibson appears in a February 1901 edition of Brush and Pencil, an illustrated monthly journal for contemporary art founded by Charles Francis Brown, a modernist painter and art scholar from Chicago. The article was written when Gibson’s art had begun to gain wild success after appearing in a number of major publications including Scribners Magazine and Life. Magazine, offering a contemporary perspective of his work. Profiling his life, training, and prolific career, the article examines how the very careful and intentional cultivation of a few perfect characters has allowed for such widely acclaimed artworks as his Gibson Girl to create a lasting impact not only on art, but on societal standards for beauty, femininity, and independence for American women at the start of the twentieth century. The illustrations accompanying the article, including images he created from works by Charles Dickens, posit some of his most known works alongside his contemporaries. Morton’s article has been useful while writing my exhibition narrative for the information it has regarding the reach and reception of Gibson’s, and the role John Ames Mitchell and Life. Magazine undoubtedly played in his success. Unsurprisingly, the perspectives of the women he is painting, or the response of women to his work, are hardly made mention of in this, and almost all of the articles I have found discussing Charles Dana Gibson.
Slater, Thomas J. “June Mathis's Valentino Scripts: Images of Male ‘Becoming’ After the Great War.” Cinema Journal, vol. 50, no. 1, 2010, pp. 99–120. JSTOR.
Slater’s article discusses June Mathis’ work on Rudolph Valentino’s scripts and screenplays, citing her work as a great feminist undoing of the emptiness, toxicity, violence, and oppression of patriarchy, which was instrumental in redefining the way American femininity and masculinity were represented in film. Among the Valentino screenplays Mathis wrote was The Young Rajah, the film portrayal of John Ames Mitchell’s 1895 novel Amos Judd, presenting audiences with a revolutionary reimagination of expectations and standards for men that condemned racial and gender-based prejudices and used art and film to promote a massive upheaval of patriarchal culture. In light of the unique challenge that identifying scholarly criticism surrounding J.A. Mitchell has proven to be, Slater’s article has been most useful for the evidence it offers of Mitchell’s work existing in the world.
Kim Marra, a scholar of theatre arts and American studies, investigates the emergence and evolution of equestrianism as a longstanding pastime for urban, upper class American women beginning with a quote from her autobiographical solo-piece, Horseback Views: A Queer Hippological Performance, “In academia, I have found it easier to come out as a lesbian than as an equestrian.” She examines various portrayals of equestrian practices from the end of the civil war to the present, specifically in search of pictorial evidence of embodied experiences that asserted queerness into historical record. Marra relates Charles Dana Gibson’s 1907 piece “The Story of the Hunt” to Fiona Shaw’s portrayal of Lady Gay Spanker to substantiate the claims she makes about female equestrian unsexing, stating, “riding could queer even fully formed ladies.” Though she discusses her own performance at extensive length, the cultural connections Marra makes between queerness, human and female development, and equestrianism, among other seemingly disjunctive areas point to the lasting influence of Gibson’s work and the role it may have played in altering expectations for women at the turn of the century.
Morton, Frederick W. “Charles Dana Gibson, Illustrator.” Brush and Pencil, vol. 7, no. 5, 1901, pp. 277–293. JSTOR.
Frederick W. Morton’s article discussing the work of Charles Dana Gibson appears in a February 1901 edition of Brush and Pencil, an illustrated monthly journal for contemporary art founded by Charles Francis Brown, a modernist painter and art scholar from Chicago. The article was written when Gibson’s art had begun to gain wild success after appearing in a number of major publications including Scribners Magazine and Life. Magazine, offering a contemporary perspective of his work. Profiling his life, training, and prolific career, the article examines how the very careful and intentional cultivation of a few perfect characters has allowed for such widely acclaimed artworks as his Gibson Girl to create a lasting impact not only on art, but on societal standards for beauty, femininity, and independence for American women at the start of the twentieth century. The illustrations accompanying the article, including images he created from works by Charles Dickens, posit some of his most known works alongside his contemporaries. Morton’s article has been useful while writing my exhibition narrative for the information it has regarding the reach and reception of Gibson’s, and the role John Ames Mitchell and Life. Magazine undoubtedly played in his success. Unsurprisingly, the perspectives of the women he is painting, or the response of women to his work, are hardly made mention of in this, and almost all of the articles I have found discussing Charles Dana Gibson.
Slater, Thomas J. “June Mathis's Valentino Scripts: Images of Male ‘Becoming’ After the Great War.” Cinema Journal, vol. 50, no. 1, 2010, pp. 99–120. JSTOR.
Slater’s article discusses June Mathis’ work on Rudolph Valentino’s scripts and screenplays, citing her work as a great feminist undoing of the emptiness, toxicity, violence, and oppression of patriarchy, which was instrumental in redefining the way American femininity and masculinity were represented in film. Among the Valentino screenplays Mathis wrote was The Young Rajah, the film portrayal of John Ames Mitchell’s 1895 novel Amos Judd, presenting audiences with a revolutionary reimagination of expectations and standards for men that condemned racial and gender-based prejudices and used art and film to promote a massive upheaval of patriarchal culture. In light of the unique challenge that identifying scholarly criticism surrounding J.A. Mitchell has proven to be, Slater’s article has been most useful for the evidence it offers of Mitchell’s work existing in the world.
Creator
Kayli McTague
Citation
Kayli McTague, “Kayli McTague's Annotated Bibliography,” Manhattan College Omeka , accessed September 20, 2024, https://omeka-pilot.manhattan.edu/items/show/153.