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 all started in 1981, it has characterised AIDS as an apocalyptic plague: a punishment for sin and an indication of the top of the area. Christian fundamentalists had already configured the homosexual male inhabitants so much visibly stricken by AIDS as apocalyptic signifiers or symptoms of the "end times." Their discourse grew out of a centuries-old American apocalypticism that incorporated photographs of concern, destruction, and supreme renewal. during this booklet, Thomas L. lengthy examines the ways that homosexual and AIDS activists, artists, writers, scientists, and reporters appropriated this apocalyptic rhetoric for you to mobilize realization to the scientific challenge, hinder the unfold of the ailment, and deal with the HIV infected.
utilizing the analytical instruments of literary research, cultural reports, functionality thought, and social semiotics, AIDS and American Apocalypticism examines many different types of discourse, together with fiction, drama, functionality paintings, demonstration pix and brochures, biomedical guides, and journalism and exhibits that, whereas at the beginning worthy, the consequences of apocalyptic rhetoric within the long-term are risky. one of the very important 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 an enormous examine the influence of religiously encouraged rhetoric on LGBT lives, this publication can also be a powerful documentation of queer responses to HIV/AIDS within the Eighties and Nineteen Nineties, and a highly necessary repository and remembrance of paintings and activism within the face of loss." — GLQ: A magazine of Lesbian and homosexual Studies
“His attempt to ‘acknowledge the price of spiritual discourse with out endorsing its claims to symbolize the true’ is a powerful and significant insight.” — CHOICE
"Thomas L. lengthy bargains perceptive readings of modern novels and dramas and hyperlinks the dialogue to his broader argument. His insights and conclusions are wise and definitely support 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 outstanding 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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Additional info for AIDS And American Apocalypticism: The Cultural Semiotics Of An Epidemic
And although it were presumption to attempt to scan the decrees of heaven, yet few, I believe, will pretend to deny, that something was wanting to humble the pride of a city, which was running on in full career, to the goal of prodigality and dissipation. As John C. ” Alan Axelrod suggests that: Arthur Mervyn . . is a vision of the dis-ease of civilization in the New World. Brown, who had begun his literary career idly dreaming uto- Apocalyptus Interruptus 25 pias, created in his most detailed portrait of an American city a plaguesmitten, apocalyptic vision of an antiutopia, in which the only real sources of social relationship lie in a monetary system liable to counterfeiting and imposture or in sexual alliances smuggled into town as the counterfeiting fantasies of the asocial wilderness mind.
Touched and touching. Time now to know each other and ourselves” (335). Like the Christian Book of Revelation, Miller’s narrative fantasy ended with a marriage: “But, now, I feel the blessing of being closer than they told us was possible. The fuckers lied to us. I am not ashamed of nakedness and I will not [be] cast out of paradise by right-wing bigots or some fucking hunky archangel with a ﬂaming sword in some garden. This is one sex between two queer men’s bodies in the time of trial on the planet Earth at the very end of the second millennium” (336).
Later in this chapter, I will show how Miller shares this method of representation with David Drake and with James McCourt’s characters. ” Though “home” is currently Santa Monica, California, he maintains a wide-ranging performance schedule. Miller articulated a spirituality for his work in the essay “Jesus and the Queer Performance Artist,” included in a collection edited by Malcolm Boyd and Nancy L. Wilson, Amazing Grace: Stories of Lesbian and Gay Faith. He characterizes his work as referring “.