AIDS And American Apocalypticism: The Cultural Semiotics Of by Thomas L. Long

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 tip of the realm. Christian fundamentalists had already configured the homosexual male inhabitants such a lot 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 situation, destruction, and supreme renewal. during this ebook, Thomas L. lengthy examines the ways that homosexual and AIDS activists, artists, writers, scientists, and newshounds appropriated this apocalyptic rhetoric with a view to mobilize realization to the clinical problem, hinder the unfold of the affliction, and deal with the HIV infected.

utilizing the analytical instruments of literary research, cultural experiences, functionality idea, and social semiotics, AIDS and American Apocalypticism examines many forms of discourse, together with fiction, drama, functionality artwork, demonstration pix and brochures, biomedical guides, and journalism and indicates that, whereas at the beginning invaluable, 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 companies ACT UP and Lesbian Avengers.

"Beyond being a big examine the influence of religiously encouraged rhetoric on LGBT lives, this e-book is usually a powerful documentation of queer responses to HIV/AIDS within the Eighties and Nineteen Nineties, and a highly necessary 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 price of spiritual discourse with out endorsing its claims to symbolize the true’ is a magnificent and demanding insight.” — CHOICE

"Thomas L. lengthy deals perceptive readings of contemporary novels and dramas and hyperlinks the dialogue to his broader argument. His insights and conclusions are clever and definitely support one take into consideration the works in clean and illuminating ways." — Paul S. Boyer, Editor-in-Chief of The Oxford significant other to usa History

"This e-book is amazing 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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Though the recalcitrant member was unresponsive, requiring Miller to finish his mythmaking: “You say not until I finish my story? OK. This is a fairy tale. Maybe I can make up a new ending and maybe we’ll find our way out of the volcano” (328). In this fantasy, Miller returned to the demonstration at the Museum of Art (“Fuck this Jungian mythopoetic stuff. My queer friends are getting beat up back at the museum” [330]), the demonstrators force the governor out of office, and the marginalized make important advances into the new millennium, including electing a black lesbian president, who appoints Miller performance artist laureate.

F. 40 Epidemic disease represented in terms of apocalyptic panic is characteristic of one of the Early Republic’s first novels: Charles Brockden Brown’s Arthur Mervyn, published in 1799 and 1800 and based on the Philadelphia yellow fever epidemic of 1793. 41 As J. H. Powell has remarked in his history of the first epidemic, “The yellow fever, before the death of the young men whose first plague was 1793, became the most thoroughly writtenabout disease in medicine. . Philadelphia’s great plague, the first of a long series, attracted all the writers of medical history.

Nonetheless, in a discussion of John Epperson’s drag persona, “Lypsinka,” David Román suggests the tactical usefulness of some drag performance: “Gay men . . , the saved, the workers). Thus, for example, Christian fundamentalists in the 1970s and 1980s contended simultaneously that a future rupture in history was entirely in God’s control and that it would be hastened by the toleration of sodomitical performances. If there are no stable (sexual) identities, no determined “texts” of signifying desires, then apocalyptic discourse might be similarly understood as a performance of desires seeking simultaneously stability and instability, identity and abjection.

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