The Channel Posts

By Ava Ellis Content warning: This essay contains mentions of racial violence and slurs Art and literature produce a connection between producer and audience. For…

How Photographing Models With Books Changed Reading By Daphne Short Since its inception in 1984, the Hermes Birkin bag has served as the ultimate symbol…

By Amelia McCluskey “Everyone is putting everything up on Facebook,” declares Mr. Griffith, the English teacher in Will Gluck’s Easy A (2010) (48:56). To signal…

Wharton’s subversive use of typically feminine forms both aligns with and deviates from Austen, which reveals the extent to which Wharton draws on the inherited literary forms of female authors and rejects these conventions to create the social world of the novel.

By Isabelle Lamont-Lennox The Antebellum era of 1815 to 1861 in the United States brought forth a cultural endorsement of white children’s play and leisure…

In “Washing Day,” temporality and memory liberate the speaker from oppressive patriarchal constructions of time, literary history, and labour, ultimately revealing how male-dominated institutions suppress women’s consciousness and imaginative capacities.

On the surface, the story of this image reaches a dead end. I want to know who those women are and who made the sign. Did they know each other? Where did they meet? Who is the photographer? Why are these details so hard to find? 

The marginal symmetry between female authors and their footnotes authorizes the radical deployment of footnotes for women writers: footnotes can not only articulate women’s alienation and assert authorial agency, but in doing so, afford women the opportunity to permeate canonical male literary institutions. 

The film’s representation of the heroines’ interiority does not denote their emancipation from their respective hetero-patriarchal contexts, but it asserts the possibility of their independence despite these circumstances.

In Cohen’s album Death of a Ladies’ Man, he croons from an uncharacteristic third-person perspective which provides a sense of distance between the singer and his highly autobiographical narrative. This vocal space establishes that despite Cohen’s metaphysical death as a lover, his existence as a storyteller continues.