The Channel Posts

The notion of homeland and the use of violence in Césaire and Walker’s works are central to their critiques of oppression, ultimately shaping how their audiences engage with themes of resistance and liberation.

As social media reduces the identity of an individual to their appearance, the physical book can come to remind us that more exists between the neatly packaged, aesthetically curated cover.

Beyond merely representing the internet, both Easy A and Eighth Grade use it as a device to communicate key elements of the narrative, highlighting its importance as a site that organizes the teenage social system.

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 situating black childhood as ‘deviant’ and white childhood as ‘innocent,’ American childhood became racialized and segregated. Toys and dolls helped establish these social contracts,

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.