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Video games have long been seen as the exclusive territory of young, heterosexual white males. In a media landscape dominated by such gamers, players who do not fit this mold, including women, people of color, and LGBT people, are often brutalized in forums and in public channels in online play. Discussion of representation of such groups in games has frequently been limited and cursory. In contrast, Gaming at the Edge builds on feminist, queer, and postcolonial theories of identity and draws on qualitative audience research methods to make sense of how representation comes to matter.

In Gaming at the Edge, Adrienne Shaw argues that video game players experience race, gender, and sexuality concurrently. She asks: How do players identify with characters? How do they separate identification and interactivity? What is the role of fantasy in representation? What is the importance of understanding market logic? In addressing these questions Shaw reveals how representation comes to matter to participants and offers a perceptive consideration of the high stakes in politics of representation debates.

Putting forth a framework for talking about representation, difference, and diversity in an era in which user-generated content, individualized media consumption, and the blurring of producer/consumer roles has lessened the utility of traditional models of media representation analysis, Shaw finds new insight on the edge of media consumption with the invisible, marginalized gamers who are surprising in both their numbers and their influence in mainstream gamer culture.

How are culturally constructed stereotypes about appropriate sex-based behavior formed? If a person who is biologically female behaves in a stereotypically masculine manner, what are the social, political, and cultural forces that may police her behavior? And how will she manage her gendered image in response to that policing? Finally, how do race, ethnicity, or sexuality inform the way that sex-based roles are constructed, policed, or managed?
    The chapters in this book address such questions from social science perspectives and then examine personal stories of reinvention and transformation, including discussions of the lives of dancers Isadora Duncan and Bill T. Jones, playwright Lorraine Hansberry, and surrealist artist Claude Cahun.Writers from fields as diverse as history, art, psychology, law, literature, sociology, and the activist community look at gender nonconformity from conceptual, theoretical, and empirical perspectives. They emphasize that gender nonconformists can be gay, lesbian, bisexual, transgender, or anyone else who does not fit a model of Caucasian heterosexual behavior characterized by binary masculine and feminine roles.

Contributors. Sueann Caulfield, Elizabeth Quay Hutchison, Gilbert M. Joseph, Thomas J. Klubock, Martin Nesvig, Pablo Piccato, Cristina Rivera Garza, Karin Rosemblatt, Heidi Tinsman

This book is a collection of eleven essays, an introduction, and a conclusion that discuss issues of gender and sexuality in the twelve states of the Midwest. The book covers 200 years of midwestern history—from the early nineteenth century to the early twenty-first century—and includes the experiences of midwesterners of diverse races, religions, and sexualities. The essays are arranged according to three topical categories. Essays in the first section of the book deal with some aspect of Memory and Methodology, those in the second section engage matters of Community and Belief, and the chapters in the final third of the manuscript address intersections of Biography and Politics. The authors of all eleven essays firmly ground their analyses within the categories of gender and/or sexuality. Essayists include discussion of men and masculinity as well as women and femininity. In addition, several of the essays address situations outside the realm of heterosexual monogamy: plural marriage, celibacy, LGBTQ+ relationships. In other words, the book engages with developments in subject matter and methodology that have changed the gender studies field over the past 15-30 years.

Authors have written their essays with an eye toward a broad audience. The book is appropriate reading for historians of women, gender, and sexuality; scholars of midwestern history and midwestern studies; undergraduate and graduate students in women’s and gender history courses; undergraduate and graduate students in women’s, gender, and sexuality studies courses; and non-academic readers with a particular interest in the Midwest or gender history.

Contributors

Kristin Mapel Bloomberg
Nikki Berg Burin
Stewart Davenport
Kara M. French
Barbara Handy-Marchello
Birgit Hans
Dean J. Kotlowski
David Mislin
Cynthia C. Prescott
Ashley Rattner
Jordan Zdinak

Muslim communities throughout the Indian Ocean have long questioned what it means to be a “good Muslim.” Much recent scholarship on Islam in the Indian Ocean considers debates among Muslims about authenticity, authority, and propriety. Despite the centrality of this topic within studies of Indian Ocean, African, and other Muslim communities, little of the existing scholarship has addressed such debates in relation to women, gender, or sexuality. Yet women are deeply involved with ideas about what it means to be a “good Muslim.”

In Gendered Lives in the Western Indian Ocean, anthropologists, historians, linguists, and gender studies scholars examine Islam, sexuality, gender, and marriage on the Swahili coast and elsewhere in the Indian Ocean. The book examines diverse sites of empowerment, contradiction, and resistance affecting cultural norms, Islam and ideas of Islamic authenticity, gender expectations, ideologies of modernity, and British education. The book’s attention to both masculinity and femininity, broad examination of the transnational space of the Swahili coast, and inclusion of research on non-Swahili groups on the East African coast makes it a unique and indispensable resource.

Contributors: Nadine Beckmann, Pat Caplan, Corrie Decker, Rebecca Gearhart, Linda Giles, Meghan Halley, Susan Hirsch, Susi Keefe, Kjersti Larsen, Elisabeth McMahon, Erin Stiles, and Katrina Daly Thompson