Word: feministic
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Dates: during 1990-1999
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When beautician Polly Tishun (Michael Kennedy '99) blooms from her stuttering shy-girl cocoon and becomes a sexy, successful presidential candidate, we not only see gender-bending acquire an occupational valence but also a post-feminist re-telling of the American teenager's Bildungsroman, embedded in a politicized pulp paradigm that we have not seen since the 60s (aka Celine Dion). Kennedy is fully aware of all the dimensions of his character but still manages to add symbolic layers even as he sheds tactile ones...
...cited a 1992 controversy involving the parody of New England Law School Professor Mary Joe Frug by the Harvard Law Revue. This publication sought to satirize The Harvard Law Review, which had published one of Frug's feminist essays shortly after she was murdered in April...
Most of Hillary's political capital can be traced to her status as a feminist icon. Why she is revered as such is entirely inexplicable. She is an intelligent enough individual (holding degrees from Wellesley and the Yale Law School) but cannot boast any exceptional achievements of her own. Her entire career has been derivative of her husband...
...therapy to diagnose his own longing for female love and yet has learned sufficiently little from his expensive vocabulary to chase his analysis with a request for a blow job. There's Artie (Garry Shandling), Eddie's pal who possesses the almost laudable ability to ignore decades of feminist screaming and offer his friend the sexy runaway (young Oscar-winner Anna Paquin) he's found in an elevator as a `pet.' There's Mickey (Kevin Spacey), Eddie's best friend, whose overtreated platinum blond hair is a testament to the excess that leads him to shag woman after woman...
Humor and broad empathies cushion the obviousness of Nattel's feminist subtext. So does her supple narrative technique, which weds the discipline of scholarship with artistic license. The River Midnight is inspired matchmaking. What a critic wrote after seeing a 1916 Chagall exhibition could be said of Nattel's Blaszka: "That this 'Jewish hole' [Chagall's term for his birthplace], dirty and smelly, with its winding streets, its blind houses and its ugly people, bowed down by poverty, can be thus attired in charm, poetry and beauty...this is what enchants us and surprises us at the same time...