Karen Jaime
Biographic Data
| ID | 1546619 |
|---|---|
| NAME | Karen Jaime |
| GIVEN NAMES | Karen |
| FAMILY NAME | Jaime |
| SIGNATURE | JAIME K |
| AFFILIATIONS | Cornell University |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 2 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
It Ain't Easy Being Green”
In this article, the author analyzes the cultural, racial, sexual, and gendered politics that inform the staged and quotidian performances of masculinity by the late Stormé DeLarverie. A mixed-race butch lesbian male impersonator who, in the 1950s and 1960s, performed with the famed Jewel Box Revue, a racially integrated drag show at the Apollo Theater, DeLarverie was also a central figure in the 1969 Stonewall Riots. The author reaches across De…
“I’m A Stripper, Ho
In this article, the author attends to how performer Cardi B employs urban vernacular aesthetics to articulate a ratchet, diasporic feminism. Beginning with her early Instagram videos and participation in Love and Hip Hop: New York and followed by her commercially successful song “Bodak Yellow,” Cardi B mobilizes her work between diverse musical genres and sonic registers, challenging listeners and the music industry to find room for the particul…
The Queer Nuyorican
The Queer Nuyorican critically studies the historical, political, and cultural conditions under which the term “Nuyorican” shifts from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. While “Nuyorican,” uppercase N, marks an ethnic, political, and cultural identity signifying Puerto Rican community, culture, and struggle in New York City from the late 1960s through the 1980s, “nuyorican,” lowercase n, references an aesthetic …
Chasing Rainbows”
In this essay, the author argues that Ellison Renee Glenn as Black Cracker performs what LaMonda H. Stallings, drawing on the work of C. Riley Snorton, defines as a “transworld identity,” or as an “identity across possible worlds.” Specifically, the author focuses on how the move between the politics of the United States and abroad, evidenced in Glenn's cultural productions, also temporally shifts his work toward the creation of a queer, trans Af…
Da pa' lo' do
This essay attends to José E. Muñoz's influence on hispanophone Caribbean studies through the work of Dominican lesbian performance artist Rita Indiana. Jaime argues that in the music video "Da pa' lo' do'," or "There Is Enough for Both," Indiana uses Muñoz's theory of disidentification to critique the prevalent narrative in the Dominican Republic that positions Haiti as the black other against which a "white" Dominican nationalism is created. At…
Da pa' lo' do
This essay attends to José E. Muñoz's influence on hispanophone Caribbean studies through the work of Dominican lesbian performance artist Rita Indiana. Jaime argues that in the music video "Da pa' lo' do'," or "There Is Enough for Both," Indiana uses Muñoz's theory of disidentification to critique the prevalent narrative in the Dominican Republic that positions Haiti as the black other against which a "white" Dominican nationalism is created. At…
Da pa' lo' do
This essay attends to José E. Muñoz's influence on hispanophone Caribbean studies through the work of Dominican lesbian performance artist Rita Indiana. Jaime argues that in the music video "Da pa' lo' do'," or "There Is Enough for Both," Indiana uses Muñoz's theory of disidentification to critique the prevalent narrative in the Dominican Republic that positions Haiti as the black other against which a "white" Dominican nationalism is created. At…
Chasing Rainbows”
In this essay, the author argues that Ellison Renee Glenn as Black Cracker performs what LaMonda H. Stallings, drawing on the work of C. Riley Snorton, defines as a “transworld identity,” or as an “identity across possible worlds.” Specifically, the author focuses on how the move between the politics of the United States and abroad, evidenced in Glenn's cultural productions, also temporally shifts his work toward the creation of a queer, trans Af…
The Queer Nuyorican
The Queer Nuyorican critically studies the historical, political, and cultural conditions under which the term “Nuyorican” shifts from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. While “Nuyorican,” uppercase N, marks an ethnic, political, and cultural identity signifying Puerto Rican community, culture, and struggle in New York City from the late 1960s through the 1980s, “nuyorican,” lowercase n, references an aesthetic …
“I’m A Stripper, Ho
In this article, the author attends to how performer Cardi B employs urban vernacular aesthetics to articulate a ratchet, diasporic feminism. Beginning with her early Instagram videos and participation in Love and Hip Hop: New York and followed by her commercially successful song “Bodak Yellow,” Cardi B mobilizes her work between diverse musical genres and sonic registers, challenging listeners and the music industry to find room for the particul…
It Ain't Easy Being Green”
In this article, the author analyzes the cultural, racial, sexual, and gendered politics that inform the staged and quotidian performances of masculinity by the late Stormé DeLarverie. A mixed-race butch lesbian male impersonator who, in the 1950s and 1960s, performed with the famed Jewel Box Revue, a racially integrated drag show at the Apollo Theater, DeLarverie was also a central figure in the 1969 Stonewall Riots. The author reaches across De…
Art (5 works) · Gender Studies (5 works) · Sociology (5 works) · Law (4 works) · Literature (4 works) · Political science (4 works) · Politics (4 works) · Aesthetics (3 works) · Gender Studies (3 works) · Latin American and Latino Studies (3 works)