Gillian Silverman
Biographic Data
| ID | 3626534 |
|---|---|
| NAME | Gillian Silverman |
| GIVEN NAMES | Gillian |
| FAMILY NAME | Silverman |
| SIGNATURE | SILVERMAN G |
| AFFILIATIONS | University of Colorado Denver |
| VERIFIED | No |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 4 |
| WORKS AS AUTHOR | 5 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
The New Female Antihero
Shame TV
Lena Dunham’s television series Girls (HBO 2012–17) marks a sharp departure from previous “single girl” sitcoms. The predecessors starred plucky heroines deeply invested in both the career trajectory and the marriage plot. Girls’ Hannah Horvath, by contrast, rejects conventional heteronormative goals and often willingly participates in her own humiliation. She represents a new kind of female protagonist, pleasure seeking and antiaspirational, mot…
The female antihero and police power in FX’s Justified
The male antihero in the police procedural is marked by a fundamental conflict. On the one hand, his hypermasculine behavior signals that he is an independent actor with no allegiance to the state for which he works. On the other hand, his actions usually work to shore up the power of the state, which relies on his hypermasculine displays of independence to get the job done. Through this sleight of hand, audiences are encouraged to embrace the co…
Marianne Noble. The Masochistic Pleasures of Sentimental Literature
Textual Sentimentalism
Research Article| June 01 2002 Textual Sentimentalism: Incest and Authorship in Melville's Pierre Gillian Silverman Gillian Silverman Search for other works by this author on: This Site Google American Literature (2002) 74 (2): 345–372. https://doi.org/10.1215/00029831-74-2-345 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gillian Silverman; Textual Sentimentalism: Incest and Authorship in Melvi…
Shame TV
Lena Dunham’s television series Girls (HBO 2012–17) marks a sharp departure from previous “single girl” sitcoms. The predecessors starred plucky heroines deeply invested in both the career trajectory and the marriage plot. Girls’ Hannah Horvath, by contrast, rejects conventional heteronormative goals and often willingly participates in her own humiliation. She represents a new kind of female protagonist, pleasure seeking and antiaspirational, mot…
Textual Sentimentalism
Research Article| June 01 2002 Textual Sentimentalism: Incest and Authorship in Melville's Pierre Gillian Silverman Gillian Silverman Search for other works by this author on: This Site Google American Literature (2002) 74 (2): 345–372. https://doi.org/10.1215/00029831-74-2-345 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gillian Silverman; Textual Sentimentalism: Incest and Authorship in Melvi…
Marianne Noble. The Masochistic Pleasures of Sentimental Literature
Textual Sentimentalism
Research Article| June 01 2002 Textual Sentimentalism: Incest and Authorship in Melville's Pierre Gillian Silverman Gillian Silverman Search for other works by this author on: This Site Google American Literature (2002) 74 (2): 345–372. https://doi.org/10.1215/00029831-74-2-345 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Gillian Silverman; Textual Sentimentalism: Incest and Authorship in Melvi…
The female antihero and police power in FX’s Justified
The male antihero in the police procedural is marked by a fundamental conflict. On the one hand, his hypermasculine behavior signals that he is an independent actor with no allegiance to the state for which he works. On the other hand, his actions usually work to shore up the power of the state, which relies on his hypermasculine displays of independence to get the job done. Through this sleight of hand, audiences are encouraged to embrace the co…
Shame TV
Lena Dunham’s television series Girls (HBO 2012–17) marks a sharp departure from previous “single girl” sitcoms. The predecessors starred plucky heroines deeply invested in both the career trajectory and the marriage plot. Girls’ Hannah Horvath, by contrast, rejects conventional heteronormative goals and often willingly participates in her own humiliation. She represents a new kind of female protagonist, pleasure seeking and antiaspirational, mot…
The New Female Antihero
Psychology (3 works) · Aesthetics (2 works) · Art (2 works) · Computer Science (2 works) · Gender Studies (2 works) · Gender, Feminism, and Media (2 works) · Law (2 works) · Political science (2 works) · Social Psychology (2 works) · Sociology (2 works)