Titlebook: Becoming Cleopatra; The Shifting Image o Francesca T. Royster Book 2003 Palgrave Macmillan, a division of Nature America Inc. 2003 adoption

considerable

Cleopatra Jones: Blaxploitation and Tactical Alliances with Shakespeareyways; funky afros, leather jackets and other clothing that scream “l(fā)ate twentieth century” and allusions to historical events specific to the late 1960s through early 1970s: the Watts uprising, the Black Panthers and COINTELPRO, the feminist movement and the development of the “blaxploitation” film genre of which it is a part.

TRACE

Queering Cleo: Set It Off and Queen Latifah’s “Butch in the Hood”us Caesar delights that he will take the captured Cleopatra and parade her through the marketplace. Cleopatra struggles to interrupt this particular display by committing suicide, which she stages in the most provocative way she knows how.

ARCH

Book 2003are‘s original appropriation of Plutarch, and then moves on to analyze performances of the Cleopatra icon by Josephine Baker, Elizabeth Taylor, Pam Grier (Cleopatra Jones) and Queen Latifah (in Set It Off ). Royster argues that Cleopatra highlights a larger cultural anxiety about women, sexuality, and race.

RECUR

燦爛

Book 2003he performance of race and sexuality in a wide range of portrayals of that icon of dangerous female sexuality, Cleopatra. Royster begins with Shakespeare‘s original appropriation of Plutarch, and then moves on to analyze performances of the Cleopatra icon by Josephine Baker, Elizabeth Taylor, Pam Gr

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Lecture Notes in Computer Science3, Cleopatra’s sexual outlaw status was marked by a conspicuously European fashion accessory—a horned headdress that had been designated by the Roman Catholic Church “as the sign of female licentiousness,” according to cultural historian Mary Hamer.

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