Carnal teachings: raunch aesthetics as queer feminist pedagogies in Yo! Majesty's hip hop practice

This essay puts forward a notion of “raunch aesthetics,” theorizing raunch as an aesthetic, performative, and vernacular practice: an explicit mode of sexual expression that transgresses norms of privacy and respectability. Raunch aesthetics describe creative practices that often blend humor and sexual explicitness to launch cultural critiques, generate pleasure for minority audiences, and affirm queer lives. The author activates her formulation of raunch in analyzing Yo! Majesty, a hip hop group comprised of black female emcees who openly describe their sexual desire for women, and explores how the queer youth of color she works with have responded to their music. Working beyond the unexamined moralisms that give critiques of raunch culture their legitimacy, the author argues that Yo! Majesty's raunch aesthetics transmit queer and feminist teachings. While celebrating carnal pleasures, these artists critique heterosexism, subvert narratives about the incompatibility of belief in Christ and queer sexualities, and trouble notions concerning the emancipation of coming out of the closet and declaring a stable homosexual identity. In demonstrating how raunch aesthetics generate consciousness raising, the author discusses how her youth participants critically read and consume hip hop while negotiating unwieldy meanings of sexuality and gender presentation.     

A king named Nicki: strategic queerness and the black femmecee

This article explores the deployment of race, queer sexuality, and femme gender performance in the work of rapper and pop musical artist Nicki Minaj. The author argues that Minaj's complex assemblage of public personae functions as a sort of “bait and switch” on the laws of normativity, where she appears to perform as “straight” or “queer,” while upon closer examination, she refuses to be legible as either. Rather than perpetuate notions of Minaj as yet another pop diva, the author proposes that Minaj signals the emergence of the femmecee, or a rapper whose critical, strategic performance of queer femininity is inextricably linked to the production and reception of their rhymes. This article engages a pair of music video releases that reflect the range of Minaj's gender performances as cinematic lenses into the strategic moves that Minaj is able to make from her femmecee stance. King Nicki's hypervisibility as a black femmecee and refusal to cede to any regime of recognition confound the multiple common senses that seek to produce her as a compliant subject.     

汉族人肩、髋关节活动范围及与年龄、性别间的关系

目的探讨汉族人肩、髋两大关节的活动范围(range of motion,ROM)与现行《法医临床检验规范SF/ZJD0103003-2011》的差异性,并初步阐明性别、年龄因素对其ROM产生的影响。方法法医临床案件中选取仅单侧肩或髋关节受伤的汉族样本案例,将其健侧关节的ROM与现行标准《法医临床检验规范SF/ZJD0103003-2011》中的参考值的平均值进行比较分析,并对比该侧的不同年龄段(0~25岁、26~40岁、41~50岁、51~60岁及60岁以上)及性别间的差异。结果正常人体肩、髋关节的ROM的实际值与标准中参考值的平均值有较大的差异;5个不同年龄段肩、髋关节的部分方向ROM正常值存在差异且均随年龄的增长呈进行性下降的趋势。50岁以上人群在肩关节外展上举和髋关节内收、外旋等部分方向ROM正常值存在性别差异。结论正常汉族人肩、髋关节ROM存在年龄差异性,性别差异在50岁以上人群中较为明显。《法医临床检验规范SF/Z JD0103003-2011》标准所提供的参考值范围与实测值存在一定的差异。