Liz Skilton’s innovative study tracks the naming of hurricanes over six decades, exploring the interplay between naming practice and wider American culture. In 1953, the U.S. Weather Bureau adopted female names to identify hurricanes and other tropical storms. Within two years, that convention came into question, and by 1978 a new system was introduced, including alternating male and female names in a pattern that continues today. In Tempest: Hurricane Naming and American Culture, Skilton blends gender studies with environmental history to analyze this often controversial tradition. Focusing on the Gulf South—the nation’s “hurricane coast”—Skilton closely examines select storms, including Betsy, Camille, Andrew, Katrina, and Harvey, while referencing dozens of others. Through print and online media sources, government reports, scientific data, and ephemera, she reveals how language and images portray hurricanes as gendered objects: masculine-named storms are generally characterized as stronger and more serious, while feminine-named storms are described as “unladylike” and in need of taming. Further, Skilton shows how the hypersexualized rhetoric surrounding Katrina and Sandy and the effeminate depictions of Georges represent evolving methods to define and explain extreme weather events. As she chronicles the evolution of gendered storm naming in the United States, Skilton delves into many other aspects of hurricane history. She describes attempts at scientific control of storms through hurricane seeding during the Cold War arms race of the 1950s and relates how Roxcy Bolton, a member of the National Organization for Women, led the crusade against feminizing hurricanes from her home in Miami near the National Hurricane Center in the 1970s. Skilton also discusses the skyrocketing interest in extreme weather events that accompanied the introduction of 24-hour news coverage of storms, as well as the impact of social media networks on Americans’ tracking and understanding of hurricanes and other disasters. The debate over hurricane naming continues, as Skilton demonstrates, and many Americans question the merit and purpose of the gendered naming system. What is clear is that hurricane names matter, and that they fundamentally shape our impressions of storms, for good and bad.
Combining inernational political intrigue, exotic locales and insider details, Tempest Down delivers the same high-tech edge that Jeff Rovin brings to Tom Clancy's Op-Center books.
That is... until the day strangers burst in on Jackson and his girlfriend, Holly, and during a struggle with Jackson, Holly is fatally shot. In his panic, Jackson jumps back two years to 2007, but this is not like his previous time jumps.
In Tempest Rising, Tempest chose to return to the sea, following in her mother's footsteps and forging a relationship with the selkie Kona.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.
After the first scene, which takes place on a ship at sea during a tempest, the rest of the story is set on a remote island, where the sorcerer Prospero, a complex and contradictory character, lives with his daughter Miranda, and his two ...
The Tempest, Shakespeare's final and most magical play, is filled with suspense, comedy, love, mystery, and revenge.
Half-mermaid Tempest Maguire is trying to have it all: fulfilling her duties as second-in-line to the merQueen Hailana while periodically returning home to the California coastline to be with her family and longtime boyfriend, Mark.
See M. Jacqui Alexander , " Erotic Autonomy as a Politics of Decolonization : An Anatomy of Feminist and State Practice in the Bahamas Tourist Industry , " in Feminist Genealogies , Colonial Legacies , Democratic Futures , ed .
The Tempest is a comedy written by William Shakespeare.
A casebook of the ways the Shakespeare play has been reinterpreted time and time again.