scholarly journals Lewis Barnavelt and the Rainbow over New Zebedee: Queering The House with a Clock in Its Walls

2019 ◽  
Vol 1 (1) ◽  
pp. 85-108
Author(s):  
Maciej Skowera

The paper discusses The House with a Clock in Its Walls (1973) by John Bellairs and its film adaptation, directed by Eli Roth (2018), from queer theory and gender studies perspectives. The author of the article aims to overview and develop existing queer in‑terpretations of the first novel in the Lewis Barnavelt series, with contextual references to the cycle’s subsequent volumes, and to conduct a queer theory ‑inspired analysis of Roth’s motion picture. The genre represented by the novel and the film is also consid‑ered by taking the scholarly reflections on the queer aspects of the Gothic and the hor‑ror into account. The author concludes that although both versions of the story fail at portraying femininity in an unconventional way, they succeed in showing that queer‑ness and, more generally, the Otherness should be highly appreciated and valued.

2015 ◽  
Vol 3 (4) ◽  
pp. 384
Author(s):  
Ayodele A. Allagbé ◽  
Akinola M. Allagbé

<p><em>This paper attempts a critical reading of Mema (2003) written by Daniel Mengara. The study draws on insights from language and gender studies, feminism and queer theory to critically cross-examine how female masculinities and male femininities are represented in the novel. It holds the view that gendered identities are socially constructed via speech. This means that language encodes means which overtly mark masculinity or/and femininity. However, it should be noted that neither masculinity nor femininity is an exclusive characteristic of the male or the female sex/gender. In this sense, the role(s) an individual takes on in a given context confers either the masculine or the feminine profile upon him/her. This study concludes that gendered identities as portrayed in Mema are intricate, and that in most cases the portraiture of both sexes counters the expectations of African culture</em><em>.</em></p>


Neophilologus ◽  
2021 ◽  
Author(s):  
Susana Bardavío Estevan

AbstractDespite Emilia Pardo Bazán’s prominent feminism, La sirena negra has been strangely overlooked by gender studies. When the novel was published in 1908, Gómez de Baquero judged it “non feminist” due to its superficial heroines and the centrality of its complex masculine characters. Academic studies of La sirena negra have not refuted this idea, since they have elided gender approaches to focus on its decadent aesthetics. This article argues, on the contrary, that the novel’s androcentrism can be read as a Pardo Bazan’s strategy to appropriate the patriarchal discourse and hold it responsible for national degeneration. Emilia Pardo Bazán was harshly affected by the fin-de-siècle crisis. In her opinion, Spanish decay came from a lack of solid morality. Thus, Catholic principles should be restored because they would provide the autoregulation mechanisms to regenerate and reassemble the country. Literature should show the new reality, and the French roman psychologique provided her with an appropriate model. La sirena negra sets out the problem of the moral anomie through its protagonist, Gaspar de Montenegro. The analysis of his sexuality and gender performance reveals the danger of this amoral behavior for the degeneration of society, attributed ultimately to the patriarchal order and the androcentric discourse.


2018 ◽  
Vol 7 (13) ◽  
pp. 9-44
Author(s):  
María Fernanda Glaser

El ícono de Mistral ha servido como un retrato de la nación chilena, reflejando una variedad de imágenes analizadas desde la teoría literaria, los estudios culturales, los estudios de género, y, recientemente, desde la teoría queer. En los últimos años, hemos sido testigos de la creciente visibilidad de Gabriela Mistral como disidente sexual, producto de la repatriación del legado Atkinson en 2007 y la consecuente divulgación de las cartas a Doris Dana, quien fuera su pareja durante los últimos 12 años de su vida.El presente artículo contribuye a la producción de conocimiento interesado en las posibilidades de reinterpretación de la vida de Gabriela Mistral, desde una revisión de su vida en tanto ícono de la nación. Se analizan las imágenes de Gabriela Mistral que han servido como iconografía de Estado para discutir tanto las políticas visuales como las sexuales, dentro la cultura chilena de los últimos 60 años. Considerando estos momentos históricos, analizaré el sentido de lo queer en la post-vida de Gabriela Mistral, revisando críticamente el uso de este constructo como una aproximación a su biografía en tanto ícono nacional. Finalmente, establezco ciertos derroteros para la intersección de género y nación a través de la representación icónica (alfabetización visual) de mujeres históricas que condensan repertorios discursivos relativos a las mujeres y el poder de Estado. Mistral’s icon has served as a portrait of the Chilean nation, reflecting a variety of images analyzed from literary theory, cultural and gender studies, and, as of late, queer theory. In recent years, we have been witnesses to the growing visibility of Gabriela Mistral as a sexual dissident as a result of the repatriation of Atkinson’s Legacy in 2007 and the consequent release of Mistral’s letters to Doris Dana, who was her partner during the last 12 years of her life.The present article is interested in the possibilities of reinterpreting and revising the life of Gabriela Mistral and her national iconography. The images of Gabriela Mistral that have served as State iconography are used to analyze visual and sexual politics over the last 60 years of Chilean culture. Considering these historic moments, I will analyze the meaning of queer in the afterlife of Gabriela Mistral, critically revising the use of this construct, not only in regards to her biography but as a national icon. Finally, I establish certain milestones in the scholarship concerned with the intersection of gender and nation, through visual representation of historic women who condense discursive repertoires related to women and State power.


2018 ◽  
Vol 53 (1) ◽  
pp. 72-88
Author(s):  
Jesse Gerlach Ulmer

AbstractJane Tompkins has argued that a deeply conflicted relationship exists between men and language in the Western. Deploying too much language emasculates Western heroes, men who privilege action over talk. For support, Tompkins turns to a number of moments in Shane, the 1953 film adaptation of the 1949 novel of the same title by Jack Schaefer. Tompkins argues that the film constructs a model of masculinity that wholly rejects language, a move that is destructive and exploitative to self and others. However, a close reexamination of the novel reveals a model of masculinity that is more positive and flexible towards language and gender than Tompkins’s views on the Western suggest. A close rereading of the novel shows that men in Westerns do not always use talk and silence to subjugate women and others, and that the valuing of language over action does not always end in violence or exploitation. Furthermore, the film adaptation of the novel will be examined, a work that occupies a more cherished place in American culture than the novel, a situation that is the reverse of traditional cultural hierarchies in which the literary source material is privileged over the film adaptation. Ultimately, the novel and film are engaging in different ways, yet Schaefer’s novel, rather than being relegated to middle school literature classrooms, rewards serious critical and scholarly attention, particularly in the context of the film adaptation and critical discourse on the representation of masculinity in the Western.


2019 ◽  
pp. 25-39
Author(s):  
Juan de Dios Torralbo Caballero ◽  
Violeta Janulevičienė

This paper offers a study of the less known today and less analysed epistolary novel by Anne Brontë’s The Tenant of Wildfell Hall. It focuses on the instances of female protagonist's unconventional behaviour according to the existing societal norms of the Victorian era. The research aims at pointing out the reasons modifying heroine’s behaviour and analysis of the reactions that the protagonist’s acts of nonconformity elicits in other characters of the novel. The undertaken study is believed to raise awareness of less studied Brontë sisters works in university literature and gender studies courses, as it touches upon the emerging issues of the female strength in the Victorian society.


2019 ◽  
Vol 1 (1) ◽  
pp. 147-158
Author(s):  
Fatemeh Farnia

The aim of the paper is to discuss A Monster Calls (2016) by J. A. Bayona, a film adaptation of Patrick Ness’s novel (2011) of the same title, based on an original idea by Siobhan Dowd, from the empowerment theory perspective. The author of the article indicates that there are some significant changes between the book and the motion picture, especially when it comes to the ways of empowering the protagonist and the works’ potential young audience. The results of this comparative study show that the film is more affectively empowering than the novel. This is mainly because in the book, Ness skillfully uses verbal narration (accompanied by Jim Kay’s illustrations), while in the film, Bayona takes advantage of the possibilities offered by the audiovisual medium, therefore providing the audience with artistic and psychological empowerments.  


Author(s):  
Pelagia Goulimari

Feminist, queer, and transgender theory has developed an array of fruitful concepts for the study of gender. It offers critiques of patriarchy, the gender binary, compulsory heterosexuality, heteronormativity, and homonormativity, inter alia. New Materialist feminists have analyzed gender variance, continuous variation, and continuous transition through concepts such as rhizome, assemblage, making kin, and sym-poiesis (making-with). Feminists of color and postcolonial feminists have theorized intersectionality—that gender always-already intersects with race, class, sexual orientation, and so on—and gender roles outside the white middle-class nuclear family, such as othermothering and fictive kin. Materialist feminists have studied gender as social class, while psychoanalytic gender theorists have explored gender as self-identification and in terms of the relation of gender identification and desire. Queer theory has explored vexed gender identifications and disidentification as well as heterotopias, counterpublic spaces, and queer kinship beyond the private/public divide. Transgender theory has critiqued transmisogyny and theorized transgender and trans* identities. Indigenous feminist and queer theory has theorized Two-Spirit identities and queer indigeneity in the context of a decolonial vision. Theorists of masculinities have analyzed masculinities as historically specific, plural, and intersectional. Gender studies, in all this diversity, has influenced most fields of study—for example, disability studies in its theorization of complex embodiment, its development of crip theory, and so on. Gender studies, in turn, has greatly benefitted from the study of literature. Literature has been indispensable in the genealogy of dominant gender norms such as the 19th-century norms of the angelic/demonic woman and self-made man. In return, gender theory has offered fresh insights into literary genre, for example the Bildungsroman. Since the development of gender theory, it has taken part in an ongoing dialogue and cross-fertilization with literature, evidenced in self-reflexive and critically informed literary texts as well as in gender theory that includes autobiographical and literary (e.g., narrative, figurative, fictional, poetic) elements.


Sociology ◽  
2019 ◽  
Author(s):  
Alexandra Macht

Theoretically, the term “doing gender” first appeared in Harold Garfinkel’s case study of the intersexual Agnes in 1967, as an appendix to Garfinkel 1967 (cited under General Overview). The term was then discussed in Kessler and McKenna 1978 (cited under General Overview). The authors drew from Erving Goffman’s social constructionist theory of performance in establishing, first, the difference between sex and gender, and second, how gender was something people actively constructed in their daily lives. The provocation was therefore that if people were responsible for “doing” gender then they could also be held accountable for “undoing” gender. The book, however, was obscured by the proliferation of research regarding sex roles, rather than gender constructions. So, the concept of “doing gender” remained underground for a while, until it resurfaced in 1987 in the well-known paper of the same name written by American sociologists Candace West and Don H. Zimmerman (West and Zimmerman 1987, cited under General Overview). According to these authors, “doing” gender is defined as involving the everyday performance of “a complex of socially guided perceptual, interactional, and micropolitical activities that cast particular pursuits as expressions of masculine and feminine ‘natures.’ When we view gender as an accomplishment, an achieved property of situated conduct, our attention shifts from matters internal to the individual and focuses on interactional and, ultimately, institutional arenas” (p. 126). West and Zimmerman were primarily focused on understanding how people created gender differences, rather than merely “gender.” Unlike Kessler and McKenna, who discussed the applicability of doing gender in transsexualism, West and Zimmerman finely combed the differences between “sex,” “sex category,” and “gender.” Following on from this, Deutsch 2007 together with Connell 2010 (both cited under Critiques of Doing Gender) critiqued this concept and proposed the “redoing of gender.” For example, Connell’s research uncovered that for transpeople, doing gender entailed “experiences that fit better under either the rubric of undoing gender or of redoing gender,” that transpeople “often attempted to meld together masculine and feminine gender performances” (p. 39), and that “many resisted these pressures by adapting a hybrid gender style of interacting with others. These acts constitute moments of ‘chipping away’ at the established gender order” (pp. 42–43). In addition, Judith Butler (see Butler 2004, cited under Critiques of Doing Gender) was more interested in exploring how gender could be undone, and defines this undoing as escaping “gender as a kind of a doing, an incessant activity performed . . . an improvisation within a scene of constraint” (p. 3) by underlining the “paradox of autonomy, a paradox that is heightened when gender regulations work to paralyze gendered agency at various levels” (p. 101). From this perspective, there are limits to how much agency individuals can have in performing gender. As such and inadvertently, social actors also undo gender when they relate to each other: “Despite one’s best efforts, one is undone, in the face of the other, by the touch, by the scent, by the feel, by the prospect of the touch, by the memory of the feel. And so, when we speak about my sexuality or my gender, as we do (and as we must) we mean something complicated by it” (p. 19). Butler’s focus on embodiment definitively pushed the debate further by critically assessing the usefulness of considering gender as an activity and asking sociologists to consider the ontological implication of the performativity of gender in relation to its mere performance. Her work is important because it clearly underlined the neglect of feminist studies to focus more on transgender identities, thereby sparking the growth of a specific area of knowledge known today as “queer theory.” In response to these developments, “doing gender” was further developed by West and Zimmerman 2009 (cited under General Overview), a celebratory symposium published twenty-two years after West and Zimmerman 1987 to assess the more recent applicability of this term in the field of gender studies. Methodologically, searching for resources on the theme of “doing gender” has focused on the performance of gender and on the domains of research to which it has been applied so far, as indicated by the specific headings in this article, while considering as well the “undoing of gender” and its performativity. Not all experts in the field would agree with this organization. However, it is important to specify the many ways in which the influential concept has branched out and deeply affected the field of gender studies. Therefore, the reader will notice a running consideration in the papers selected for this entry, with both the doing and the undoing of gender across a variety of areas: in education and at work, across cultures and intersectionally, in relation to emotions and in personal life (where a distinction was made again between parenting and romantic coupling and partnership), for youth health, and beyond the binary. This way of organizing the material falls in line with the most recent developments in the field. A simple search on the Web of Science database of the words “doing gender” within the publications category and in the topics of “Sociology” and “Women’s studies” between 1987 (when West and Zimmerman first published their paper) and 2019 reveals a total of 866 resources. Therefore, as not all resources could be included, the ones that appear in this entry were selected based on relevance, recency of publication, number of citations, prominence in the field, and methodological innovation (such as doing gender in visual sociology, or anthologies that focus on diverse cultural examples). The scope was meant to be relevant, versatile, approachable, and useful to teachers, researchers, and interested students. Nonetheless, there is the limitation that only English-language resources are included. The General Overview section is focused on the development of the term “doing gender” in theory and research, including the original paper discussed in this section and others published in a symposium, while the section on Critiques of Doing Gender presents a series on ongoing critiques to the concept of “doing gender.”


2017 ◽  
Vol 21 (2) ◽  
Author(s):  
Anselmo Peres Alós ◽  
Adriana Yokoyama ◽  
Carla Lavorati

Este artigo problematiza as relações de gênero no filme espanhol 20 centímetros (2005), de Ramón Salazar, e no curta-metragem brasileiro Pó de arroz (2015), de Lucas Moratelli. A partir das discussões da teoria queer e dos estudos de gênero, analisa-se como a personagem Marieta, de Salazar, e a personagem sem nome de Moratelli, contribuem para a desestigmatização da cultura transexual masculina (male-to-female).Entre 20 centímetros y Polvo de arroz: la estética fílmica como poética del término del estigma del universo transexualResumen: Este estudio analiza las relaciones de género en las películas española 20 centímetros (2005), de Ramón Salazar, y la brasileña Polvo de arroz (2015), de Lucas Moratelli. A partir de las discusiones de la teoría queer y los estudios de género, se analizará cómo la personaje Marieta, de Salazar, y la personaje sin nombre de Moratelli contribuyen a la desestigmatización de la cultura transexual (male-to-female). Palavras clave: Teoria Queer; Estudios de Género; Transexualidad; Narrativas FílmicasBetween 20 centimeters and Rice powder: the filmic aesthetics as a subversive poetics of the transexual universeAbstract: This article aims at discussing gender relations in the Spanish movie 20 centimeters (2005), by Ramón Salazar, as well as in the Brazilian movie Rice powder (2015), by Lucas Moratelli. Taking as a point of departure the discussions of Queer Theory and Gender Studies, we analyse how the character Marieta, from Salazar’s movie, and the unnamed character from Moratelli’s movie contribute to the de-stigmatization of male-to-female transexual culture.Keywords: Queer Theory; Gender Studies; Transexuality; Filmic Narratives.


Author(s):  
Cristina Stevens

Resumo: Análise da personagem Penélope, de Homero, e a transformação ousada de Joyce dessa representação clássica da fidelidade feminina em Molly Bloom, a esposa infiel, sexualizada, trivial, lírica. Essas duas personagens são comparadas com sua mais recente recriação em The Penelopiad (2005), da escritora canadense Margaret Atwood. Uma importante categoria analítica dos estudos feministas e de gênero, a questão da voz é enfatizada na presente análise; essa personagem feminina é objeto da narrativa masculina (A Odisseia e Ulisses), mas no romance de Atwood essa personagem é sujeito de sua narrativa, elaborando uma tecitura “penelopeana” transgressora da versão clássica. Focalizaremos também o poder do silêncio na narrativa de autoria feminina, através do monólogo interior de Molly e da voz que fala do mundo dos mortos em The Penelopiad. Os conceitos de “abjeto” e “linguagem semiótica” de Kristeva são base para nosso trabalho, o qual problematiza a aparente imagem de passividade dessas mulheres que buscam o controle sobre suas vidas.Palavras-Chave: literaturas em língua inglesa; gênero; psicanálise.Abstract: Analysis of Homer’s Penelope and Joyce’s daring transformation of the classical personification of woman’s quintessential loyal wife into the unfaithful, earthly, sexualized, trivial, lyrical, Molly Bloom. These two characters will be compared with a more contemporary recreation: Margaret Atwood’s, in the novel The Penelopiad (2005). An important category for feminist and gender studies, voice/voicelessness is emphasized in our analysis; this female character, is both object of male-authored fiction (The Odyssey and Ulysses), and subject of the (un)weaving of a transgressive Penelopean “textile” (The Penelopiad). We also focus on the empowerment of “silence” in female narrative, through Molly´s interior monologue and Atwood’s Penelope, who speaks from the underworld. Kristeva’s concepts of the “abject” and “semiotic language” inform our analysis, which counters the image of passivity of these apparently mute women, who nevertheless retain control over their lives.Keywords: Literatures in English; gender; psychoanalysis.


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