The most compelling piece of evidence that supports Alexander Doty’s interpretation of Gentlemen Prefer Blondes as a bisexual film is the wedding scene. The film can be interpreted as bisexual due to the subtle clues like Doty said in his book‚ queerness expressed through fear‚ repression‚ and oppression. For example‚ Dorothy is concerned about Lorelei’s obsession with wealth‚ and in contrast Lorelei is worried about Dorothy’s little interest in money. Both characters demonstrate true loyalty‚ genuine
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s poem “Disabled” was written during his four-month stay at Craiglock- hart Hospital in 1917. The poem eloquently depicts the disassociation and detachment from self and society felt by this solider who has become disabled. Owen uses the term “queer” to show that the soldier’ s losses have made his body alien. These injuries have also removed his social masculinity. As I read the poetry of Wilfred Owen‚ I was often disheartened by his realistic depictions of military combat. For the poet
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important central theory that has been brought to surface is queer theory. Queer theory is centered on sexuality and sexuality is centered on queer theory. Queer theory is known essentiality as the process of formation (Jagose). The approach of queer theory has led to many discussions on the idea and interpretation of sexuality. Just as queer theory is a formation so is sexuality. There is no set direction or definition of sexuality or queer. There should not be labels or definitions
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As we have previously discussed language acts both as a tool and an obstacle for people who live queer lifestyles‚ even more so for those who live in the intersection of racial and sexual oppression. In Leon E. Pettiway’s book honey‚ honey‚ Miss Thang: Being Black‚ gay‚ and on the streets‚ he explores the lives of five individuals through a unique narrative choice which highlights how language can alter and inform our understanding of the world‚ and each other. I hope to illustrate how language shapes
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The word “queer” did not originate as a self-identifier‚ but as a general term for “strange” that came to be used pejoratively against gay men and gender-nonconforming people. Its reclamation was aided by the anonymous 1990 flier entitled “Queers Read This‚” which contains a section entitled “Shout!” that calls upon its readers to “Be proud. Do whatever you need to do to tear
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Are The Lips a Grave – Lynne Huffer (2013) In her monograph “Are The Lips a Grave?”‚ Huffer works to stitch together queer and feminist theory in a productive antifoundational synthesis that can then be utilized as a genealogical analysis to explore – and perhaps even answer – the question of why we culturally seek (are driven?) to attach to modern sexual subjectivity a perhaps unsuitable moral code/standard. I found her intended project to be compelling‚ even provocative in both its theoretical
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in the gay rights movement‚ as the Sixties and Seventies marked the rise of queers rights activist groups that fought for equality through political means. However‚ the growing queer community was still seen as relatively docile and non-violent until the riots began‚ at which point the community began protesting with “uncharacteristic fury and outrage”. Foremost‚ The protests dramatically changed the depiction of the queer community in the media. Additionally‚ they kickstarted the rise of significant
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historical moments that influenced the way films are developed. Black women’s sexualities are not accurately represented and there are no explicit connection between their body and sexuality if portrayed Anat Pick claims that queer cinema did not portray “gender-neutral queer” to acknowledge the lesbian presence (p. 105). What she means by this is that the black female body was void of sexual desire. Related issues were raised in Steven Spielberg’s The Color Purple (1985) and Cheryl Dunye’s (1997)
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words such a “Queer‚ Lesbian‚ Gay & Faggot” have more meaning throughout her reminiscences. Bechdel grows up to be contrasting the things her father did with her self-discovery. Words the prove to be not only to identify herself but it also raised some awareness of her father’s implied decisions. The imagery and other moments depicted in the comic helped mold Bechdel’s identity and how the term homosexual inspired her self-discovery. They are
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anything right. I have always had nothing. Ever since I was orphaned at five and taken in by that awful women‚ Aunt Dottie. I am worthless‚ just like she told me. My life since I was young has been close to nothing. I have nothing at stake. Sissy. Queer. My life is nothing more than
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