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Aantal resultaten: 53( DE:"personages" )

Artikel

The good, the bad or the queer : Articulations of queer resistance in The Wire  / Frederik Dhaenens, Sofie Van Bauwel.

Sexualities, 15 (2012) 5/6 (sep), p. 702-717
bron: Sexualities jaargang: 15 (2012) 5/6 (sep), p. 702-717
samenvatting: Although the representation of queer characters has grown significantly in contemporary western television, most of the popular fiction series are still dominated by hegemonic heteronormative discourses. However, this article demonstrates how the critically acclaimed series The Wire, through its subversive articulations of queer characters, resists heteronormativity. This implies that the series can be read as a defiance of an essentialist, hierarchical and oppositional way of thinking. Our textual thematic analysis reveals how the series uses both deconstructive practices that expose the way heteronormative practices function, and reconstructive practices offering counter-discourses that transgress societal assumptions about gender, sexuality and identity.
onderwerpen:

signatuur: ts.

The good, the bad or the queer : Articulations of queer resistance in The Wire
ts.
Frederik Dhaenens, Sofie Van Bauwel.
Sexualities
15
(2012)
5/6
(sep)
702-717
N294318
Artikel

When the heterosexual script goes flexible : Public reactions to female heteroflexibility in the Buffy the Vampire Slayer comic books  / Hélène Frohard-Dourlent.

Sexualities, 15 (2012) 5/6 (sep), p. 718-738
bron: Sexualities jaargang: 15 (2012) 5/6 (sep), p. 718-738
samenvatting: The phenomenon of heteroflexibility, wherein a heterosexual character engages in same-sex intimacy, provides a good example of how modern narratives of sexuality can contain promises of subversion yet also shore up heteronormative schemas. To fully understand how the notion of heteroflexibility functions to broaden and/or restrict our understandings of (female) sexuality, we need to examine how these narratives are taken up by the audience. This article explores this tension by analysing how readers reacted to a heteroflexible storyline featured in the Buffy the Vampire Slayer comic books. By examining how this story was interpreted, rejected and/or embraced by readers, I show that readers who disliked the heteroflexible storyline as well as those who enjoyed it draw on liberal discourses that obscure how heteronormativity operates. This in turn limits heteroflexibility?s potential for disrupting dominant heteronormative discourses.
onderwerpen:

signatuur: ts.

When the heterosexual script goes flexible : Public reactions to female heteroflexibility in the Buffy the Vampire Slayer comic books
ts.
Hélène Frohard-Dourlent.
Sexualities
15
(2012)
5/6
(sep)
718-738
N294319
Artikel

Will the Real Robert Neville Please, Come Out? : Vampirism, the Ethics of Queer Monstrosity, and Capitalism in Richard Matheson's I Am Legend?  / Jamil Khader.

Journal of Homosexuality, 60 (2013) 4 (apr), p. 532-557
bron: Journal of Homosexuality jaargang: 60 (2013) 4 (apr), p. 532-557
samenvatting: In this article, I argue that Richard Matheson's (1954) vampire novella, I Am Legend, encodes the protagonist's, Robert Neville, traumatic recognition of his queer sexuality in its monstrosity (the unspeakability of male penetrability). Neville's identification with and desire for his undead neighbor, Ben Cortman, are symbolically codified through three different registers: intertextual references to vampiric conventions and codes, the semiotics of queer subculture, and a structure of doubling that links Neville to the queer vampire. Although Neville avoids encountering his unspeakable queer desire, which could be represented only at the level of the Lacanian Real, he must still confront Cortman's obsessive exhortations for him to come out. Only when he symbolically codifies his abnormality in its own monstrosity, by viewing himself through mutant vampires' eyes, can Neville reconfigure the ethical relationship between self and other, humans and mutant humans-vampires. However progressive Matheson's novella is in its advocacy of minority sexual rights, it still renders capitalism's problematic relationship with queer subjectivity invisible. Although capitalism overdetermines every aspect of the social field and makes Neville's daily life possible in its surplus enjoyment, the fundamental antagonism (class struggle) in capitalism is obscured by the assertion of identity politics. [ Copies are available at http://www.tandfonline.com/doi/full/10.1080/00918369.2013.735934#abstract ]
onderwerpen:

signatuur: ts.

Will the Real Robert Neville Please, Come Out? : Vampirism, the Ethics of Queer Monstrosity, and Capitalism in Richard Matheson's I Am Legend?
ts.
Jamil Khader.
Journal of Homosexuality
60
(2013)
4
(apr)
532-557
N295093
Artikel

'The Capitol Accent Is So Affected Almost Anything Sounds Funny in It' : The Hunger Games Trilogy, Queerness, and Paranoid Reading  / Michelle Ann Abate.

Journal of LGBT Youth, 12 (2015) 4 [oct-dec], p. 397-418
bron: Journal of LGBT Youth jaargang: 12 (2015) 4 [oct-dec], p. 397-418
samenvatting: Throughout the Hunger Games trilogy, the residents of the Capitol are associated with an array of physical, behavioral, and sartorial traits that have stereotypically been associated with homosexuality in general and gay men in particular. Although none of these characters is explicitly identified as lesbian, gay, bisexual, transgender, or queer/questioning (LGBTQ), they are routinely linked with queer forms of feyness, fussiness, and flamboyance. How are young adult readers to interpret these details? What social message or political stance is Suzanne Collins conveying by making some of the vainest, powerful, and heartless characters in her book also in dialogue with common conceptions about queerness? Does The Hunger Games include these elements to dismantle negative stereotypes about LGBTQ people, or does the book perpetuate and even affirm homophobic attitudes? In what ways do these details impact the presentation of Katniss, in many ways, as a genderqueer figure herself? In exploring these and other questions, I draw on Eve Kosofsky Sedgwick's notion of 'paranoid reading'. While Sedgwick's concept of paranoid reading is intended to address LGBTQ content exclusively, I make a case that it is also a productive lens for examining the Hunger Games trilogy as a whole. Using the portrayal of the Capitol residents as an entry point for the trilogy's engagement with nonheteronormative gender and sexuality, I examine how the series serves both to reinforce and to resist homophobia. In so doing, I demonstrate the risks as well as the rewards of finding what we fear seeing in any work of dystopian young adult (YA) fiction. [ Copies are available at http://www.tandfonline.com/doi/full/10.1080/19361653.2015.1077768 ]
onderwerpen:

signatuur: ts.

'The Capitol Accent Is So Affected Almost Anything Sounds Funny in It' : The Hunger Games Trilogy, Queerness, and Paranoid Reading
ts.
Michelle Ann Abate.
Journal of LGBT Youth
12
(2015)
4
[oct-dec]
397-418
N296509
Artikel

Out of the Closet : Representation of Homosexuals and Lesbians in Modern Arabic Literature  / Hanadi Al-Samman.

Journal of Arabic Literature, 39 (2008), p. 270-310
bron: Journal of Arabic Literature jaargang: 39 (2008), p. 270-310
samenvatting: Although a great deal of research and criticism has been done on homoerotic desire in Arabo-medieval adab literature, very little has been written on its representation in modern Arabic literature. In order to address this scholarly gap, my study poses the following questions: why is there an increase of homosexual and lesbian characters, at this contemporary juncture, in Arabic fiction? And what are the effects of such an exposure on the status of Arab gay rights? I argue that depictions of male homosexuality in contemporary texts draw on power dialectics of master/slave, active/passive and local/colonial, and as such reflect a sense of overall powerlessness, inferiority and alienation from the political process, while underscoring the Arab male?s loss of manhood and of self. In contrast, female homosexuality remains locked into traditional, heterocentric discourse which claims that lesbianism exists only as a prelude to, or as a temporary replacement of "normative" heterosexuality, thus undermining the validity of lesbian body politics. Contrary to the medieval tradition which allowed more fluidity in the depiction of same-sex definitions and practices, and acknowledged the variants of homoerotic desire and action, contemporary Arab cultural and literary engagements of the topic overlook the biological aspect of this desire. Furthermore, they project gay encounters as a symptom of the social deterioration caused by political and economic oppression of the Arab citizen. I conclude that more attention must be given to the biological essence of sexual differentiation, to the body politics rather than gender politics, if the emergence of a recognized, outspoken Arab homosexual or lesbian identity is ever to be realized.
onderwerpen:

signatuur: dgb artikelen (alsam/out)

Out of the Closet : Representation of Homosexuals and Lesbians in Modern Arabic Literature
dgb artikelen (alsam/out)
Hanadi Al-Samman.
Journal of Arabic Literature
39
(2008)
270-310
N298049
Artikel

Homosexualité, cinéma et société de 1960 à 1971  / Amélie Roucloux.

Het Ondraaglijk Besef (2013) 19, p. 8-12
bron: Het Ondraaglijk Besef (2013) 19 , p. 8-12
samenvatting: Aujourd'hui, l'homosexualité est présentée comme trouvant sa place dans la société. En effet, elle apparaît dans les médias, des films mettent en scène des histoires d'amour homosexuelles, elle dispose même d'un jour spécifique pour fêter la fierté d'être homosexue(le)s, la Gay Pride. Toutefois, comme on a pu le voir récemment en France, le débat est loin d'être clos car les gays et les lesbiennes subissent encore des discriminations. Pourtant, la situation des homosexue(le)s a changé par rapport à la deuxième moitié de XXe siècle, et cela se voit au travers du cinéma où l'homosexualté n'est plus un sujet tabou. Le regard porté sur la thématique homosexuelle au cinéma, lui aussi, a changé. Ce constat m'amène au sujet de cet article. Le cinéma homosexuelle dans les années 1960-1971 et sa reception dans la société en France et en Belgique.
onderwerpen:

signatuur: ts.

Homosexualité, cinéma et société de 1960 à 1971
ts.
Amélie Roucloux.
Het Ondraaglijk Besef
(2013)
19
8-12
N298067
Artikel

Queer TV : Gender and sexuality in Cucumber, Banana and Tofu  / Katharina Lindner.

Psychology of Sexualities Review, 6 (2015) 1 (winter), p. 29-32
bron: Psychology of Sexualities Review jaargang: 6 (2015) 1 (winter), p. 29-32
samenvatting: This article is a critical review of the BBC series and a documentary Cucumber, Banana and Tofu, all series which came after the series Queer as Folk in the 90s. All series contain LGBT characters from different ages and are different from Queer as Folk, the L-word and other earlier series with mostly young characters.
onderwerpen:

signatuur: dgb artikelen, map psychology of sexualities review

Queer TV : Gender and sexuality in Cucumber, Banana and Tofu
dgb artikelen, map psychology of sexualities review
Katharina Lindner.
Psychology of Sexualities Review
6
(2015)
1
(winter)
29-32
N298081
Artikel

Westernization and The Transmogrification of Sailor Moon  / Rhea Ashley Hoskin.

Interalia : A Journal of Queer Studies (2016), p. 1-10
bron: Interalia : A Journal of Queer Studies (2016), p. 1-10
samenvatting: Sailor Moon, a Japanese series grounded in manga and anime, began airing translations in the West throughout the 1990s. The series provided what could be interpreted as resistance to dichotomous conceptualizations of sexuality, sex and gender. The focus of this article is the set of challenges presented by the genderqueer characters in Sailor Moon and how Westernization and English translations have worked to erase and re-write queer identities. Arguably, Sailor Moon acts as a site to play out the contextualities and complexities of sexuality, sex and gender identities. To name Sailor Moon characters in Western specific terms would be at the expense of reducing the complexity of their identities to a categorical system whose boundaries detract and limit meaning. Queer characters in Sailor Moon are not translatable into dichotomous Western thought - categories fail us and, through their enforcement, the depth of meaning and the complexities of queer identities/desires are lost in translation. Working within Western binary systems, categories and language, many of these identities appear contradictory and incoherent. Sailor Moon characters offer a re-envisioning of identities that is not limited by Western binaric thought and cannot be easily pegged within the heterosexual matrix.
onderwerpen:

signatuur: dgb artikelen (hoski/wes)

Westernization and The Transmogrification of Sailor Moon
dgb artikelen (hoski/wes)
Rhea Ashley Hoskin.
Interalia : A Journal of Queer Studies
(2016)
1-10
N298210
Grijs

Seriously kissed : Sexual freedom and its normative structures in Raja Natwarlal  / Willem Lenders.

Amsterdam: Universiteit van Amsterdam (UvA), 2015 - 53 p.
uitgave: Amsterdam : Universiteit van Amsterdam (UvA), 2015 - 53 p.
onderwerpen:
thema:
  1. film
  2. homoseksualiteit
samenvatting: The first chapter will be dedicated to conventional Bollywood and discuss how the genre has traditionally visualized sex in its movies.The different strategies offer the viewer a glimpse of sex or sexual tension, while simultaneously avoiding compromising the characters? (as well as the actors?) reputation and reiterating the (Hindu) family values of patriarchal India. Furthermore, the genre has usually positioned the West as the morally inferior by using Western(ized) women and portraying them as sexually available in contrast to the Hindu female who takes the position of the pious (soon to be) wife and mother. Looked at through the post-colonial lens of Indian national identity, they confirm the existing structures of the ideal and normative Hindu family, reiterating sexist, homophobic, and patriarchal views on sex. As a contrast to this view on Bollywood, the genre is viewed as possibly transgressing patriarchal India?s gender and sexual norms from a queer audience?s perspective, as emphasized by Gopinath (2000). The Bollywood film, despite its normative portrayal of sexuality and gender, offers the possibility to be reclaimed as queer due to its visualization of female, but primarily male homosocial relationships, and allowing for cross-gender identifications. Waugh (2001), Rao (2000), and Dasgupta (2012) are a few of the theorists that address this, by looking at the buddy storyline, the concept of yaar, the homosocial triangle, and cases of mistaken identity in Bollywood cinema that open up a queer space outside of the sexual and gender identity categories. As they release specific gender and sexual behavior from their supposed identity categories (male/female and LGBT), these spaces in Bollywood films become transgressive. As queer refuses delineations between sexual/non-sexual, hetero/homo, and male/female, the queer in Bollywood movies offers a fluidity that reaches a larger audience than merely those that seek reiteration of the nationalist ideology.

signatuur: cat. (lende/ser)

dgb grijs

toegang:
Seriously kissed : Sexual freedom and its normative structures in Raja Natwarlal
cat. (lende/ser)dgb grijs
N298357
Artikel

Drag Queens, Thorny Devils and Frilled Lizards : "Queerness" Takes to the Outback in The Adventures of Priscilla, Queen of the Desert (1994)  / Linda Rohrer Paige.

Reconstruction : Studies in Contemporary Culture, 16 (2016) 2
bron: Reconstruction : Studies in Contemporary Culture jaargang: 16 (2016) 2
samenvatting: This essay explores the gay road movie Priscilla, Queen of the Desert (1994) as a paradoxical classic of Australian cinema. Three protagonists, drag queens with complicated and frustrated private lives launch themselves into the Outback, a harsh environment dizzyingly different from the febrile sophistication of Sydney. At first we see only extreme culture-conflict, comic or tragic; but as the film progresses, viewers and characters alike find surprising affinities between the exotic fauna and the extraordinary landscape itself. Ancient and modern images blend to reveal the beauty of a continually changing continent and its people.
onderwerpen:

signatuur: dgb artikelen (rohre/dra)

Drag Queens, Thorny Devils and Frilled Lizards : "Queerness" Takes to the Outback in The Adventures of Priscilla, Queen of the Desert (1994)
dgb artikelen (rohre/dra)
Linda Rohrer Paige.
Reconstruction : Studies in Contemporary Culture
16
(2016)
2
N298438

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