Advantages And Disadvantages Of Criticism

John D’Emilio’s “Capitalism and Gay Identity” contracts what life was like for gay men and lesbians throughout the 1970s and 1980s. During the 1970s, gay men and lesbians were able to come out freely, and eventually started to get accepted by everyone in society. They were able to express themselves without any regards, and started to become the person they were destined to be. People within the gay community have always expressed tendencies of liking the same sex, but societal norms did not allow them to express themselves. However, during the 1980s, as more people decided to openly come out, it started to take a toll on their identity. Society then started to question the importance of people who were brave enough to come out to the world.

This paper will continue on, researching the societal change/acceptance in the gay and lesbian community as no longer being unorthodox and with the stigma coming from the gay community itself.

The problem this imposed was manual recording was tedious and stressful for staff and introduced errors in the Freight Operations Systems database causing delays in tracking processes; cost also being a huge downfall.

Jones observe (2002: 15). In these ways, institutionalized heterosexuality is central to some of the key motivation(s) behind and design of public policy frameworks in the United States. By “institutionalized heterosexuality” I am referring to the set of ideas, institutions and relationships that make the heterosexual family the societal norm, while rendering homosexual/queer families “abnormal” or “deviant” (Ingraham 1999). My queer analysis of social welfare involves examining how sexuality and gender can be rethought and reorganized in economic and social policy frameworks, theories and practices. Throughout the article I examine how heterosexuality is assumed to be the natural basis for defining the family, and by extension, society, both explicitly (by excluding LGBT people from the analysis and by stigmatizing certain individuals as “non-family” or “anti-family”) and implicitly (by assuming that all people are heterosexual, that marriage is a given and exists only between a traditionally-defined man and woman, and that all people fit more or less into traditional gender roles; see Foucault 1978; Fraser and Gordon 1994; Ingraham 1999; Phelan 2001;

Whilst facilitating an enrichment project for KS4 learners, it was my pleasure to work in collaboration with a ex-pupil of mine (who had left the school two years previous.) in order to explore the issue of homosexuality, homophobia and briefly touch on stereotypical views in society.

The innovative and passionate presence in both Jackson Pollock’s and Wassily Kandinsky avant-garde paintings exemplifies the redefinition of boundaries throughout their art making practices. Both artists challenged traditions both materially and conceptually using innovative and diverse approaches to materials and techniques when painting. Wassily Kandinsky goes against traditions and academies to create vivid, sensual and symbolic large-scale semi abstract expressionist oil paintings in a heightened state of mind. Many artworks of his convey bright and cheerful spontaneous colours that make the audience fully consumed within his works due to hypnotic and distorted semi realist shapes. Consequently, Jackson Pollock also goes against

Faderman takes a decidedly social-constructionist analysis as she examines lesbian life in Twentieth Century America, arguing from the start that its definition has less to do with innate same-sex attraction than with external sociopolitical influences. It is apparent that in the debate between the “essentialist lesbians” and “existentially lesbians” she offers no apologies (and plenty of reasons) in siding with the latter. Not only does she explore how the sub-culture continually responds to external pressures such as conservative politics and institutional biases but deeply analyzes how then the community expands and contracts to its marginalization and oppression. For instance, she describes numerous times (such as the butch/femme role enactment and the demand for a regulated sexual intercourse between women in the 1970’s) when the lesbian community – and corresponding social movement – enacts various border patrolling and internal policing to maintain its strict identity as women to keep the pressure and agents of the patriarchy outside.

I will be writing about George Chauncey’s Gay New York. In this text, George Chauncey seeks to restore that world to history, to chart its geography, and to recapture its culture and politics by challenging three widespread myths about the history of gay life before the rise of the gay movement. These include the myths of isolation, invisibility and internalization. The homosexual community is considered a subculture to the heterosexual community, which identifies as the dominant culture. George Chauncey wants to know why the dominant heterosexual culture often misinterprets the heterosexual subculture. He also talks about the assumptions the dominant culture carries about sexuality and culture. I believe there are two reasons the dominant culture misinterprets and make assumptions about the homosexual community; these two reasons consist of religious beliefs and social stigma of the dominant culture towards the subculture.

Jean-Michel Basquiat emerged from the punk scene in New York as a street-smart graffiti artist. He successfully crossed over his downtown origins to the international art gallery circuit. Basquiat’s work is one of the few examples of how an early 1980’s American graffiti-based could become a fully recognized artist. Despite his work’s unstudied appearance, Basquiat very skillfully and purposefully brought together in his art a host of disparate traditions, practices and styles to create a unique kind of visual collage. His work is an example of how American artists of the 1980’s could reintroduce the human figure in their work after the wide success of minimalism and conceptualism.

A massive artistic change begins with a sense of something about this is wrong. The next step is anger against the wrong and a decision to rectify it. Later, the anger and need for change bleed into every artistic form to revolutionize culture itself. There is no better example of a counter-culture movement than America in the 1960’s, as defiance of previous social norms took place in the Civil Rights movement, the beginning of feminism, and the construction of a radical “hippie” lifestyle. Through cultural changes came rapid controversial evolution in the arts, particularly in music and fashion.

Which is simply apiece to itself is for the people. In this piece the artist serves as a conduit between the art being expressed and her public. In this piece she provides a stage in where she allows the public to speak in an uncensored way for a minute. While still demonstrating parody through a placement of a dove on the shoulder of a speaker, referencing a speech that was given by Fidel Castro. As well as being taken back into the crowd by “two guards” of the stage. Consequently, demonstrating an environment in which similar speeches are made. Though as well the attitude about this subject as well at this time. Overall the importance of can be the limited voice Cuban citizens have within there own government. This particular quote from Fidel Castro himself can give us an idea of his imposed government. “This means that within the Revolution, everything goes; against the Revolution, nothing. Nothing against the Revolution, because the Revolution has its rights also, and the first right of the Revolution is the right to exist, and no one can stand against the right of the Revolution to be and to exist. No one can rightfully claim a right against the Revolution, since it takes in the interests of the people and signifies the interests of the entire nation.” (Cameron Marce, 2009) Though open very much to interpenetration the importance that

While it was barely a kernel of activism against the immense backdrop of advocacy during the 1960’s and 70’s, the gay liberation movement was one of the most important challenges to the hierarchal structures of accepted moral and scientific thought. Functioning as a minor footnote within the context of a substantial political arena comprised of the issues of war, race and a raging women’s liberation movement, gay liberation in the late twentieth century still sought to impress upon the marginalizing and sectarian constructions that subjugated gays to an imposed peripheral existence of personal and public abhorrence. The Stonewall Riot of 1969 signaled the start of a substantial social movement, the dissemination of which would permeate the gay community and call into action an assault on the mechanisms of social order, public legislation and cultural dispositions that sustained a framework of persecution against homosexual men and women. The efforts of gay liberation activists during the sexual revolution of the late twentieth century made possible the near expulsion of constraints on sexual expression and gave way to a new rhetoric of pride and affirmation.

As being developed by poststructuralism, feminism, lesbian & gay studies and even American pragmatist theory (Parker,2001; Seidman,1997), queer theory has become one of the most important theories, which contributes to the research of sociology, arts and organizations. On the one hand, queer theory has been used to study the relations between the sexuality, gender and workplace. On the other hand, by utilizing denaturalized, deconstructive and performative methods to queer the presumptions of the taken-for-granted norms, queer theorists question and disprove the traditions which people cherish (Seidman,1995).

Adrienne Rich also speak compulsory heterosexuality in her work, Compulsory Heterosexuality and Lesbian Existence. Compulsory heterosexuality as discussed by Rich is how we view heterosexuality as a part of institution of capitalism that maintains power through the ideas of heterosexuality being acceptable to society and how we do not allow for differences in the binary system. As Rich states, “the failure to examine heterosexuality as an institution is like failing to admit that the economic system called capitalism or the caste system of racism is maintained by a variety of forces, including both physical violence and false consciousness” (Rich, 135). Meaning that we understand how heterosexuality is maintained by our capitalism system just as we understand oppression of classism, racism, and gender differences. Heterosexuality becomes institutionalized by maintaining through the normalization of forcing us to believe in the capitalism

Queer theory questions creations of normal and divergent, insider, and outsider.2 Queer theorists analyse a situation or a text to determine the relationship between sexuality, power and gender. Queer theory challenges basic tropes used to organize our society and our language: even words are gendered, and through that gendering an elliptical view of the hierarchy of society, and presumption of what is male and what is female, shines through. Queer theory rejects such binary distinctions as arbitrarily determined and defined by those with social power. It works to deconstruct these binaries, particularly the homosexual/heterosexual binary.4