The lavish theatricality of the “sweet music” and the masque would naturally serve on stage to enhance the sense of harmony felt by any audience, and the presence of “nymphs” from both the underworld and the heavens would suggest that such a relationship is approved by nature for its healing, unifying and redemptory qualities. However, whilst a Jacobean audience may marvel at the seeming purity and lack of artifice present, a more modern interpretation would be that this “vanity” of “art” serves only to reinforce the importance of female chastity and purity, a 17th century obsession that permeates the play. Abstinence and restraint were seen as signs of higher civilisation in Jacobean times, and Prospero’s use of “weeds so loathly” when delivering this moral message connotes the wild, unrestrained desire in females which was seen as dangerous and so abhorred. A spirit states that “no bed right shall be paid until hymen’s torch be lighted”, the use of “hymen” mirroring the preoccupation of both Ferdinand and Prospero with her “perfect and peerless” nature, the plosive alliteration suggesting the restrictive societal conventions Miranda must
Secondly, her sexual affair with Humbert occurs during a period when Lolita is isolated from familiar people and places. She is alone except for her stepfather, who is sexually attracted to her. Thirdly, Lolita is too young to understand the implication of the relationship she shares with Humbert. She resents Humbert's severity, yet she usually accepts their sexual relationship for what it is. She seems unaware that sexual affairs can be different and that under the right circumstances and at the right times, such an affair could be meaningful.
At some point in life everyone startsa search to find themselves and their identity. It may take some time with wrong turns and different paths until there is an epiphany. Family, friends, and your peers around you all help shape yor identity. in the novels the joy luck club and
Fear of Being Queer Queer is a term that lesbian, gay, bisexual, transgender (LGBT) people use to describe the entire LGBT community. It has made them feel like they have their own community where heterosexist people won’t judge them. “The term is used positively to say it is okay to be different and it serves as an inclusive category that encompasses the shared political and social experiences of the group (classnotes, 2016). Basing on this assertion, Queer Theory through the theme of lesbian isolation in a heterosexist world is seen in “Don’t Explain” by the ways the protagonist Letty recognizes her sexual orientation but denies it, demonstrates internalized homophobia, and the way Letty interacts with Delia and Terry. In addition, the articles “We’re Here, We’re Queer, Y’all” by Karen L. Cox and “The Paradox of coming out” by Steven Petrow further proofs how queer theory is evident in “Don’t Explain.” It is clear that stereotyping basing on sexual orientation has led to negative perceptions of different LGBT community members (McDonald, 2013). In most cases, lesbians have been painted as men haters or over-feminized just as gays have been portrayed as haters of women. These stereotypes do not apply to all lesbians but creates undue pressure on characters like Letty forcing then to live in fear because of being different. The fact that fictional lesbian visual representation has being distorted by heterosexuals males has caused Letty and her lot to conceal their true
You can not be perfect, so you have to live with what you have. It is about being okay with who you are, feeling at peace and being comfortable while being a lesbian. Clementine is shown crying to valentine - “Why do I want these things from her? Why do I imagine all those things? Its horrible! whats horrible? Its not right - she’s a girl - its horrible” (Maroh 85). We often cannot control the actions and reactions of people and the world around us, our circumstances, but we can control how we will react to them or act on them. We often cannot control the way we are, how we look, why we have some talents and abilities and not others. Sharing your sexuality is sharing only a small part of who you actually are, a non-issue. Love will only force you to be yourself, not be someone you are not. You should never compromise your self for
The play, Fuente Ovejuna was written by Spanish playwright Lope de Vega. It was most likely written between 1612 and 1614 and was first published in Madrid in 1619. The play is based on an actual historical event that took place in the village of Fuente Ovejuna, which is located
As Lulu kicks and screams – and even rips up the music score – Chua threatens to take away lunch and dinner, then Christmas presents, then birthday parties. She tells Lulu to “stop being lazy, cowardly, self-indulgent, and pathetic” (308). Chua’s husband disagrees with her methods, but despite her husband’s comments, Chua goes right back to her tactics. Finally, Lulu excitedly and repeatedly plays the piece correctly. Chua’s narrative ends with a statement that Lulu cuddled with her that night, that Lulu’s piano recital went exceptionally well, and that even her skeptical husband gave credit to Chua for her part in Lulu’s piano success story.
The second contributing factor is the negative stereotypes about bisexual lifestyle. The political “treachery” of bisexual women resulted in their connection to sexual promiscuity. Lesbian women also frequently accused bisexual women of being fence-sitters who were able to “choose” between having a heterosexual and a lesbian relationship. Katie Griffin, a therapist, once summarized her bisexual experience into “On any other day, I will be straight. If it’s Wednesday, I must be Gay” (1). In other words, many see bisexual individuals as being 50% gay, 50% straight, and 100% non-committal. Griffin is certainly not alone in her experiences; in her clinical practice she found that many bisexual women had to choose between lesbianism and heterosexuality (10). The fluidity of bisexuality creates discomfort with women who had to go through the tedious process of pinpointing the gender they are attracted to. Hence, lesbians see bisexuality as a transitional identity between heterosexuality and lesbianism; notably, 83% lesbians agreed that “some women claim to be bisexual when they are really lesbians who are afraid to admit it” (Rust, “Neutralizing the Political Threat” 9). Stone also notes in her memoir that lesbians are often bitter about the “straight-passing privilege” that bisexual women possess (2). They claim that bisexual women are able to enjoy the benefits of the lesbian community without receiving the discrimination that comes with it.
One may be comfortable with identifying as a sexual minority but they are still surrounded by messages that the only sexuality allowed is heterosexual, one man-one woman. As stated in the book, popular songs, TV shows and movies mostly show relationships between men and women. If a song or show even were to put a sexual minority in its content it’s a big deal and there is a huge uproar both positive and negative. The problem with this is that reactions to relationships that are part of the sexual minority should not continue to be a big deal. By making it a big deal we prove that heteronormativity is still prevalent in our society. No one freaks out when a man loves a woman because it is “normal” and “natural” but when a man loves a man everyone freaks out either good or bad. Once the sexual minority lifestyle becomes “normal” and “natural” and people begin to calm down that is when heteronormativity will slowly and quietly become part of the past. I cannot imagine that happening anytime soon but it will eventually happen as stated in my last paragraph when the close minded older generations pass
The relationship between the Dindon family and Albin, George and Jean-Michel, reflects how pre- stereotypes prove a negative response in first impressions of LGBTQ+. The discovery of Albin and George who are in a homosexual relationship, immediately have the rejection from Edouard and Marie due to defying heteronormativity. The pre-existing prejudice of LGBTQ+ impacts their perspectives on Jean-Michel; Edouard exclaims ‘What sort of family do you think this son of a pervert could make/ Being brought us as he was by two transvestite homosexuals.’ Demonstrating that Edouard’s pre-existing stereotype reflects on their opinion of Jean-Michel which lies at the root of ideals that homosexual couples are incapable of upholding a family. However,
After the premier he walks through a park with Daniela. There she asks him how he can lie so easily talking about how he told another actor that she was great even though she apparently was not. He tells her that he ‘just look(s) them in the eye and lies’ because that is what actors do. This scene can easily be read as Lito talking about how he hides his sexuality from the public by nev-er stating his actual sexuality.
Coppola’s adaptation, The plot was undeniably warped in its transition to film, ultimately eliminating some of the non-visual nuances that added complexity to the book, however the movie and book are far from discordant and can ultimately be recognized within each other. Looking at yet another one of Lux Lisbon’s carnal trysts, we find her “making love on the roof”, (Eugenides 136) of her house. Eugenides depicts the scene as both “urgent and bored at once;…copulating on the roof with faceless boys and men”, (Eugenides 140-142) whereas the cinematic adaptation portrays the scene as a haphazard mash of arms, legs and passion (seen through the shaky eye of the anonymous boys’ telescope), followed by a close-up shot of Lux Lisbon smoking, with none of the warmth displayed during her preceding tryst (TVS). Despite the snapshots of the anonymous boys desperately trying to glimpse the famed Lux Lisbon in the throes of passion, both scenes, written and visual, show the lewd intensity of the lovemaking, followed by Lux’s cold, dissatisfaction and loneliness. However, by conveying the scene in clumsy glimpses, the viewer feels the anonymous’ boys’ lustful excitement rather than Lux’s desperation for intimacy, ultimately overshadowing the mental decline of both Lux and her sisters. The movie reveals nothing of Lux’s
I. Question/Issue Throughout the course of the novel, Nabokov mentions and references the theme of love, specifically when he recalls on Humbert’s feelings toward Lolita. As the narrator of the story, Humbert uses love as a willful and tenacious justification for his pedophilic tendencies toward nymphets like Lolita. As Lolita is
The term insinuates that the relationship could be romantic but it is assumed not to be. If the friend’s sexual identity is not already established to be straight than most of the time they are presumed to be gay even if they are not. For straight men it is not an issue to mock gay tendencies but it only makes actual homosexual men feel insecure and offended. Especially in sports, male players are quick to judge when they find out one of their teammates is homosexual. These reactions instill fear in player’s minds forcing them to go through their whole athletic careers concealing their true self. This is why men coming out in the sports world is a rarity, yet, this is never the case for homosexual females. In 2012, U.S soccer star, Megan Rapinoe, came out right before she played in the Olympics. Younger female athletes such as WNBA No. 1 draft pick, Brittney Grinder, has also done the same. As for the male side, Joey Cabrillo lived in dismay. He is an Elmhurst College student that wrestled in high school. All four years of his wrestling career he hid the fact that he was gay because he never wanted to hear someone say, “OH, that’s why he wrestles.” Society overlooks how unfair homosexual men are treated in and out of sports while homosexual women are never even acknowledged as if they were
A further discussion of Lorde’s theory of the erotic was undertaken by Ruth Ginzburg. Ginzburg’s interpretation of Lorde’s “Uses of the Erotic” states that the erotic is “a metaphysical yearning to integrate” with the separate. She again holds the assertion that the erotic is separate from the pornographic, and uses this to remind her reader that Lorde is not talking about lust when she discusses the erotic. Ginzburg goes on to denote the current understanding of the term “erotic” as incorrect by Lorde’s view. While modern dictionaries define the erotic always in terms of the sexual, Ginzburg states that Lorde discusses the erotic as the “yearning to integrate” and as based in its root meaning of “love born from chaos, personifying…harmony” (Ginzburg 82).