Lowe's Propaganda

Imagine, you go to work in your dress shoes, black suit, buzz-cut hair, red power tie, and nobody pays you a second look. But, the second you get home, you kick off your shoes, and don high-heels, the suit is replaced with a dress, your short wig is taken off, and you let your long curls fall, and your tie is in the closet, with a necklace in its place. Such hiding of true feelings is not an unheard concept in the transgender world. Millions of transgender people will never express their true feelings in their lifetime. This is similar to The Intruder by Andre Dubus, Kenneth Girard a

What can be said of the menacing literary masterpiece that is A Portrait of the Artist as a Young Man is that the gender issues Joyce so surreptitiously weaves into Stephan Dedalus’s character create sizable obstacles for the reader to overcome. Joyce expertly composes a feminine backdrop in which he can mold Stephan to inexplicably become innately homosexual. As Laurie Teal points out “… Joyce plays with gender inversion as a uniquely powerful tool of characterization.”(63) Stephan’s constant conflict with himself and what he wants generate a need for validation that he tries to simulate through day dreams and fantasies but is ultimately unable to resolve. Through exploring the tones of characterization and the character development of

Throughout the 1950’s, the United States belonged to the Leave It To Beaver era. Families were structured around a strong, hard working father and a wonderful homemaker mother. Children were brought up with solid ideologies on what society expects from them and were warned about living a different and dangerous life. Only one-year separates Tennessee William’s Cat on a Hot Tin Roof and James Baldwin’s Giovanni’s Room from there publishing dates during this decade of unwavering beliefs. These texts were seen as extremely controversial during their time due to their themes of homosexuality. Sexual orientation was an awkward topic during such a “to the book” time period and these texts pushed the limits, making them remarkable and memorable works. Both Tennessee Williams and James Baldwin explore the panic men experience while trying to comprehend what sexual orientation they belong to and highlight the masculine gay man. These texts also examine the woman’s role in the mist of it all.

This approach to queer subtext has been has always been a part of Western media as we as we explored in the film “The Celluloid Closet” (1995). Queer representation for many years was an continuous uncategorized personification that was vaguely acknowledged but to those who understood the subtext, it became an undercurrent of complex coded information that eventually paved the way for the integration of queer identification within the hetero film storylines. Doty speaks about this and also mentions that at some point in time representation of queer culture and sexuality

This work, Three Points Masculine by An Owomoyela heavily conceptualizes what it means to be trans. It plays upon our preconceived ideologies and materializations of gender, creating an internal, mindful gender fuck-up within the reader. It questions beliefs of what a “good” trans person looks like and allows us to question if transness is defined by perceived gender nonconformity, identity, and/or expression.

Elizabeth Blevins quoted Neil Carpathios in an article saying “’ [Stacey Waite] dares to explore and write about the often complicated terrain of gender, sexuality and societal perceptions of the self, the body and desire.’” Waite is slowly helping everyone break away from the idea that gender is a solid tangible concept. In “The Kind of Man I am at the DMV” written by Stacey Waite, traditional gender roles are being challenged by explaining that transgender people are the same as everyone else and pointing out the ignorance that some have towards less commonly recognized genders.

The main setting of Trans-Sister Radio is within the small town of Bartlett, Vermont. The primary focus is set on Dana, a chromosomal-male college professor who is in the process of transitioning into the female gender. As a male, Dana is well-received by her community, even though she is perceived as strange and effeminate. She forms normal romantic relationships with women, has a fulfilling career, and is admired by those surrounding her, however she still feels incomplete. Unfortunately, what is missing from Dana is not externally noticeable, it is intrinsic happiness. From a young age, Dana suffered from gender dysphoria, a mental disorder that causes individuals to experience serious distress due to frustration with the sex and gender assigned at birth (APA, 2013). To alleviate the traumatic pain that has burdened her for decades, Dana makes the bold decision to partake in complete gender reassignment surgery. Trans-Sister Radio challenges the prototypical ideologies of character growth, morality, and relationships through its descriptive insight on transsexuality and thus gender.

In “Intro-How Sex Changed: A History of Transsexuality in the United States,” Joanne Meyerowitz writes about the beginnings of transsexuality. She beings the article by defining cross-gender identification, as “the sense of being the other sex, and the desire to live as the other sex” (Meyerowitz 432), while transsexuality, “being the quest to transform the bodily characteristics of sex via hormones and surgery” (Meyerowitz 432). According to Meyerowitz, transsexuality began in the early 20th century. Experiments on changing sex, began in europe on animals. Then in 1920, on humans. Joanne Meyerowitz writes that “the debate on the visibility and mutability of sex” began after Christine Jorgensen, an american who went to Denmark to get a sex change in 1950, became a media sensation in America. While professionals were figuring this out, people “who identified as transsexuals, transvestites, lesbians, and gay men” (Meyerowitz 433) were having the conversation and creating the language within themselves. This conversation on sex change, occurred alongside the sexual revolution in the 60’s, opening “the movement of the organizing of programs, clinics, conferences, and associations to promote study of and treatment for transsexuals” (Meyerowitz 434).

Shifting the focus from ideas of racial constructs to fluidity of the human condition. By, doing this Larsen illustrates the husband as the example of societal “norms” by repressing such feeling and uses Clare and Irene as the more “progressive” example of identity fluidity.

In her book “Gender Outlaw: On Men, Woman, and the Rest of us,” Kate Bornstein goes over a lot of the major issues regarding gender awareness and identity politics. She talks about the ideas of labeling ones self, understanding gender differences, how people view laws, behaviors, and the medical and scientific privilege that make transitioning challenging for a lot of people. Bornstein touches on many of the issues today that affect trans people. She includes poetry, pictures, quotes, essays, and a play to raise questions and discuss the idea of gender. This is a great book to introduce and discuss the issues that affect the lives of trans people as they navigate and explore the lines that define gender.

Before discussing any of the above topics it is important to understand the following vocabulary, since they will be used throughout the paper and misunderstanding of such terms can originate confusion or inadequate conclusions and ideas towards the material discussed in this paper. The term definitions for this paper are obtained from Susan Stryker 's book, Transgender History (Stryker, 2008). The reason

Everyone goes through changes in life, especially ones that define who you are. In David Kaplan’s short story “Doe Season,” he portrays a young tomboyish girl that metamorphosis into a young woman over a short hunting trip. Not only does the young girl enjoy spending time with her father, but she enjoys the things that he does – shooting, camping, hunting. This is not typical of your average girl, or even a 9-year-old girl. Throughout the story there are symbols that show the audience Andy’s conflicts with herself and her gender or sexuality. It is also clear that she struggles with herself and her gender role in society.

Leslie Feinberg’s “Stone Butch Blues,” narrates protagonist, Jess Goldberg, through hirs bodily transformation as a transgender. Jess, born as a woman, went from identifying as a “he/she” to passing as a man, until ultimately identifying as neither male nor female. Jess’s journey as a trans was far from easy, due to the violence, from the police and peers, ze often fell victim to. Moreover, when growing up Jess never felt as if there was a place for hir in society. When Jess was around 16 years old, ze finally begins to search immensely for hirs “type of people.” Through the referral of a co-worker Jess was able to find a bar, Tifka’s, which possibly contained hirs “type of people.” Once inside the bar Jess describes it as “everything [ze]

Whilst taking Sexing Shakespeare, we learned about sexual theorist Judith Butler. Judith Butler most likely would have provided insightful views based on Lilah’s sexuality, gender role, and her parent’s views on Lilah. Through Judith Butler’s statements in regards to Gender categories in her essay “Imitation and Gender In subornation”, Judith Butler would have most likely warned Lela of not being too attached to the category of transgender,

He argues that psychologists as early as Freud have determined the importance of a person’s sexual identity in defining a person’s psychological make-up and then points out that it is impossible for a reader to divorce their sexuality from a reading of any text, that a reader brings to a text the entirety of his experiences and identity and therefore, he brings his sexual identity to the reading of a text also. I use the male pronoun at this point in this paper because the author of the article examined the homosexual male reader, which is separate from either the heterosexual identity and also separate from a lesbian identity because "the homosexual male, in spite of his ‘difference’ is still a biological man, and very importantly, he is a socially constructed man, with all that this implies for phallocentrism and patriarchy" (73). Therefore, it can be seen, a reader can neither divorce their sexual identity nor their gender identity from a reading of a text; in fact, because these factors play a major role in a reader’s psychological make-up, they also play a major role in a