Auswahl der wissenschaftlichen Literatur zum Thema „Trans-protagonist“
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Zeitschriftenartikel zum Thema "Trans-protagonist"
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Sansonetti, Annie. „Black Trans Girlhood, Healing, and Transformative Justice in Akwaeke Emezi's PET“. QED: A Journal in GLBTQ Worldmaking 9, Nr. 3 (01.10.2022): 35–52. http://dx.doi.org/10.14321/qed.9.issue-3.0035.
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Abstract In the fantasy/speculative fiction young adult novel PET (2019), Akwaeke Emezi's fifteen-year-old Black trans girl protagonist, Jam, disrupts the traditional socio-cultural and medico-legal hindrances to Black trans girlhood's “liveness” by actively devising and participating in carefully staged scenes of intracommunal healing and transformative justice. With Jam's knowledge, history, and experience among Black people and community as a guiding light, this article argues that PET serves as a counternarrative to the erasure of Black trans girls in the Black radical tradition and inspires new narratives for Black liberation with the wisdom and experience of Black trans feminine children in mind. What Jam knows—that another way of doing justice is possible, that revolution is not a one-time event, and that care and healing after the event of prison abolition will have to be constantly rehearsed anew—is shared with the young readers of this novel.
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Rao, Naveen. „Turtlegoose Sazerac“. World Futures Review 13, Nr. 2 (Juni 2021): 131–40. http://dx.doi.org/10.1177/19467567211025764.
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A short story exploring the unthought futures of public health in America, Turtlegoose Sazerac introduces a young trans protagonist, Cayce, who has arrived at a career crossroads following a deadly massacre of a homeless encampment near their home in Oakland, California. Seeking advice from a past mentor, Victor, Cayce faces an uncertain path filled with digital, physical, and metaphysical challenges on their quest toward a career with impact.
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Brewer, William D. „Mary Robinson’s Walsingham: Self-Monsterization, Gender Nonconformity, and Sexual (Dis)orientation“. Gothic Studies 25, Nr. 2 (Juli 2023): 199–216. http://dx.doi.org/10.3366/gothic.2023.0164.
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This essay argues that Mary Robinson’s subversion of gender in her Gothic novel Walsingham (1797) is more radical than critics have suggested. I offer a trans reading of Walsingham that focuses on the evolution of Sir Sidney Aubrey’s nonnormative gender identity and behavior. Along with emphasizing transformation and embodiment, trans theory disrupts essentializing categories such as male, female, heterosexual, gay, and lesbian. It thus provides a useful lens through which to examine Walsingham, in which Sidney and the title character transition from one identity to another. I examine the transgender Sidney’s conception of themself as a monster and the eponymous protagonist’s psychosexual development: throughout the novel, both characters see themselves as metamorphic, not-quite-human subjectivities driven by self-destructive passions. The novel’s conclusion presents a scenario in which gender transition occurs rapidly, a trans person finds acceptance, and the conflicted male protagonist immediately falls in love with them.
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Bodnaruk, Mariana. „Intersecting Inequalities: The Representation of Religious, Gender, and Sexual Identities in the Life of Pelagia“. Review of Ecumenical Studies Sibiu 13, Nr. 3 (01.12.2021): 419–36. http://dx.doi.org/10.2478/ress-2021-0041.
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Abstract Repentant harlots who became trans saints presented Byzantine hagiographers with a challenge. Thought to exhibit a lack of self-control and the excessive sexuality, associated with women, and sex workers in particular, – a subject of great concern for monastic authors – how could members of this stigmatized group achieve the standards of Christian piety, let alone saintly behavior? In portraying its fictional protagonist as an exemplum of masculine virtues in the context of nascent Palestinian monasticism, the anonymous Life of Pelagia highlights the non-binariness of social identities in early Byzantium, unsettling fixed gender categorization. Conceiving of a trans figure of an ascetic subverting conventional binaries, the Life creates a model for incorporating non-conforming masculinities of Byzantine society within the normative hagiographic genre.
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Smith, Felicity. „Unearthing crypts and blurring borders in Anna Burns' «Milkman»“. Esferas Literarias, Nr. 5 (14.12.2022): 129–43. http://dx.doi.org/10.21071/elrl.vi5.15178.
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Drawing primarily on the work of Derrida, this paper provides an analysis of Belfast writer Anna Burns’ award-winning novel Milkman (2018) from the perspectives of secrecy, hauntology and the crypt, with the aim of offering new insights into the ungraspable haunting effects of trans-generational trauma. Two literary applications of the crypt are studied: a severed cat’s head found by the protagonist in the so called ‘ten-minute area’, and cryptic letters stuffed inside an old ragdoll and hidden in plain sight. I propose that the speculative conclusions reached as a result of this study not only allow for a sharper (re)reading of the novel itself, but also work towards the deconstruction of real and symbolic borders.
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Joh, Yoon Seung. „The Concepts of Human-Beings and the Axiology of Beyond-Borders in the Book of Change in terms of Post-Humanism“. JOURNAL OF ASIAN PHILOSOPHY IN KOREA 57 (30.07.2022): 137–68. http://dx.doi.org/10.19065/japk.2022.7.57.137.
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This essay is focused on the necessity of redefining the concepts of human beings to coexist in harmony with life-community in the Post-Corona age. The point is to explicate how the concepts of human beings in the Book of Changes provide implications for posthumanism from the viewpoint of beyond-borders through the Change-Penetrating view. Its mechanism connotatively implies the aspect of the reality of balance and changes in the world in the Book of Changes. In the Change-Penetrating view, the category of Yin and Yang, revealing the way of trans-boundaries through robustness and stillness, can verify new concepts of human beings. It has an axiological meaning on the direction in which human beings have to take in this fast changing world. This is reflected in the humanity of the sage, the best human image that appears in the protagonist, and the practicality of Jin-de-xiu-ye (廣德崇業). The attitude of consistent improvement of human beings and the axiology of beyond-borders in the book of change exhibit the new type of integrated viewpoints on the subject about the sustainable coexistence with non-human objects. It is what post-humanism pursues through the process of trans-boundaries.
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Schaal, Michèle A. „A Neopicaresque Journey into Queer and Sex-Positivity: Wendy Delorme's Quatrième génération“. Nottingham French Studies 60, Nr. 1 (März 2021): 80–97. http://dx.doi.org/10.3366/nfs.2021.0306.
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Scholars have hailed Wendy Delorme's first novel, Quatrième génération (Grasset, 2007), and subsequent narratives as pioneering for their introduction of Queer Studies, gender performativity, sex-positive feminism, genderqueer and trans* identities to a mainstream French audience. Researchers have, however, and thus far, rarely focused on the more literary aspects of Delorme's books. This article suggests that Quatrième génération also constitutes a neopicaresque narrative since Delorme takes both her protagonist, Marion, and her readers on a literal and metaphorical learning journey through queer and sex-positive feminist experiences. More specifically, the picaresque topoï of Bildung and travelling fully participate in Delorme's goal of disseminating marginalized yet empowering perspectives. She does so in Quatrième génération through the exploration of sexualized spaces that double as places for Marion's (and, by proxy, the readers’) apprentisssage, through underscoring the power of words and the necessity of using appropriate LGBTIQA+ terminology, and through a critique of gender identities and (hetero)sexuality.
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Ang, Ann. „Mobility as Memory: Refiguring Temporal and Spatial Mobility in Tan Twan Eng’s The Gift of Rain“. Cambridge Journal of Postcolonial Literary Inquiry 9, Nr. 1 (Januar 2022): 26–41. http://dx.doi.org/10.1017/pli.2021.34.
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This article discusses the operation of memory as an effect of narrative structure in The Gift of Rain, with a particular focus on the spatial and temporal mobility of narratorial perspective. Tan’s novel is situated within Malaysian writing in English, a body of minor literature in a minority language amid the country’s promotion of Bahasa as the linguistic medium for a national literature, alongside the attendant racialization of language. However, the status of The Gift of Rain as a world Anglophone novel, which circulates transnationally while depicting trans-temporal and cross-spatial trajectories, imaginatively inscribes Malaysia with a more multifarious assemblage of its cultural origins through the hybridity and queer temporality of its protagonist. Further temporal and spatial mobilities emerge in the dynamic relationship between the novel’s frame and inner narratives, where the reading experience is akin to memory processes. The veracity of fiction as memory intervenes into historical inscription and so resists the pervasive ethno-nationalism that limits cultural discourse in Malaysia.
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Villela, Lucinéa Marcelino, und Gonzalo Iturregui-Gallardo. „AUDIO DESCRIPTION AND DIVERSITY AWARENESS: FLUTUA MUSIC VIDEO“. Trabalhos em Linguística Aplicada 59, Nr. 2 (August 2020): 1513–30. http://dx.doi.org/10.1590/010318137470211520200702.
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ABSTRACT Brazil has the highest murder rate of transgender people in the world. The paper will focus on a debate of how audio description of some audiovisual products should be used to call the attention to the discrimination and violence suffered by homosexual couples. We have chosen a Brazilian music video called Flutua produced and performed by Johnny Hooker with special participation of the Brazilian singer Liniker, a black trans woman. The clip presents an outstanding visual narrative involving contemporary themes such as gays with disability, gender-fluid and homophobia. During the video a gay deaf couple spends a day having fun with friends in an urban scenario composed by known streets and places of Sao Paulo capital. At the end of the day a member of the group suffered a very violent attack. The audio description of the most relevant scenes, the identities and outfit of the singers, and their movements will be presented having in mind the music as protagonist of Flutua.
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Siqueira, Juliana Mota de, Ana Paula Dal’Asta, Silvana Amaral, Maria Isabel Sobral Escada und Antônio Miguel V. Monteiro. „The Middle and Lower Xingu: the response to the crystallization of different temporalities in the production of regional space“. Revista Brasileira de Estudos Urbanos e Regionais 19, Nr. 1 (04.01.2017): 148. http://dx.doi.org/10.22296/2317-1529.2017v19n1p148.
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While the region of the Middle and Lower Xingu has been a protagonist during many episodes of Brazilian history, it remains unknown to a large cross-section of society. Within this perspective, we have revealed some of the different elements responsible for the production of regional space by joining theoretical exercise with empirical, which signifies combining some of the knowledge that has been produced on the region with the discourse of some of the different agents involved in its transformation. Accordingly, the following processes were adopted as markers: colonization, the opening of the Trans-Amazonian, land conflicts and the construction of the Belo Monte Hydroelectric Power Plant. As part of this collective effort, based on interviews with the central institutions (from the First, Second and Third sectors), and with communities from different locations within the region, this article gathers together arguments that contribute to the debate regarding the accumulated processes in the Brazilian Amazon, and particularly in the Middle and Lower Xingu.
Bücher zum Thema "Trans-protagonist"
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Curthoys, Ned. The Bildungsroman in a Genocidal Age. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9798765103876.
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The Bildungsroman in a Genocidal Age argues that the humanist ideal of Bildung, the cultivation of the potentialities of the self through self-reflection, travel, and varied social intercourse, has been revitalized in an age of genocidal violence. It examines the Bildungsroman as a flourishing intermedial genre encompassing contemporary historical fiction, historical feature films, and children’s and YA literature. Analysing a number of highly influential novels and films about the Holocaust and World War II (WWII), the book argues that the narrative strategies of the Bildungsroman, which includes a swerve away from ‘home’ and its parochialism and moral certainties, has contributed to shaping audience perceptions of traumatic histories and their ethical implications in the twenty-first century. The Bildungsroman in a Genocidal Age examines some of the most keenly discussed, and controversial historical fictions of recent decades including The Remains of the Day (1989), The Kindly Ones (2006, English trans. 2009), The Boy in the Striped Pyjamas (2006), and Margarethe von Trotta’s biopic Hannah Arendt (2012). It argues that in portraying a protagonist who defers or refuses a prescribed social destiny, these novels and films are sensitive to the ‘Eichmann problematic’ of the ‘banality of evil’ as formulated by Hannah Arendt. These Bildungsromane, the study suggests, are designed to address the problem of the social reproduction of normative, unimaginative, and conformist mindsets that can enable totalitarian politics and genocidal policies.
Buchteile zum Thema "Trans-protagonist"
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„My Words to Victor Frankenstein above the Village of Chamounix“. In When Monsters Speak, 133–50. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059462-015.
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The author's 1994 essay, “My Words to Victor Frankenstein above the Village of Chamounix,” is a founding text of trans studies. It is addressed to Victor Frankenstein, the protagonist of Mary Shelley’s novel, and it is structured around the unnaturalness of the trans body (like that of the novel's monster). In its theorization of transgender rage, the essay demonstrates how trans politics, like queer politics, entails the recognition that certain emotions are not private, isolated experiences—that shame, fear, despair, and rage are social and political. the piece works through aesthetic questions as to what trans writing might become. The author imagines transition as an art of the body, which of necessity is also a politics of the body due to the infuriating obstacles put in the path of individual and collective self-transformation. The author creates, out of parts, a genre for this theory and practice of gender.
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Stobbart, Dawn. „Solidarity is More than a Slogan: Queer Representation in the Virtual World“. In Queer Gothic, 262–78. Edinburgh University Press, 2023. http://dx.doi.org/10.3366/edinburgh/9781474494380.003.0015.
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In a continuation of the theme that inclusive worldbuilding can create safe spaces for queer and trans people, this chapter focuses on gaming and virtual spaces. The author argues that the ability for queer and trans people to see themselves reflected back is crucial in what has, historically, been the very cisnormative and heteronormative masculine arena of Gothic video games. This chapter examines current Queer Gothic video games that focus on positive and empowering aspects of the gaming experience. The game Tell Me Why includes a trans protagonist; and, The Last of Us 2 offers numerous Queer Gothic possibilities. One of the author’s main themes throughout the chapter is a look at queer solidarity within the constructs of Gothic and the ways that queer aesthetics and Gothic aesthetics come together in the most recent cutting-edge virtual Queer Gothic, which is an area that continues to grow.
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Lavery, Grace. „Generic Deductiveness“. In Feminism against Cisness, 217–39. Duke University Press, 2024. http://dx.doi.org/10.1215/9781478059431-010.
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To theorize the present condition of trans women under unprecedented historical surveillance, this chapter examines the ambivalence and erotic deflation of a “stoner neo-noir” cinema subgenre. This genre’s principles were sketched in 1970s noir revival movies (Chinatown, The Long Goodbye) and became a staple of later output (The Big Lebowski, Inherent Vice, Under the Silver Lake). These movies share a stoned protagonist (a detective, or “dick”) and a Southern Californian location. They also depart from traditional noir by emplotting mysteries that provoke speculations into the nature of suspicion, depicting a lethargic deductiveness that exceeds the mysteries delineated by plot. “Generic deductiveness” aligns the stoned dick, solving both a particular mystery and the mystery of reality, with the curious condition of the trans woman. The chapter also examines echoes and reverberations between the stoned dick and the emergence of a feminist critique of Freud’s abandonment of the seduction theory.
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Rabbani, Munazzah. „A Study of Nomadism and Rhizomatic Consciousness in Kamila Shamsie’s Burnt Shadows“. In Feminism - Corporeality, Materialism, and Beyond [Working Title]. IntechOpen, 2023. http://dx.doi.org/10.5772/intechopen.110904.
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Past and present postmodern nomadic epistemologies as well as the gendered dimensions of nomadism have often served as intellectual sites of resistance to destabilize totalizing hegemonies and ideologies often sustained in the name of nation-states and nationalisms. In this context, this study traces the nomadic post/trans-national ventures of Shamsie’s protagonist Hiroko Tanaka, in Burnt Shadows, that define her life in an anti-genealogical spatial stance akin to rhizomatic existence rather than in a chronological temporal frame. For this purpose, this research employs Braidotti’s notion of nomadic subjects as nomadic polyglots along with Deleuze and Guattari’s conceptualization of nomads as war machines external to the state apparatus. Through the multiple geographical, cultural, national displacements and the resultant nomadic becoming experienced by her protagonist, Shamsie seems to question the relevance of nationalism as an over-arching grand narrative in the works of second-generation writers of Pakistani origin. And by contextualizing her work as a tale of spatiality rather than of temporality, Shamsie seems to map the alternative fictional terrain of history, which is not concerned with the chronological mapping of national spaces; it is rather concerned with discovering new forms of nomadic interconnectedness without being bound to a single space or teleological purpose.
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Cohen, Milton A. „Looking Back to Look Ahead“. In Axis/Axes to Grind, 139–72. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979749.003.0005.
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Just as the novels of Chapter 3 reflect the 1950s theme of conformity and rebellion, two novels of the late Sixties and early Seventies—Kurt Vonnegut’s Slaughterhouse-Five and Thomas Pynchon’s Gravity’s Rainbow—view a narrow part of World War II through the authors’ own times. Vonnegut is explicit that he is writing a late-Sixties anti-war novel and makes his protagonist, Billy Pilgrim, as unmilitary as possible. The trans-national cartels that enabled the V-2 rocket attacks against the Allies in Pynchon’s novel anticipate the military-industrial complex of his own time. But the novels’ stances are either problematic (Vonnegut) or complicated (Pynchon). Vonnegut based his facts about the Dresden firebombing on dubious sources (as well as on his personal experience). Pynchon makes clear that war is only an artifact of the cartels’ domination of markets, which he examines extensively. He is more interested in the intertwining of the cartels and technology and in the cartels’ survival into the postwar period. As the first guided missile, the V-2 itself anticipates a Manichean future of technology (space exploration vs. nuclear annihilation).
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Mayer, Peta. „The Aesthete in A Misalliance (1986)“. In Misreading Anita Brookner, 74–116. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620597.003.0003.
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This chapter mobilises key nineteenth-century aestheticist motifs to render a Sapphic lesbian homoerotic in A Misalliance. Protagonist Blanche Vernon’s nympholepsy is related to the text’s sensual motifs and the intertextual matrix surrounding the ancient Greek poet Sappho. The novel’s early reception is reviewed, including comments by Frank Kermode and John Bayley whose gendered readings obscure the text’s symbolism. On the contrary—emblematic of contested narratives of lesbian sexuality, women’s writing and political subversion in Sapphic texts by Charles Baudelaire and Renée Vivien—Sappho becomes the intertextual springboard for the production of the aesthete. In addition to the sensual motifs of the novel, key behaviours of aestheticism are indicated across the intertextual arc between Brookner’s text and her aestheticist predecessors including Renaissance revival, the desire to live life as art, the homoerotic gaze, the backwards turn, a trans-generational homoerotic and the subversion of bourgeois utilitarianism and family life. The performance of the aesthete is staged across the rhetorical figure of metaleptic prolepsis as supplied by Thomas Bahti’s reading of Walter Benjamin, and Mikhail Bakhtin’s narrative of metamorphosis with its contours of guilt, punishment, redemption, purification and blessedness. Reasserting women’s contribution to Romantic aestheticism, Brookner is read as both women’s writer and aesthete.
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Wright, Vanessa. „Illuminating Queer Gender Identity in the Manuscripts of the Vie de sainte Eufrosine“. In Trans and Genderqueer Subjects in Medieval Hagiography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988248_ch06.
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This chapter analyses the visual representations of the Vie de sainte Eufrosine in three fourteenth-century Parisian manuscripts. It questions how two medieval artists, the Maubeuge Master and the Fauvel Master, approached illustrating the text’s protagonist St Eufrosine/Esmarade, a figure assigned female at birth who lives most of their life as a eunuch in a monastic community. This chapter examines the artists’ depiction of St Eufrosine/Esmarade in three manuscript miniatures, comparing how the artists used signifiers of gender and identity in their portrayals of the saint and other figures to reveal the extent to which the artists represented the saint’s queer gender visually.
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Szabo, Felix. „Non-Standard Masculinity and Sainthood in Niketas David’s Life of Patriarch Ignatios“. In Trans and Genderqueer Subjects in Medieval Hagiography. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789462988248_ch04.
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Eunuch saints presented Byzantine hagiographers with serious challenges. Thought to suffer from an inherent and egregious lack of self-control, how could members of this marginalized group meet the minimum requirements of good Christian behaviour, let alone aspire to sainthood? Niketas David’s tenth-century Life of Patriarch Ignatios offers one medieval exploration of this question. In depicting his eunuch protagonist as an exemplar of specifically masculine virtues, Niketas suggests a definition of masculinity more complicated than that of the traditional eunuch/ non-eunuch binary current over more than a thousand years of Byzantine history. By locating Ignatios beyond these traditional categories, the Life offers an unparalleled model for integrating non-conforming masculinities within the otherwise strictly gendered norms of Christian hagiography.