Littérature scientifique sur le sujet « Sexual orientation – Drama »
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Articles de revues sur le sujet "Sexual orientation – Drama"
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Moniz, Tracy. « Stepping Out : Representations of Female Sexuality in the Canadian Television Series Bomb Girls ». Canadian Journal of Media Studies 15, no 1 (1 octobre 2017) : 1–31. http://dx.doi.org/10.18192/cjmsrcem.v15i1.6467.
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This paper analyzes representations of female sexuality in the Canadian prime-time television series Bomb Girls (2012-2013), which depicts the lives of women working at a munitions factory in Toronto during the Second World War. The historical drama takes place in a period of simultaneous restraint and liberation around female gender and sexuality. This paper contends that Bomb Girls (re)constructs a narrative about female sexuality that breaks from a traditionally gendered and heteronormative story. Bomb Girls challenges dominant discourse on representations of gender in media, instead capturing the complexities around female sexual relationships and sexual orientation during the war. These threads coalesce into a narrative that paints the ‘bomb girls’ themselves as progressive symbols of female sexuality. This paper, like the series, contributes to a feminist counter-discourse focusing on the plurality of female voices and experiences and, in doing so, it pays tribute to working women on the Canadian home front during the war.
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Andrusiak, I. « Domestic violence of representatives of the LGBT and queer communities ». Analytical and Comparative Jurisprudence, no 1 (20 mars 2024) : 17–22. http://dx.doi.org/10.24144/2788-6018.2024.01.1.
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The article is devoted to the analysis of the problem of domestic violence in the lives of persons with a special sexual identity. The article is based on the study of expert and analytical reports, international monitoring and positions of foreign scientists of various socio-humanitarian and legal schools.
It is indicated that violence against LGBT people can be considered as a hidden disharmony in societal relations, where the discovery of sexual orientation or gender identity causes a negative resonance, the problem encapsulates a deeper feeling of nonrecognition and attacks the basic principles of humanism and equality. Violence directed against LGBT individuals can serve as an indicator of systemic inequality and a crisis of values in society, LGBT violence is a form of assassination of the very essence of dignity and freedom inherent in every person. It becomes a sign of internal dissonance, where the conflict between the individual and society merges into a painful existential drama.
It is motivated that adult children are less likely to be subjected to domestic violence than LGBT representatives, which is special in the context of socio-cultural, religious and stereotypical ideas that exist in some societies. Parents and relatives often pressure their children about their sexual or gender identity, which can lead to a variety of negative consequences, including emotional and physical abuse. The fear of discovering one's sexual orientation or gender identity becomes a source of conflicts in the family. Parents can react to this with pressure, contempt or refusal to accept, as stereotypes and prejudices can also provoke the formation of a negative attitude of parents from others and the community.
The peculiarities of the manifestation of domestic violence among representatives of the LGBT and queer communities are determined, in particular, the phenomenon is more widespread compared to people who have a classic sexual identity; issues of domestic violence from parents and family due to sexual identity, often involving coercion into marriage, procreation and confidential therapy; exposed to additional forms of violence (threat of publicizing identity features, homophobia, unprotected relationships).
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Peerbaye, Soraya. « A Subtle Politic ». Canadian Theatre Review 94 (mars 1998) : 5–9. http://dx.doi.org/10.3138/ctr.94.001.
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At the 1997 Desh Pardesh Festival, five artists from diverse cultural and theatrical backgrounds gathered to discuss theatre as a forum for community building. They were Gloria Eshkibok, former President of the Board of Directors of De-bah-jeh-mu-jig Theatre; Dipti Gupta, President of Teesri Duniya Theatre; Sheila James, independent playwright, director, community activist and former Artistic Co-Director of the Company of Sirens; George Seremba, the Ugandan-born playwright of the acclaimed Come Good Rain; and Sarah Stanley, co-founder of Die in Debt Theatre and currently the Artistic Director of Buddies in Bad Times Theatre. Time proved to be too short to speak to their multifaceted passions, but all those in attendance felt privileged to have gained an understanding of their vitally political visions. Here were artists whose projects, through their creation and production, had brought together communities marginalized by virtue of their race, nationality, class, gender, sexual orientation and other factors. These projects represented many different theatrical traditions - street theatre, theatre of protest, storytelling, naturalistic drama, and Shakespearean and classical Greek texts - yet all of them could be encompassed by the phrase “community theatre.”
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Tan, Rayner Kay Jin, Wee Ling Koh, Daniel Le, Avin Tan, Adrian Tyler, Calvin Tan, Sumita Banerjee et al. « Effect of a web drama video series on HIV and other sexually transmitted infection testing among gay, bisexual and queer men : study protocol for a community-based, pragmatic randomised controlled trial in Singapore : the People Like Us (PLU) Evaluation Study ». BMJ Open 10, no 4 (avril 2020) : e033855. http://dx.doi.org/10.1136/bmjopen-2019-033855.
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IntroductionGay, bisexual and queer (GBQ) men are at disproportionately higher risk of acquiring HIV and other sexually transmitted infections (STI). While HIV/STI testing rates among GBQ men are increasing worldwide, they remain suboptimal in a variety of settings.Methods and analysisThe study is a pragmatic randomised controlled trial designed to evaluate an online video series developed by a community-based organisation in Singapore for GBQ men. A total of 300 HIV-negative GBQ men in Singapore aged 18–29 years old will be recruited for this study. Participants will subsequently be randomised into the intervention arm (n=150) and the control arm (n=150). The intervention arm (n=150) will be assigned the intervention along with sexual health information via a pamphlet, while the control group (n=150) will be assigned only the sexual health information via a pamphlet. Participants should also not have watched the video prior to their participation in this study, which will be ascertained through a questionnaire. Primary outcomes for this evaluation are changes in self-reported intention to test for, actual testing for and regularity of testing for HIV, syphilis, chlamydia and gonorrhoea at the 3 and 6 months after intervention. Secondary outcomes include changes in self-reported risk perception for HIV and other STIs, knowledge of HIV, knowledge of risks associated with acquiring STIs, knowledge of HIV pre-exposure prophylaxis, consistent condom use for anal sex with casual partners, incidence of STIs, connectedness to the lesbian, gay, bisexual and transgender community, self-concealment of sexual orientation, perceived homophobia, internalised homophobia, HIV testing self-efficacy and HIV testing social norms.Ethics and disseminationThe study has been approved by the National University of Singapore Institutional Review Board (S-19-059) and registered at ClinicalTrials.gov. The results will be published in peer-reviewed academic journals and disseminated to community-based organisations and policymakers.Trial registration numberNCT04021953
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Şekerci, Ömer. « Culpeper’s Impoliteness Strategies in Neil Simon’s ‘Biloxi Blues’ ». Baltic Journal of English Language, Literature and Culture 13 (15 mai 2023) : 125–41. http://dx.doi.org/10.22364/bjellc.13.2023.09.
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Impoliteness has recently been of interest to scholars as a linguistic study in the field of pragmatics. It has emerged as the opposite orientation to politeness strategy, theory and studies. This paper explores how the impoliteness strategies mapped out by Jonathan Culpeper (1996) are employed in dramatic texts. It examines Culpeper’s impoliteness strategies designed to investigate face in the dramatic text. This paper tests the strategies through Neil Simon’s Biloxi Blues (1985). This dramatic comedy is used for three reasons: (1) as a drama, it is a mirror of life and real-life speech events; (2) impoliteness strategies provide a resource to analyse impolite interactions between the characters in dialogic discourse; (3) dramatic texts provide a rich context to interpret and analyse verbal and non-verbal impoliteness strategies. Impoliteness strategies can cause disharmony and conflict between characters in a dramatic text. The interactions exchanged by the characters in Biloxi Blues are analysed according to Culpeper’s five impoliteness strategies: bald on record impoliteness, positive impoliteness, negative impoliteness, sarcasm or mock politeness, and withhold politeness. This study employs a descriptive qualitative method to determine how face-threatening acts are incorporated into the play in line with Culpeper’s impoliteness strategies propounded in his article entitled Towards an Anatomy of Impoliteness (1996). The paper also examines how the characters react to face-threatening acts. In the twelve selected dramatic extracts, seventeen cases of positive impoliteness, ten cases of bald on record impoliteness, eight cases of sarcasm or mock politeness, and four cases of negative impoliteness have been observed. Moreover, it has also been observed that the characters use taboo words and abusive and strong language. The bald on record impolite acts are aggravated mainly by abuses, sexual insults and name-calling strategies. Racial slurs have also been identified as a part of positive impoliteness.
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SABER, YOMNA. « Langston Hughes : Fringe Modernism, Identity and Defying the Interrogator Witch-Hunter ». Journal of American Studies 49, no 1 (21 janvier 2015) : 173–79. http://dx.doi.org/10.1017/s002187581400190x.
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Langston Hughes (1902–67), the wondering wandering poet, has left behind a rich legacy of books that never grow dusty on the shelves. There seems to be no path that Hughes left untrodden; he wrote drama, novels, short stories, two autobiographies, poetry, journalistic prose, an opera libretto, history, children's stories, and even lyrics for songs, in addition to his translations. Hughes was the first African American author to earn his living from writing and his career spans a long time, from the 1920s until the 1960s – he never stopped writing during this period. The Harlem Renaissance introduced prominent black writers who engraved their names in the American canon, such as Countee Cullen, Claude McKay, Jean Toomer and Zora Neale Hurston, but Hughes markedly stands out for his artistic achievements and longer career. Hughes had been identified by many as the spokesperson for his race since his works dug deep into black life, and his innovative techniques embraced black dialect and the rhythms of black music. He captured the essence of black life with conspicuous sensitivity and polished his voice throughout four decades. His name also had long been tied to the politics of identity in America. Brooding over his position, Hughes chose to take pride in being black in a racist nation. In his case, the dialectics of identity are more complicated, as they encompass debates involving Africa, black nationalism and competing constructions surrounding a seeming authentic blackness, in addition to Du Bois's double consciousness. Critics still endeavour to decipher the many enigmas Hughes left unresolved, having been a private person and a controversial writer. His career continues to broach speculative questions concerning his closeted sexual orientation and his true political position. The beginning of the new millennium coincided with the centennial of his birth and heralded the advent of new well-researched scholarship on his life and works, including Emily Bernard's Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925–1964 (2001), Kate A. Baldwin's Beyond the Color Line and the Iron Curtain: Reading Encounters between Black and Red, 1922–1963 (2002), Anthony Dawahare's Nationalism, Marxism, and African American Literature between the Wars: A New Pandora's Box (2002), Bruce R. Schwartz's Langston Hughes: Working toward Salvation (2003), and John Edgar Tidwell and Cheryl R. Ragar's edited collection Montage of a Dream: The Art and Life of Langston Hughes (2007), among others.
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« Lessons from Themes in Professor Johnbull Nigerian Television Drama Season – 4 Episode 9 (Street School) Towards Curtailing Child Abuse in African Societies ». IJOHMN (International Journal online of Humanities), 30 décembre 2020. http://dx.doi.org/10.24113/ijohmn.v6i6.212.
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Television is a medium through which society is well informed about social reform, social re-engineering and social orientation because of the tenacious relevance of its audio-visual influence on the viewers. What people think about nearly every issue be it politics, religion, government, fashion, culture, is almost exclusively influenced by television. Thus, this study examines lessons on re-orientation of the African Society towards curtailing Child Abuse from themes in Professor Johnbull Television Drama, Season 4-Episode nine (Street School). The study identifies various themes of child abuse in the television drama episode using qualitative research approach of textual content analysis through Video preview and review of themes in Prof. Johnbull Television Drama. The study applied the social cognitive theory as well as framing theory. Data were gathered using a researcher –designed instrument named “Video Content Analysis Checklist on Social Orientation and Themes and Framings (VCACSOTF)”. Findings from the study revealed that vulnerable children suffer maltreatment such as: Sexual abuse, forced child labour in form of street trading/hawking and child trafficking which is a major setback to the realization of child right act on education in Africa. It recommends that similar Television series and programmes should be produced, identified and sponsored regularly on African Television networks such that social orientation against all forms of child abuse could be spread through various broadcast media just as it is being propagated in Professor Johnbull TV drama episode titled ‘Street School’. Further, government in Africa should assist in giving scholarships to indigent and vulnerable street children and that those who participate in child abuse be prosecuted.
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Müller-Schöll, Nikolaus. « The drama of identity. Theatre, Identity Politics, (Re-) Appropriation ». Sciami | ricerche 4, no 1 (24 octobre 2018). http://dx.doi.org/10.47109/0102240105.
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Topic of the essay is the so called "Identity Politics", which is currently discussed with regard to theatre and the visual arts at numerous places: Who is allowed to represent whom on stage and in the arts in general? And how to deal with the alterity of the other on stage? Activists accuse white artists to appropriate black suffering and to instrumentalise it in order to sell their works. (Hannah Black vs. Dana Schutz) Theatre directors are critizised for their unreflected use of blackface on stage. (Bühnenwatch vs. Didi Hallervorden, Sebastian Baumgarten) Performance groups which bring people of colour or disabled performers on stage are accused of exploitation or paternalism. (Monster Truck, Jerome Bel) Amongst the topics of the discussion there was one of the most important ones how the traditional white European theatre deals structurally with minorities being underrepresented on stage because of their skin colour, their disability or their sexual orientation. Against the backdrop of these debates I would like to argue in my lecture that theatre’s contribution to the debate on identity and diversity lies in its questioning of the very logic of identity as such. Departing from Jan Lauwers‘ production Blind poet and perhaps some other examples I will try to show that this production shows to what extent any positing of identity is based on the construction of a phantasm. Identity is the result of the drawing of a border which establishes a binary opposition between the foreign other outside of us and our self opposed to it. Theatre questions these borders by confronting us with the foreign other within ourselves, with an originary de-position of the origins our identitys are based on.
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Müller-Schöll, Nikolaus. « Il dramma dell’identità. Teatro, identità, politica, (ri-) appropriazione ». Sciami | ricerche 4, no 1 (24 octobre 2018). http://dx.doi.org/10.47109/0102240106.
Texte intégralRésumé :
Topic of the essay is the so called "Identity Politics", which is currently discussed with regard to theatre and the visual arts at numerous places: Who is allowed to represent whom on stage and in the arts in general? And how to deal with the alterity of the other on stage? Activists accuse white artists to appropriate black suffering and to instrumentalise it in order to sell their works. (Hannah Black vs. Dana Schutz) Theatre directors are critizised for their unreflected use of blackface on stage. (Bühnenwatch vs. Didi Hallervorden, Sebastian Baumgarten) Performance groups which bring people of colour or disabled performers on stage are accused of exploitation or paternalism. (Monster Truck, Jerome Bel) Amongst the topics of the discussion there was one of the most important ones how the traditional white European theatre deals structurally with minorities being underrepresented on stage because of their skin colour, their disability or their sexual orientation. Against the backdrop of these debates I would like to argue in my lecture that theatre’s contribution to the debate on identity and diversity lies in its questioning of the very logic of identity as such. Departing from Jan Lauwers‘ production Blind poet and perhaps some other examples I will try to show that this production shows to what extent any positing of identity is based on the construction of a phantasm. Identity is the result of the drawing of a border which establishes a binary opposition between the foreign other outside of us and our self opposed to it. Theatre questions these borders by confronting us with the foreign other within ourselves, with an originary de-position of the origins our identitys are based on.
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« Conflicting Framings : Commoditisation of Female Body in Film and Challenges of Insecurity in Nigeria ». Global Journal of Arts, Humanities and Social Sciences 10, no 3 (15 février 2022) : 29–38. http://dx.doi.org/10.37745/gjahss.2013/vol10no2pp.29-38.
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Gender inequality is central to women agitation and has remained the most engaging debate in contemporary academic discourse. Feminist writers, (whether in film, or literature) continue to present conflicting ideological frames that often criticize normative gender identity and establishing new orientations. Film, unlike literature, has a way of presenting reality in most captivating manner. Such is the case in Emen Isong’s The Banker (2015), a Nigerian drama film, invoking “Laura Mulvey’s “politics of male gaze” as stated in her Visual Pleasure and Narrative Cinema. The paper notes that objectification of female body of the lead actress, is meant to satisfy sexual pleasure of the male clients; an act considered as a marketing tool in Nigerian Banking industry. The director’s penchant for dancing between “marketing commodity” and commoditisation of female body”, creates a conflicting communication duality. Using two theories, Media Representation and African Womanism, the paper explores gender dynamics in representation of female body as well as its implications on female identity in social institutions. Research Methodology is qualitative, with focus on critical analysis. It concludes that such representation poses not just identity crises for the female gender but also great security challenges as people learn more from media.
Livres sur le sujet "Sexual orientation – Drama"
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Citizenship : A play. London : Samuel French, 2007.
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Butler, Dan. The only thing worse you could have told me--. New York : Dramatists Play Service, 1997.
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Bertubin, Ronaldo. Lovebirds. Place of publication not identified] : Water Bearer Films, 2010.
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Ayres, Tony. The fat boy. Strawberry Hills, NSW : Currency Press in association with Playbox Theatre, Melbourne, 2003.
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Me, as a penguin. London] : Bloomsbury, 2015.
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Kushner, Tony. Perestroika. New York : Theatre Communications Group, 1994.
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Harvey, Jonathan. Beautiful thing. London : Methuen Drama, 1994.
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Greenberg, Richard. Take me out. New York : Dramatists Play Service, 2004.
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Jonathan, Harvey. Beautiful thing. [s.l.] : [Bush Theatre?], 1993.
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Walter Kerr Theatre (Organization : New York, N.Y.), dir. Angels in America : Millennium approaches. New York, NY : Playbill Incorporated, 1993.
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Flickinger, Craig. « Gender identity, sexual identity and sexual orientation in a drama-therapeutic context ». Dans Gender and Difference in the Arts Therapies, 181–95. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2019. : Routledge, 2019. http://dx.doi.org/10.4324/9781351105361-14.
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