By et al. Martin Bauml Duberman
Winner of 2 Lambda emerging Awards. "A landmark of a publication and a landmark of principles that would shatter lack of expertise and delusion."-Catharine Stimpson. one other wrote: it is a quite huge booklet and incorporates a large context of ancient info on the topic of the homosexual and lesbian group. it is a needs to learn for each LGBT activist who want to attach the LGBT neighborhood of the day prior to this to this present day.
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Extra info for Hidden from History: Reclaiming the Gay and Lesbian Past
Example text
According to Butler, sexuality is a way of being that is ‘dependent on a world of others, vulnerable to need, violence, betrayal, compulsion, fantasy; we project desire, and we have it projected onto us’ (2004, p. 33). You Know You Love Me is essentially about this world of dependence, and the subject’s desire for recognition. Butler (2005) argues that in our attempts to be recognised and understood we are compelled to give an account of ourselves. We tell stories about ourselves to an other, even if the other ‘remains implicit and unnamed, anonymous and unspecified’ (Butler, 2005, p.
148). I have attempted to take up Hall’s invitation throughout the chapters that follow. To date, children’s literature criticism is still only at an early stage of interrogating the norms of identity by applying a queer readerly approach to texts (see, for example: Flanagan, 2007; Lefebvre, 2005; Mallan, 2004; Pennell & Stephens, 2002; Kidd, 2001; Trites, 1998). 22 Gender Dilemmas in Children’s Fiction Dilemmas of ‘race’ Psychoanalytic theory has also been criticised for its failure to deal with racial difference.
Also, what happens when the male body is the erotic object of the gaze? This question and others are taken up by (post-)feminist, lesbian, and queer theorists and filmmakers. The dilemma for (post-)feminist and lesbian filmmakers then has been how to establish female subjectivity while at the same time deconstructing patriarchal representations of femininity and the female subject. Given that narrative and visual pleasure continue to be the basis for viewers’ identification and engagement with film and literature, desire seems to be released from its mooring in psychoanalysis to float free in newly charted waters: ones where feminist and other critics, writers and filmmakers have undertaken daring and experimental navigating.