Browsing by Subject "Queer theory"
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Item Ekkreinen: a stop motion capsule performance(2018-10-01) Rowe, Desireé D.; Towson University. Department of Mass Communication and Communication Studies"Until the day of when I sat patiently on the hospital bed with tears streaming down my face. My anxiety and panic and had returned for an appearance right before I was to be wheeled to surgery. I saw the room begin to blur at the edges not from the anesthesia, but from the shivers of panic swirling through me. I felt insignificant and disposable in the giant medical industrial complex. I was scared."Item The inherent violence of queer love (as told with deconstructuralism within queer theory)(2022-05) Sciannella, Eddie; Ballengee, Jennifer R., 1968-; Towson University. Department of English[From paper]: The poem “You Are Jeff” by Richard Siken is a non-linear, multi-paragraph, highly metaphorical piece that depicts a deeply unsettling ideal of love in the eyes of the narrator. There is a character, Jeff – the problem being that the name Jeff could belong to anyone, representing multitudes of characters throughout the duration of the poem, anyone from brothers to fathers to lovers. Jeff represents ideals of freedom and love, but also of bloodshed, death, religious trauma, and a deeply unsettling wrongness that can never be fully explained. These contrasting ideologies and characters all with the same name can all be tied together in showing what society creates out of queerness using a deep understanding of poststructuralism and deconstruction within queer theory. Richard Siken uses these forms of deconstruction in queer theory in order to paint a vivid picture of the unsettling mindlessness and corruption that comes with being a queer man in all of his poems, especially “You Are Jeff”. This essay will follow the non-linear narrative and graphic imagery previously mentioned in Siken’s work and show how it all ties into queer theory.Item "Only a Demon in Her Shape": A Queer Positive Reading of Bram Stoker's Dracula(2024) Kayla Swain; Dr. Mitchell-Buck, Heather; Dr. Knapp, Elizabeth; Dr. Pincikowski, Scott; Hood College English and Communication Arts; Hood College Departmental HonorsSince Dracula embodies a lot of Queer stereotypes from the time and multiple members of Stoker’s band of heroes show signs of being closeted, many scholars have taken to reading Stoker’s heroes’ rejection of Dracula as a rejection of their Queer identities. The problem with such readings is that they tend to emphasis the groups’ acts of Queer shame without acknowledging the fact that they come to find love and acceptance among one another and so, resolve their fears, insecurities, and the self-hatred they feel as a result of being a Queer person living in late nineteenth century England. By acknowledging neither the acceptance the group receives from one another nor the resolution of their Queer shame, those who read Stoker’s horror novel through a Queer lens have repeatedly reached the conclusion that Dracula is symbolic of and or intended to represent Stoker’s heroes’ Queer desires and sentiment. All the while, another interpretation, one that acknowledges the groups’ acceptance of their Queer identities and paints Dracula as a symbol of the negative, monstrous image of the “homosexual” that tormented the Queer community in the aftermath of the 1885 Amendment and Oscar Wilde trials, has gone mostly unexplored and ignored. And that interpretation is what this paper explores.