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Relevant bibliographies by topics / Non-binary-protagonist

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Academic literature on the topic 'Non-binary-protagonist'

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Non-binary-protagonist"

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Kim, Minhee. "A Sociolinguistic Analysis of Meat Diet and Vegetarian Diet Depicted in Han Kang’s The Vegetarian." Theological Research Institute of Sahmyook Universitys 26, no. 3 (2024): 88–117. https://doi.org/10.56035/tod.2024.26.3.88.

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Focusing on the increased public attention towards vegetarianism and its symbolic significance following the success of Han Kang’s The Vegetarian, which became a bestseller after winning the 2024 Nobel Prize in Literature, this study tracks the sociolinguistic shifts in the meanings of meat diet and vegetarian diet by analyzing how these phrases are portrayed and transformed within the novel. In the story, non-vegetarians argue that meat consumption is a human instinct and necessary for health, deeming vegetarians to be strange, stubborn, and offending. The protagonist expands the meaning of v

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2

Lee, Seul. "The Politics of Undoing Gender in Virginia Woolf’s Orlando and Yann Martel’s Self." Korean Society for Teaching English Literature 27, no. 2 (2023): 79–108. http://dx.doi.org/10.19068/jtel.2023.27.2.03.

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This paper examines intertextuality between Virginia Woolf’s Orlando and Yann Martel’s Self, focusing on the way in which each text grapples with undoing gender essentialism. Despite being set in different times and spaces, both novels demonstrate common threads: the protagonist challenges binary gender norms and heteronormativity; their gender is unintentionally transformed. In this regard, Martel’s novel should be understood as a successor to Woolf’s Orlando, as it is advertised as “A Modern-Day Orlando” by the publisher. Strangely enough, however, both texts have rarely been examined togeth

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Laskar, Kaifia Ancer. "Gender-sensitive Portrayal in Cartoon Shows for Preschoolers: A Critical Analysis of Masha and the Bear." Asia Pacific Media Educator 31, no. 2 (2021): 212–28. http://dx.doi.org/10.1177/1326365x211048587.

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Most of the studies on children’s programming conducted in America or India, indicating an unbalanced and stereotypical gender representation, remain limited to those on older children. The present study explores if cartoon shows for preschoolers resort to the counter-hegemonic portrayal of male/female characters, and if thereby have any scope for representation of gender fluidity within it. Consequently, it also attempts to discern the ways in which interpersonal relationships between the protagonists, and between the protagonist(s) and the secondary character(s) portray any ‘dominant/submiss

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4

Wang, Xue. "The Deconstruction and Reconstruction of “the Other” in Robert Warren’s Blackberry Winter." Arab World English Journal For Translation and Literary Studies 6, no. 3 (2022): 142–51. http://dx.doi.org/10.24093/awejtls/vol6no3.10.

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Robert Warren’s Blackberry Winter is popular for its distinction in depicting a variety of critical issues from the perspective of a 9-year-old protagonist. Set in a small village in the United States after World War II, Blackberry Winter tells the story of Seth, the hero, when he was nine years old, in which the deconstruction and reconstruction of the image of “the Other” are widely indicated. The novel reveals the author’s profound insights towards society, history as well as human beings by creating various images of “the Other” worth discussing. The purpose of this paper is to interpret t

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Macheso, Wesley Paul. "Queering Tropical African Heteronormativity through Spirit Worlds: Akwaeke Emezi’s The Death of Vivek Oji." eTropic: electronic journal of studies in the Tropics 23, no. 1 (2024): 197–212. http://dx.doi.org/10.25120/etropic.23.1.2024.4080.

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This article analyzes how contemporary queer African writing participates in decoloniality by queering (hetero)normative knowledge systems for social and epistemic transformation. In my reading of Akwaeke Emezi’s The Death of Vivek Oji (2020), I argue that Trans/Queer African literature participates in a very important epistemic project of counterfactualism by offering alternatives to perceived and systemically imposed African gender and sexual realities. The novel achieves this by deconstructing the hetero-naturalization of temporality to locate queer time and queer space within indigenous Af

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Di Pietro, Alessandra. "Literature as Worldly Action." Matatu 54, no. 2 (2023): 301–18. http://dx.doi.org/10.1163/18757421-05402005.

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Abstract This paper aims to demonstrate how the various declinations of public and private dissent represented in a contemporary work of African literature, The Death of Vivek Oji (2020) by Akwaeke Emezi, can be read as an instance of literature’s world-making capacity. As the novel’s title anticipates, The Death of Vivek Oji reconstructs the life of its eponymous protagonist and the events that led to their death (Vivek is a non-binary, transgender person and both male and female pronouns are used to refer to them). Emezi’s novel is set in Nigeria during the late 1990s and the narrative activ

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7

Szymonek, Paulina. "Wolves in the City of Domesticated Women: The Queer Wild of Olivia Rosenthal." New Horizons in English Studies 6 (October 10, 2021): 51–62. http://dx.doi.org/10.17951/nh.2021.6.51-62.

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In 2009, in the city of Nantes, a pack of six wolves was released in a public park as part of Stéphane Thidet’s art installation. A book of short stories accompanied the event. One of the authors involved was Olivia Rosenthal, who then incorporated her story into the novel Que font les rennes après Noël? (2010), in which captive wolves are reintroduced to the city. In this post-natural environment, animals provide a semblance of the wilderness for residents, yet remain enclosed in an extended zoo designed by man – an act that domesticates both sides of the fence by separating humans from wolve

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Sasani, Samira, and Elmira Molaii. "Darkness in the Costume of Whiteness: A Glimpse of Black Gaze, White Mask in Heart of Darkness." International Letters of Social and Humanistic Sciences 49 (March 2015): 135–45. http://dx.doi.org/10.18052/www.scipress.com/ilshs.49.135.

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To begin with, Heart of Darkness has always been challenging for every critic who feels the urge to take either pro-colonialist or contra-colonialist positions. However, herein the main focus would be set less upon the binary stances regarding the protagonist and his leanings toward the natives. Based on the indissociability of the psychological-cum-cultural operations, this study lends itself best to an amalgam of Freudian together with Bhabhian theories such as the dreamwork, repetition-compulsion, mimickry and hybridization. That is to say, it deserves attention to see the colonialist ideol

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Iwuji, Dr Ugochukwu Ogechi, and Amarachi Christiana Kelechi Ejingini. "Revolutionary Aesthetics in Toni Duruaku’s Thorns on Liberty Road." Tasambo Journal of Language, Literature, and Culture 4, no. 02 (2025): 142–50. https://doi.org/10.36349/tjllc.2025.v04i02.016.

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This paper seeks to expand discourse on revolutionary aesthetics, a historically inevitable phenomenon that naturally sprouts out in a world of deprivation and marginalization. The enablers of this philosophy are the bourgeoisie and the insensitive ruling class that treat the masses with disdain. Essentially, the study investigates Revolutionary aesthetics in Toni Duruaku’s Thorns on Liberty Road as a typical and timely political allegory that mirrors the agitations of the various disgruntled and marginalized sections of the African continent, which demand justice and self-determination, as a

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Munir, Maimunah. "Challenging New Order’s Gender Ideology in Benyamin Sueb’s Betty Bencong Slebor: A Queer Reading." Plaridel 11, no. 2 (2014): 95–116. http://dx.doi.org/10.52518/2014.11.2-04mnr.

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The representation of sexuality in Soeharto’s New Order Indonesian films mainly centred on the female reproductive role, and tended to present the nation as constructed of heterosexual families rather than individual citizens (Boellstorff, 2005). Under this formulation of gender ideology, all sexual practice outside heterosexual marriage could be seen as contradictory to the God-given nature of Indonesian citizens. Despite few representations, non-reproductive sexualities film-themes were produced and consumed. Released in 1978, Benyamin Sueb’s Betty Bencong Slebor became box-office hit in the

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Books on the topic "Non-binary-protagonist"

1

Healing Rites. Self-Published, 2021.

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Book chapters on the topic "Non-binary-protagonist"

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Eichel, Andrew. "Between Mimesis and Fantasy." In The Artistry of Neil Gaiman. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496821645.003.0007.

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This chapter states that Neil Gaiman's graphic series The Books of Magic is a refutation of the binary opposition between mimetic and non-mimetic modes of thought. Throughout protagonist Timothy Hunter's journey, reality and fantasy are offered to the audience as two ways of viewing and living in the world. Gaiman does not offer a definitive resolution between the two because he is more interested in getting readers to ask their own questions and arrive at their own conclusions.

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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. 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 ove

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