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

Author: Grafiati

Published: 25 July 2024

Last updated: 31 July 2025

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1

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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3

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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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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9

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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Воротникова, А. Э. "Postmodernist Features in W. Gerhardie’s Novel “The Polyglots”." Вестник Рязанского государственного университета имени С.А. Есенина, no. 3(72) (October 18, 2021): 116–25. http://dx.doi.org/10.37724/rsu.2021.72.3.012.

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В статье изучается творчество русско-английского писателя Уильяма Герхарди, которое оценивается в литературоведении диаметрально противоположно — от восторженного признания его культового характера до полного отказа в художественности и идейной глубине. Цель данной статьи — исследовать черты постмодернистской эстетики и мировоззрения в наиболее известном романе Герхарди на тему Гражданской войны в России — «Полиглоты», вбирающем в себя тенденции литературного развития ХХ века и служащем примечательным образцом концептуально-художественного синтеза. В статье анализируются такие проявления постм

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12

Gulsum, Yilmaz. "Analysıs of Gender Roles of Mıchael Cunnıngham's "The Hours" and Vırgınıa Woolf's "Orlando" in Lıght of Postmodernıst Perspectıve." International Journal of Social Science and Human Research 07, no. 08 (2024): 6649–53. https://doi.org/10.5281/zenodo.13709979.

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In the worlds of Virginia Woolf’s Orlando and Michael Cunningham’s The Hours, both protagonists are defying, exploring or subverting traditional gender roles much to the worrying eyes of society within their individual eras. Through a postmodern lens, these individuals come to light as fluidic and plural selves generation by stripping in addition of the core concept of self-built onto them creates resistance against conformity and ossified identities. Orlando biographically travels from male to female, over a number of centuries in the book Orlando: A Biography and messing with eac

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13

Crossley, Alice. "Odd Age, Old Age, and Doubled Lives: Asynchronicity and Ageing Queerly in Israel Zangwill’s Short Stories." 19: Interdisciplinary Studies in the Long Nineteenth Century 2021, no. 32 (2021). http://dx.doi.org/10.16995/ntn.3478.

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This article explores ageing in the short, comic fiction of the Anglo-Jewish New Humourist writer Israel Zangwill. In a range of short stories, which reflect on the ways in which fin-de-siècle culture tends to align later life with decline and diminishment, Zangwill reveals the paradoxes of ageing by playing with such assumptions. These texts subvert conventional views on ageing, challenge the binary opposition of youth and old age, and critique the physiology of ageing through intergenerational difference and familial relations. The article argues that Zangwill’s texts emphasize the capacity

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14

Santayana, Vivek. "His own Chernobyl: The embodiment of radiation and the resistance to nuclear extractivism in Nadine Gordimer’s Get a Life." Journal of Commonwealth Literature, July 24, 2020, 002198942093398. http://dx.doi.org/10.1177/0021989420933987.

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According to Gabrielle Hecht, nuclear energy in South Africa is mired in a wider history of colonial extractivism and racial oppression. Nadine Gordimer’s 2005 novel Get a Life critiques this politics of nuclear power and the way in which it extends the logic of colonialism to the exploitation of the non-human ecosystem in the interest of capital. However, the spatial and temporal scale of nuclear colonialism defy representation in discursive knowledge. This is because the threat posed by nuclear contamination, on both the non-human ecosystem and the people who have been exposed to radiation,

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15

Wilks, Christine, Astrid Ensslin, Carla Rice, et al. "Developing a Choice-Based Digital Fiction for Body Image Bibliotherapy." Frontiers in Communication 6 (January 20, 2022). http://dx.doi.org/10.3389/fcomm.2021.786465.

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Body dissatisfaction is so common in the western world that it has become the norm, especially among women and girls. Writing New Body Worlds is a transdisciplinary research-creation project that aims to address these issues by developing an interactive digital fiction for body image bibliotherapy. It is created with the critical co-design participation of a group of young women and non-binary individuals (aged 18–25) from diverse backgrounds, who are representative of its intended audience. This article discusses how our participant research influenced the creative development of the digital

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16

Pahl, Katrin. "Blood Run Beech Read: Human–Plant Grafting in Kim de l’Horizon’s Blutbuch." Open Cultural Studies 8, no. 1 (2024). https://doi.org/10.1515/culture-2024-0030.

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Abstract This article discusses human–vegetal bonds in Kim de l’Horizon’s award-winning novel Blutbuch. With its transgender perspective informing the text’s botanical imaginary Blutbuch holds, the author maintains, an irreplaceable position in the ecological or phytographic literature. The autofictional tale develops a unique non-binary poetics by creatively working through the impact of individual, arbitrary, and, most importantly, structural violence in the blood family on the coming-of-age and growing-into-a-body of its first-person narrator. “Blood Run Beech Read” explores how de l’Horizo

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17

Banerjee, Richik. "Locating an efficacy of the humane time in Ray’s Agantuk: a travel beyond the object." Rupkatha Journal on Interdisciplinary Studies in Humanities 13, no. 4 (2021). http://dx.doi.org/10.21659/rupkatha.v13n4.45.

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The ontology of time and space has always been a subject of materialist prospectus bearing a halo effect of ‘modernity’ and ‘progress’. The enquiry into the sign of modern is a mechanical category of production where substantial copies of ‘progress’ have religiously been equated with a break from the past. This breaking away from the centre (soul) is, of course, associated with a desire for the non-native design. Simultaneously, the past becomes historicized as primitive dangers while the present/‘modern’ morphs into a non-past spectacular diffusion. Satyajit Ray reloads his artillery of the c

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18

Marshall, Kyle. "If I Was Your Girl by M. Russo." Deakin Review of Children's Literature 7, no. 1 (2017). http://dx.doi.org/10.20361/g2mm5b.

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Russo, Meredith. If I Was Your Girl. Flatiron Books, 2016.At 18 years old, Amanda is taking a cautious approach to her new lease on life. Assigned the male gender at birth and named Andrew, Amanda endured bullying as a child and disappointment from a father who viewed his “son” as effeminate and ill-equipped to handle life’s challenges. Post-transition life in Atlanta wasn’t much easier, and a traumatic instance of violence led Amanda’s mother to decide to send Amanda to live with her father in small-town Tennessee. While the rural American South might not seem like an accepting environment fo

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19

Balaa, Luma. "Attempting to Break Binary Oppositions of East and West: Hanan Al-Shaykh’s “I Sweep the Sun off Rooftops”." Hawwa, October 11, 2024, 1–16. http://dx.doi.org/10.1163/15692086-12341418.

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Abstract Hanan Al-Shaykh’s, “I Sweep the Sun off Rooftops”, calls for cross-cultural dialogue between different cultures. The text explores the cultural tensions that shape an individual’s identity within the postcolonial context. This article examines an encounter in the text between the Moroccan protagonist and her English boyfriend, his sister and his friends in London. Engaging in dialogue between multiple postcolonial theories such as Frantz Fanon’s concept of “absolute depersonalization”, Edward Said’s Orientalism and “contrapuntal consciousness” – Mary Louise Pratt’s theory of transcult

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20

Yilmaz, Gulsum. "Analysıs of Gender Roles of Mıchael Cunnıngham’s “The Hours” and Vırgınıa Woolf’s “Orlando” in Lıght of Postmodernıst Perspectıve." International Journal of Social Science and Human Research 7, no. 08 (2024). http://dx.doi.org/10.47191/ijsshr/v7-i08-99.

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In the worlds of Virginia Woolf’s Orlando and Michael Cunningham’s The Hours, both protagonists are defying, exploring or subverting traditional gender roles much to the worrying eyes of society within their individual eras. Through a postmodern lens, these individuals come to light as fluidic and plural selves generation by stripping in addition of the core concept of self-built onto them creates resistance against conformity and ossified identities. Orlando biographically travels from male to female, over a number of centuries in the book Orlando: A Biography and messing with each morningsid

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21

Herb, Annika. "Non-Linear Modes of Narrative in the Disruption of Time and Genre in Ambelin Kwaymullina’s The Interrogation of Ashala Wolf." M/C Journal 22, no. 6 (2019). http://dx.doi.org/10.5204/mcj.1607.

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While Young Adult dystopian texts commonly manipulate expectations of time and space, it is largely in a linear sense—projecting futuristic scenarios, shifting the contemporary reader into a speculative space sometimes only slightly removed from contemporary social, political, or environmental concerns (Booker 3; McDonough and Wagner 157). These concerns are projected into the future, having followed their natural trajectory and come to a dystopian present. Authors write words and worlds of warning in a postapocalyptic landscape, drawing from and confirming established dystopian tropes, and af

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22

Lord, Catherine M. "Serial Nuns: Michelle Williams Gamaker’s The Fruit Is There to Be Eaten as Serial and Trans-Serial." M/C Journal 21, no. 1 (2018). http://dx.doi.org/10.5204/mcj.1370.

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Introduction: Serial Space“It feels …like the edge of the world; far more remote than it actually is, perhaps because it looks at such immensity” (Godden “Black,” 38). This is the priest’s warning to Sister Clodagh in Rumer Godden’s 1939 novel Black Narcissus. The young, inexperienced Clodagh leads a group of British nuns through the Indian Himalayas and onto a remote mountain top above Mopu. Michael Powell and Emeric Pressburger adapted Godden’s novel into the celebrated feature film, Black Narcissus (1947). Following the novel, the film narrates the nuns’ mission to establish a convent, scho

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23

Joseph, Kaela. "Gays Burying Ourselves." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3140.

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Introduction Jane Schoenbrun’s I Saw the TV Glow (ISTTVG) is a psychological science fiction/horror film which draws upon audiences’ associations between serialised television and queer identity development to ask a terrifying question: would you bury yourself alive to solve the mystery of a parallel life not yet lived? The film is an allegory for queer experiences of internalised heteronormativity and concealment in which the villain is not the typical monster of the week, but our own selves, suffocating under the mundanity of surroundings we have yet to break free from. Neon noir elements ar

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24

Starrs, Bruno. "Writing Indigenous Vampires: Aboriginal Gothic or Aboriginal Fantastic?" M/C Journal 17, no. 4 (2014). http://dx.doi.org/10.5204/mcj.834.

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The usual postmodern suspicions about diligently deciphering authorial intent or stridently seeking fixed meaning/s and/or binary distinctions in an artistic work aside, this self-indulgent essay pushes the boundaries regarding normative academic research, for it focusses on my own (minimally celebrated) published creative writing’s status as a literary innovation. Dedicated to illuminating some of the less common denominators at play in Australian horror, my paper recalls the creative writing process involved when I set upon the (arrogant?) goal of creating a new genre of creative writing: th

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25

Linke, Christine, Elizabeth Prommer, and Claudia Wegener. "Gender Representations on YouTube." M/C Journal 23, no. 6 (2020). http://dx.doi.org/10.5204/mcj.2728.

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Introduction Media and gender are intricately linked in our society. Every day we see representations of women and men on the screen, read about politicians in the press, watch influencers on YouTube or go to the cinema where we meet screen heroes. Our images and notions of gender draw on these media narratives and role models. Children and young people are socialised with these views and cultivate their own identity and gender roles accordingly. Ideas of gender are not static. They are produced discursively in an ongoing process. Gender is understood as a social category, and this perspective

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26

Blackwood, Gemma. "<em>The Serpent</em> (2021)." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2835.

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The Netflix/BBC eight-part limited true crime series The Serpent (2021) provides a commentary on the impact of the tourist industry in South-East Asia in the 1970s. The series portrays the story of French serial killer Charles Sobhraj (played by Tahar Rahim)—a psychopathic international con artist of Vietnamese-Indian descent—who regularly targeted Western travellers, especially the long-term wanderers of the legendary “Hippie Trail” (or the “Overland”), running between eastern Europe and Asia. The series, which was filmed on location in Thailand—in Bangkok and the Thai town of Hua Hin—is set

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Arnold, Bruce, and Margalit Levin. "Ambient Anomie in the Virtualised Landscape? Autonomy, Surveillance and Flows in the 2020 Streetscape." M/C Journal 13, no. 2 (2010). http://dx.doi.org/10.5204/mcj.221.

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Our thesis is that the city’s ambience is now an unstable dialectic in which we are watchers and watched, mirrored and refracted in a landscape of iPhone auteurs, eTags, CCTV and sousveillance. Embrace ambience! Invoking Benjamin’s spirit, this article does not seek to limit understanding through restriction to a particular theme or theoretical construct (Buck-Morss 253). Instead, it offers snapshots of interactions at the dawn of the postmodern city. That bricolage also engages how people appropriate, manipulate, disrupt and divert urban spaces and strategies of power in their everyday life.

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