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Artículos de revistas sobre el tema "Transgender people – fiction"

Autor: Grafiati

Publicado: 27 de julio de 2024

Última modificación: 31 de julio de 2025

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1

M, Chellamuthu. "Identities of Transgender People in Ancient Tamil Literature." International Research Journal of Tamil 5, no. 1 (2023): 74–85. http://dx.doi.org/10.34256/irjt23111.

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In human society, it is natural to see two genders, male and female. It is somewhat surprising that the work of transgender people, who can be called the third gender, is somewhat surprising. In the Mahabharatam, the story of the birth of a transsexual is extended. In nature's creation, we find these people incarnated as transsexuals in practical life. The records of transgenders can be found in abundance in Sangam literary grammar. Transgender people, who have been marginalized in society, are denied the right to participate in public. Transgenders living in small groups in the human communit

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2

Bowden, Chelsea. "Transphobic tropes in contemporary young adult novels about queer gender." Australasian Journal of Popular Culture 10, no. 1 (2021): 65–77. http://dx.doi.org/10.1386/ajpc_00039_1.

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This article identifies the dominant modes of discourse and critiques the problematic tropes and conventions at work in a selection of contemporary young adult fiction novels about young people with queer gender identities. Beginning with the role of young adult fiction, the importance of resisting models of binary gender, the trope of coming out and the convention of the hero’s journey, this article then analyses transphobic tropes: how the narrative lens of pathos functions in these texts to reduce the queer to a state of victimization, invisibility, mental illness, otherness, isolation and

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3

Clarkson, Nicholas L. "Incoherent Assemblages: Transgender Conflicts in US Security." Surveillance & Society 17, no. 5 (2019): 618–30. http://dx.doi.org/10.24908/ss.v17i5.12946.

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Several identity-verifying procedures implemented in the wake of September 11, 2001, created conflicts for transgender people in the US who had different sex designations marked on various forms of identification. Trans studies scholars note that these conflicts highlight the assumption that sex is a stable marker of identity and expose that assumption as a fiction. The use of body scanners in airport security illuminates a similar reliance on binary sex categories. However, identity documentation policies and biometrics in airport security operate through different logics about how to solve t

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4

Berens, Steph. "The Outsider’s Space In-Between: Renegotiating Monstrosity in Contemporary Transgender Short Fiction." Excursions Journal 13, no. 1 (2023): 56–72. http://dx.doi.org/10.20919/exs.13.2023.378.

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The image of trans monstrosity has been firmly anchored in mainstream North American popular culture, most notably through films such as Psycho, Dressed to Kill, and The Silence of the Lambs. This cultural vilification has had catastrophic effects on trans communities, stoking violence especially against trans-feminine people, promoting discrimination, and severely affecting trans people’s self-images. By analysing two contemporary short stories, Julian K. Jarboe’s I Am A Beautiful Bug! and A.K. Blue’s God Empress Susanna, this paper examines different approaches to the monster trope from tran

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5

Butler, Catherine. "Portraying Trans People in Children’s and Young Adult Literature: Problems and Challenges." Journal of Literary Education, no. 3 (December 12, 2020): 10. http://dx.doi.org/10.7203/jle.3.15992.

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The last twenty years have seen a proliferation of books for young people dealing with trans experience and issues. This article charts the emergence of transgender fiction for children and young adults, and its development during that period. It will address several questions arising from this phenomenon. How does the representation of trans experience differ when presented for a child readership rather than adults, and for younger children rather than adolescents? How are the representations of gender identity, gender expression and sexuality affected by considerations of audience? What are

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6

Wilkinson, Mark. "‘Bisexual oysters’: A diachronic corpus-based critical discourse analysis of bisexual representation in The Times between 1957 and 2017." Discourse & Communication 13, no. 2 (2019): 249–67. http://dx.doi.org/10.1177/1750481318817624.

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Recent decades have witnessed an increase in lesbian, gay, bisexual, transgender, queer and intersex (LGBTQI) visibility in the British media. Increased representation has not been equally distributed, however, as bisexuality remains an obscured sexual identity in discourses of sexuality. Through the use of diachronic corpus-based critical discourse analysis, this study seeks to uncover how bisexual people have been represented in the British press between 1957 and 2017. By specifically focusing on the discursive construction of bisexuality in The Times, the results reveal how bisexual people

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7

Majerek, Rafał. "Przełamywanie milczenia. Przemiany sposobów prezentacji problematyki LGBT+ we współczesnej prozie słowackiej." Studia Litteraria 17, no. 4 (2022): 291–300. http://dx.doi.org/10.4467/20843933st.22.023.17189.

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Breaking the Silence. Changes in the Ways of Presenting LGBT+ Issues in Contemporary Slovak Prose In Slovakia after the Velvet Revolution of 1989 groups previously marginalized and discriminated against in the communism era, including the LGBT+ community, began activities aimed at obtaining full civil rights and developing forms of cultural representation. Gradually, the issues of non-heteronormativity began to appear in various areas of culture. As regards prose texts, which are the basis for the reflections presented in this paper, non-heteronormativity was initially portrayed in a stigmatiz

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8

Kłonkowska, Anna Maria, and Stephanie Bonvissuto. "PERSONAL AND COLLECTIVE TRANS-MYTHOLOGIES: CREATIVE ATTITUDES TO GENDER INCONGRUENCE AMONG TRANSGENDER INDIVIDUALS." Creativity Studies 12, no. 1 (2019): 61–74. http://dx.doi.org/10.3846/cs.2019.5823.

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Embedded within the biographies of some transgender people are narratives elements more frequently found in culturally-specific legends settings and the interplay of mythological figures. Individuals who specifically identify as transsexuals (unlike other, non-binary or gender-queer transgender people) sometimes report the wish, the dream, and/or the desire to understand or alleviate their experienced gender incongruence in a surprisingly creative way: through some type of magical transformation. Calling upon recently collected interviews, this study examines those narratives and their use of

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9

V, Nisha. "The Marginalized People from the Perspective Su Venugopal." International Research Journal of Tamil 4, S-19 (2022): 315–21. http://dx.doi.org/10.34256/irjt224s1947.

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After the nineties, the theory of postmodernism became hotly talked about in the artistic and literary contexts of Tamil. In the marginal counter-narratives posed by this theory, the marginal concepts provided many new openings. Thus, the views and records of marginalized people who were subjected to neglect and oppression gained a new lease on life. There are also contributions from many authors behind this. In this Su Venugopal is remarkable. In all his stories, humanity is at the core of it. His voice for the marginalized sections of the downtrodden is silently recorded in the stories, with

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10

Probyn-Rapsey, Fiona. "Furries and the Limits of Species Identity Disorder: A Response to Gerbasi et al." Society & Animals 19, no. 3 (2011): 294–301. http://dx.doi.org/10.1163/156853011x578956.

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AbstractThis is a response to an article published inSociety & Animals in 2008 that argued for the existence of a “species identity disorder” in some furries. Species identity disorder is modeled on gender identity disorder, itself a highly controversial diagnosis that has been criticized for pathologizing homosexuality and transgendered people. This response examines the claims of the article (and the design of the study itself) and suggests that the typology it constructs is based on unexamined assumptions about what constitutes “human” identity and regulatory fictions of gender identity

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11

Muhammad Hassan Abbas. "Dehumanizing the Transgenders in the 21st Century: A Foucauldian Discourse Analysis of Arundhati Roy's Ministry of Utmost Happiness (2017)." Journal of Arts and Linguistics Studies 3, no. 1 (2025): 687–710. https://doi.org/10.71281/jals.v3i1.247.

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Art and Literature are the vocal cords of any society. It depicts society’s collective aspirations, sorrows, deprivation, and hope. As Zizek writes, “We feel free because we lack the very language to articulate our unfreedom”. The root cause of the dehumanization of anyone is the lack of resistance towards atrocious acts and behavior. These enactments transit into the perpetual exploitation of Postcolonial masters against 'others' in tranquility, as one's silence is other tranquility. This article will explore the agents and canvas of suffering upon the people who lack the voice of the agency.

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12

Smestad, Bjørn. "LGBT Issues in Norwegian Textbooks." Nordic Journal of Comparative and International Education (NJCIE) 2, no. 4 (2018): 4–20. http://dx.doi.org/10.7577/njcie.2208.

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In Norway, a model for schools’ teaching about LGBT issues is chosen where the responsibility is divided between different school subjects: social science, natural science, RLE2 (religion, philosophies of life and ethics), Norwegian and English. This article looks at how this is implemented in the textbooks. 129 text-books in Norwegian primary and lower secondary education (grades 1–10) are analysed. Of these, 246 textbook pages included LGBT issues. In this article, I discuss how LGBT issues are included in Norwegian textbooks and how the divided responsibility between school subjects work. T

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13

Yunita, Millah Ananda. "Penonton Boys’ Love: Ketertarikan, Respon, dan Orientasi Seksual." Emik 5, no. 1 (2022): 47–62. http://dx.doi.org/10.46918/emik.v5i1.1219.

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With the issuance of Minister of Health Regulation Number 9 of 2020 concerning Guidelines for Large-Scale Social Restrictions in the Context of Accelerating the Handling of Corona Virus Disease 2019 (Covid-19), the government recommended that all community activities be carried out from home (work from home). The amount of time spent at home causes people to become bored and need entertainment, one of which is by spending time to watch film. One of the shows that is currently booming is Boys' Love which is a fictional media (manga, anime, series) that focuses on homoerotic and homoromantic rel

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14

Stock, Rosemary, and Martyna Zuzanna Lipińska. "The influence of Hollywood fiction on attitudes towards transgender people." New Vistas 9, no. 1 (2023). http://dx.doi.org/10.36828/newvistas.226.

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Previous research found that viewing positively portrayed transgender characters in Hollywood TV series reduces negative attitudes towards transgender people. This study investigates whether exposure to short clips from Hollywood fiction can also influence participant attitudes. Using a feeling thermometer (FT), a total of 132 participants viewed either a positive, negative or no-portrayal video and indicated their attitudes towards transgender people pre- and post-exposure. A 3x2 mixed-design ANOVA found a significant interaction effect between the type of portrayal and the point in time of m

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15

Chaturvedi, Devesh Kumar, and Sheeba Himani Sharma. "ISSUE OF TRANSGENDER RIGHTS FROM THE VIEWPOINT OF ARUNDHATI ROY’S THE MINISTRY OF UTMOST HAPPINESS." ShodhKosh: Journal of Visual and Performing Arts 5, no. 7 (2024). https://doi.org/10.29121/shodhkosh.v5.i7.2024.3577.

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A transgender person is referred to as a hijra in India. In India, hijra, the third gender, is connected to social-religious purity. People find it difficult to acknowledge the reality of hijra. In addition, the transgender protagonist is seen favorably as a key character in this fiction. It is possible to demonstrate that these texts provide further opportunities for emancipation towards the condition. It observes the transgender concern in relation to desire and connection. Transgender persons experience frequently, prevents them from exercising their fundamental right to an education and a

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16

Dr, Nutan Garg. "Representation of Gendered Subaltern in Mahasweta Devi's Rudali." March 18, 2023. https://doi.org/10.36993/RJOE.2023.8.1.290.

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Having first hand experiences of living       with tribals existing in the Eastern parts of       India who are landless labourers,       Mahasweta Devi writes not as a writer but       also as a social activist, about these people       who have been thrown outside the       discourses of mainstream fiction. She is       known as one of those prolific writers       whose writings represent the voice of       those voiceless people who are called    

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17

McAvan, Emily. "Frankenstein Redux." M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2843.

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Jeanette Winterson’s 2019 novel Frankissstein is a contemporary re-reading of Mary Shelley’s classic Gothic text Frankenstein that profoundly challenges ideas of what it means to be human in the present day, by drawing on posthuman ideas about the constitution of the self. In this novel, Winterson portrays various forms of ‘monsters’ such as AI, lifelike sex dolls and transgender embodiment. Drawing on both Frankenstein as a text and the infamous creation story of the novel, Winterson creates a deeply intertextual cast of characters that blurs the following: Ry (Mary Shelley), a transgender do

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18

Van Haelter, Hanne, Frederik Dhaenens, and Sofie Van Bauwel. "Trans persons on trans representations in popular media culture: A reception study." DiGeSt - Journal of Diversity and Gender Studies, February 23, 2022. http://dx.doi.org/10.21825/digest.81844.

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After having been largely ignored, people with a trans*gender identity are increasingly represented in mainstream film and television. Hitherto, only little research on the perspectives of trans persons themselves exists; and therefore this article explores how Belgian transgender persons assess the recurring and contemporary media depictions of trans persons. Based on semi-structured in-depth interviews with transgender persons with ages ranging from eighteen to seventy years old (N=13), we found that the participants appreciated the increased visibility of trans persons and themes in media b

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19

Fish, Jessica N., Rin Reczek, and Pond Ezra. "Defining and measuring family: Lessons learned from LGBTQ+ people and families." Journal of Marriage and Family, March 23, 2024. http://dx.doi.org/10.1111/jomf.12987.

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AbstractObjectiveThis essay discusses the challenges and opportunities of defining family in the context of lesbian, gay, bisexual, transgender, and queer (LGBTQ+) people.BackgroundLGBTQ+ people and their families remain at the forefront of novel family scholarship. Interrogating methodological approaches to defining family are critical for overcoming the continued marginalization and misrepresentation of LGBTQ+ family scholarship.MethodWe review and present select literature to frame the current challenges and subsequent opportunities for advancing LGBTQ+ family scholarship through the concep

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20

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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21

Joseph, Kaela, and Ruby McCoy. "Personalised Progressive Porno." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3075.

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Introduction The year 2018 saw drastic shifts in fan spaces where fan works, such as art, fiction, and videos, were once widely, openly shared, including those containing sexually explicit content, a.k.a. porno. Major catalysts were the highly contested United States legislations Stop Enabling Sex Traffickers Act (SESTA) and Fight Online Sex Trafficking Act (FOSTA), which addressed the liability of host sites for content shared by users. Shortly after, similar legislation appeared around the world, including Australia’s Online Safety Act 2021. In response, Websites once popular with adolescent

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22

Green, Lelia, Kelly Jaunzems, and Harrison See. "Porno." M/C Journal 27, no. 4 (2024). http://dx.doi.org/10.5204/mcj.3092.

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Is what constitutes pornography in the mind of the beholder? This issue of M/C Journal sought articles on “porno”: a deliberately informal, almost friendly, playful term for a content category which evokes many complex responses. Indeed, the categories of materials deemed to be “pornographic” offer rich insights into the cultures that classify, create, and circulate the materials that key publics consume, overtly or – more commonly – covertly. The clandestine dynamic is further heightened when the people consuming and discussing such content include those who are deemed too young to do so. The

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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

Rocavert, Carla. "Aspiring to the Creative Class: Reality Television and the Role of the Mentor." M/C Journal 19, no. 2 (2016). http://dx.doi.org/10.5204/mcj.1086.

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Introduction Mentors play a role in real life, just as they do in fiction. They also feature in reality television, which sits somewhere between the two. In fiction, mentors contribute to the narrative arc by providing guidance and assistance (Vogler 12) to a mentee in his or her life or professional pursuits. These exchanges are usually characterized by reciprocity, the need for mutual recognition (Gadamer 353) and involve some kind of moral question. They dramatise the possibilities of mentoring in reality, to provide us with a greater understanding of the world, and our human interaction wi

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25

Rattray, Chloe T., and Katie Ellis. ""I Love Every Part of You"." M/C Journal 26, no. 5 (2023). http://dx.doi.org/10.5204/mcj.2997.

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Introduction The Owl House is an animated television series that aired on the Disney Channel from 2020 to 2023. The series follows Luz, a teenage Dominican-American human who finds a portal to the Demon Realm. She lands on the Boiling Isles, an island archipelago populated with magical creatures. There, Luz befriends a middle-aged witch named Edalyn “Eda” Clawthorne (also known as Eda the Owl Lady), and her housemate/adoptive son King, a cute dog-like demon with a skull for a head. Eda agrees to teach Luz magic. Magic is then used as a narrative prosthesis (McReynolds) to explore themes of inc

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26

Joseph, Kaela, Tanya Cook, and Alena Karkanias. "“Are You Watching <em>The Godfather</em>?”." M/C Journal 27, no. 3 (2024). http://dx.doi.org/10.5204/mcj.3064.

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Introduction In the film Barbie, Stereotypical Ken “only has a great day if Barbie looks at him”. Ken’s identity is based on Barbie’s approval, that is, until he garners the approval of other Kens by reshaping their collective identities under the patriarchy. The Kens’ patriarchal collective identities are demonstrated in part through their participation in popular-culture fandoms. They mansplain The Godfather and Stephen Malkmus, demand their Barbies be “really invested in the Zack Snyder cut of Justice League”, and sing Matchbox 20’s “Push” at the Barbies “while staring uncomfortably into [t

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27

Deffenbacher, Kristina. "Mapping Trans-Domesticity in Jordan’s Breakfast on Pluto." M/C Journal 22, no. 4 (2019). http://dx.doi.org/10.5204/mcj.1518.

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Neil Jordan’s Breakfast on Pluto (2005) reconceives transience and domesticity together. This queer Irish road film collapses opposition between mobility and home by uncoupling them from heteronormative structures of gender, desire, and space—male/female, public/private. The film’s protagonist, Patrick “Kitten” Braden (Cillian Murphy), wanders in search of a loved one without whom she does not feel at home. Along the way, the film exposes and exploits the doubleness of both “mobility” and “home” in the traditional road narrative, queering the conventions of the road film to convey the desire a

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28

McKenzie-Craig, Carolyn Jane. "Performa Punch: Subverting the Female Aggressor Trope." M/C Journal 23, no. 2 (2020). http://dx.doi.org/10.5204/mcj.1616.

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The bodies of disordered women … offer themselves as an aggressively graphic text for the interpreter—a text that insists, actually demands, that it be read as a cultural statement, a statement about gender. (Bordo, 94)Violence is transgressive in fundamental ways. It erases boundaries, and imposes agency over others, or groups of others. The assumed social stance is to disapprove, morally and ethically, as a ‘good’ and ‘moral’ female subject. My current research has made me question the simplicity of this approach, to interrogate how aggression socialises power and how resistance to structura

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Baird, Barbara. "Before the Bride Really Wore Pink." M/C Journal 15, no. 6 (2012). http://dx.doi.org/10.5204/mcj.584.

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Introduction For some time now there has been a strong critical framework that identifies a significant shift in the politics of homosexuality in the Anglo-oriented West over the last fifteen to twenty years. In this article I draw on this framework to describe the current moment in the Australian cultural politics of homosexuality. I focus on the issue of same-sex marriage as a key indicator of the currently emerging era. I then turn to two Australian texts about marriage that were produced in “the period before” this time, with the aim of recovering what has been partially lost from current

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30

Zienkiewicz, Joanna. "“The Right Can’t Meme”: Transgression and Dissimulation in the Left Unity Memeolution of PixelCanvas." M/C Journal 23, no. 3 (2020). http://dx.doi.org/10.5204/mcj.1661.

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Disclaimer: The situation on PixelCanvas is constantly changing due to raids from both sides. The figures in this article represent the state as of April 2020. In the politicized digital environment, the superiority of the alt-right’s weaponization of memes is often taken for granted. As summarized in the buzzword-phrase “the left can’t meme”, the digital engagements of self-identified leftist activists are usually seen as less effective than the ones of the right: their attempts at utilizing Internet culture described as too “politically correct” and “devoid of humour”. This supposedly “immut

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