Queer Studies Commons^™

Investigating The "Party Consciousness": Gender Normativity & Affect In Woolf’S Party Scenes In “To The Lighthouse” & “Mrs. Dalloway”, Chelsea Goodman

English

In 1925, Virginia Woolf wrote in her diary, “…I should like to investigate the party consciousness…where people secrete an envelope which connects them and protects them from others, like myself, who am outside the envelope” (DIII 13). Woolf’s metaphor of the “envelope” reflects how parties have the potential to be places of community and, conversely, of alienation. In literary criticism, Woolf’s parties are often simplified and read as sites of communion. I argue that instead of a suspension of normativity across all characters, which one might expect in a party scene, Woolf’s domestic party scenes solidify, reflect, and enforce …

"Just Friends:" The Linguistics Of Queerness In Lady Audley's Secret And Carmilla, Kelley A. Peters

English

Many queer studies scholars have debated the legitimacy of queer coding within Victorian literature, such as Marc Milton Ducusin, who wrote Queer Doubles: The Victorian Sensation Novel and English Sexology, and Sharon Marcus, the author of Between Women: Friendship, Desire, and Marriage in Victorian England. These authors analyze real-life and fictional behaviors of those within Victorian England to argue that queerness is present in certain Victorian works. However, these arguments do not adequately address the linguistic significance of the queer coding present in these works, and they specifically ignore the label of “friend” and its many meanings in Victorian …

When To Bite Back: Queerness, Resistance, And Reclamation Of The Monstrous Identity In Andrew Joseph White’S Hell Followed With Us, Aster J. Mehigan Mx.

English

Who gets the right to define morality? Who gets to define what is monstrous? Frankenstein’s Creature, the vampires of Lost Boys, The Craft’s head witch Nancy Downs; these characters follow a pattern through the decades of those alienated from society, in this case being written with queer subtext, being deemed as monstrous. These queer monsters become the villains of the story, causing chaos, death and destruction in their wake, seeking revenge against a world that ostracizes them. The 2022 dystopian YA horror of Hell Followed With Us by Andrew Joseph White challenges the villanized monstrous identity through its transgender protagonist …

"You Know The Rules": A Dramatic Experiment In Aromantic Literary Theory, April Chronowski

English

This paper proposes a new literary theory framework based on the zine "an aromantic manifesto" by yingchen and yingtong, as well as the work of Erving Goffman, using theater as a device to examine romantic relationships. Blending English and sociology, I focus each chapter on a different literary period and examine two plays each: early modern (Christopher Marlowe's Doctor Faustus and William Shakespeare's Much Ado About Nothing), modern (Edward Albee's Who's Afraid of Virginia Woolf? and Djuna Barnes' "To The Dogs"), and contemporary (Caryl Churchill's Cloud 9 and Margaret Edson's W;t). In tandem with analysis of formal elements---like …

The Queer Gazes Back: A Dowry Of Blood As A Queer Mirror To Cisheterosexual Gothic Fears, Robin Bozik

English

This paper examines the connection between the contemporary Gothic A Dowry of Blood and its literary predecessors, Dracula, Frankenstein, and Carmilla. Through a focus on queer bodies, this work demonstrates the evolution of queer lineage-making and responses to cisheterosexual threats. Using literature as a “mirror” to gaze back on the visceral fears held by those who fall outside the norms of gender and sexuality in their respective time periods, this work also examines social tensions in the 21^st century surrounding reproduction and gender-affirming care.

In addition to literary analysis of the primary texts, this paper is …