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Apa itu sexuality in literature
Sexuality in literature
How is identity found in literature
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“People who read are hiders. They hide who they are. People who hide don’t always like who they are.” “Do you hide who you are?” “Sometimes. Don’t you?” “Do I? I suppose.” (Aciman, 115) Both novel and film made a point to discuss identity. It plays a key role in the text not just as the character’s sexuality, but their faith as well. Both Elio’s family and Oliver are Jewish. Though they all wear the Star of David around their necks, one scene depicts Elio’s mother covertly covering his necklace with her hand. In a later scene, Oliver and Elio walk hand in hand. Wanting to appear eager, when they approach a group of young women dancing, Oliver runs forth to dance, leaving Elio behind. This increased level of concealment and questioning of …show more content…
identity is what eventually causes Elio and Oliver to explode, beginning their secret love affair. In Molly Haskell’s review of “Call Me By Your Name” for the Film Society of Lincoln Center, she discusses how “Call Me by Your Name” narrates romance through a quiet, serious, and gentle voice.
She makes the argument that “Call Me by Your Name” is successful as a peaceful romance because it too takes place outside the confines of society. Films such as “Call Me By Your Name” and “Brokeback Mountain” both feature nature as a character, allowing their seclusion to aid in becoming truthful and living as their honest selves. Partially due to this comparison, (as Variety reported at the film’s New York premiere) both Armie Hammer and Timotheé Chalamet agreed that to call the film “groundbreaking” would be an overstep, with Hammer describing the story as in fact archaic, “one of the oldest stories that we can tell, of two human beings falling in love.” When asked how he believes this film will read to American audiences in this contemporary political climate, Chalamet stated that the film is simply “an unabashed celebration of love.” This unabashed depiction of love and pride is a central theme in “Call Me By Your Name.” Like in it’s predecessor “Brokeback Mountain,” the term gay is only stated once. It is stated …show more content…
jokingly, in reference to another couple, who are close family friends as well as colleagues. In the film, Elio jokingly refers to them as “Sonny and Cher,” and his father disapproves of the remark. If anything, this couple serves as the perfect foil to Elio and Oliver, who’s relationship is centered around seclusion, secrecy, and hiding. This further contributes to the film’s representation of passing. Just like “Brokeback Mountain,” this film’s characters are only allowed to go through transitional times of identity questioning because they feel safe and free in their surroundings, away from the problems and sorrows of society. This reiterates Chalamet’s stance, as the film centers on the universality of love, not its specific gay interactions, but its total humanness. It is an interesting parallel that both “Brokeback Mountain” and “Call Me By Your Name” were criticized for not being a “gay” film, as they both focus on characters who are passing.
As if expecting this criticism, filmmaker Luca Guadagnino instead chose to present queer desire through a new and innovative lens, by choosing to present it without tragedy. Elio’s parents are not only supportive, but downright obliging. From Elio’s perspective, he gets to explore his identity as a gay man with his parents support, his quasi-girlfriend’s compassion, and all the love and attention he could ever receive from Oliver. Elio is able to explore gay love and sex without an identity crisis, which is groundbreaking in a gay film, though it is crucial in defining the “queer experience.” As explained in an article for the British Film Institute, the “gay experience” consists of common actions and emotions, such as confusion, repression, denial, and fear. Some critics argue that perhaps this is what made both “Call Me By Your Name” and “Brokeback Mountain” so successful, that universal identity quest we all go on, paired with the youthful yearning for love that makes a story so compelling. In both films, this paradisiacal idea of love ends in heartbreak. Both films read like a dream, with beautiful scenery, scores, and dialogue. Moments fly by in both hot summer days and cold winter nights, with no end in sight. Yet, both endings leave the audience wide awake, heartbroken, feeling as if
they’d awoken from a nightmare. In “Brokeback Mountain,” Jack realizes his relationship with Ennis can never be, due to Ennis’ fears of living openly as a gay man. When Ennis later attempts to reconnect, he is told by Jack’s wife Lureen that Jack has died. Lureen tells Ennis of Jack’s death, that he was changing a tire when it exploded and killed him. Yet, while Lureen is speaking, Ennis imagines Jack instead being beaten to death with a tire iron by a group of men. The nightmare is Ennis’ fears come to life, and it feels horrifyingly realistic. The film foreshadows this hypothetical death by beating in an earlier scene. At a bar, Jack tries to flirt with a man who in response, gathers his friends in the corner of the bar. As they speak in low voices, they eye Jack with pure hatred. As he listens to Lureen, Ennis’ theory begins to make sense. The film makes no attempt to comfort, explain, or alleviate any of the anxieties the ending brings on, leading the audience to believe that Ennis was right to be paranoid. The ending of “Call Me By Your Name” is, though less violent, equally as devastating. The much discussed final scene depicts Elio, having just learned through a heart-breaking phone call that Oliver is getting married in a few months, sitting in front of a crackling fire, experiencing his emotions. While there’s a certain tragedy to the way the film ends, it’s at least far more open-ended than the book. The dream is perhaps allowed to continue. Yet, the ever present theme of passing still runs strong in both films and texts, that this false dream is just that: a dream. The choice of setting in both stories was deliberate. This type of utopian love can only exist in places beyond the confines of society. This type of world has no identities, no rejection, and no heartbreak. It is a world with no labels, in which love can flourish without any of the confinements society forces unto us. In this love utopia, sexual identities are equally as irrelevant as personal identities, becoming downright interchangeable. This is symbolized in “Call Me By Your Name” both in title and dialogue, in which Oliver tells Elio to “call me by your name and I’ll call you by mine.” This identity is portrayed in “Brokeback Mountain” through Jack's two bloody shirts, symbolizing this loss. One of the shirts is stained with Jack's blood, and the other being a shirt Ennis swore he’d lost, which Jack had taken as a secret reminder. The novel depicts Ennis’ identity wrapped up in the shirts, stating that he “put the pair like two skins, one inside the other, two in one" (Proulx, 146). After being denied Jack’s ashes, it is clear that these shirts are the only link Ennis has to Brokeback
West Side Story is a book about two gangs living in a large city. The Outsiders is a book with the same concept, two gangs that are archrivals. Even though two different authors wrote these books during two different time periods, they have the same story line. These books are realistic, because gang rivalry is still going on today. They are different, since they were written separately. Also, both these books have different problems between the main characters. Still, West Side Story and The Outsiders have many similarities.
The first people introduced are a couple, Agustin and Marcelo, that has been well established in Chicago, Illinois. Marcelo explained his struggle of being both gay and staying catholic because as a kid he prayed to god for a miracle to change him to be “normal”. Marcelo has accepted himself and continues to practice the religion even though Catholicism prohibits being gay. Another man named David described being teased in his school career for kissing another boy in the third grade because of his sexuality. He moved to New York City to get away from his childhood and to finally be happy in a place where he isn’t judged. This homophobia from young kids instigates violence in school that is learned from parents and from the community of others. The last person introduced in the film was a man who transitioned to be a woman that was rejected by her family and had to move out of her home for coming home with hair extensions. This form of violence caused Gabriela to abuse drugs and alcohol to deal with the pain of rejection. These three examples show how people have overcome the cultural normality, but have experienced all sorts of different
The Notebook (Cassavetes, 2004) is a love story about a young couple named Allie Hamilton and Noah Calhoun, who fall deeply in love with each other. The Hamilton’s are financially stable, and expect for their daughter Allie to marry someone with the same wealth. Noah on the other hand works as a laborer, and comes from an underprivileged family. Throughout the film there were several negative behaviors, and interpersonal communications within the context of their relationship, which relates to chapter nine. This chapter explores relationships, emphasizing on affection and understanding, attraction, and the power of a relationship. The focus of this paper is the interpersonal conflict with Noah, Allie and her mother, Anne Hamilton.
Firstly, one’s identity is largely influenced by the dynamics of one’s relationship with their father throughout their childhood. These dynamics are often established through the various experiences that one shares with a father while growing up. In The Glass Castle and The Kite Runner, Jeannette and Amir have very different relationships with their fathers as children. However the experiences they share with these men undou...
...le knowing their identity, so that they do not have to face the judgments of others. "Man is least himself when he talks in his own person! Give him a mask and he'll tell you the truth!" (Velvet Goldmine).
‘Lad flicks’ or ‘lad movies’ is a type of film genre that emerged in the late 1990s. They are defined as a “‘hybrid of “buddy movies”, romantic comedies and “chick flicks”, which centre on the trials and tribulations of a young man as he grows up to become a ‘real man’. ‘Lad flicks’ respond in part to the much-debated ‘crisis in masculinity’” (Benjamin A. Brabon 116). This genre of film explored what it meant to be a ‘real man’ in the twentieth century and in order to do so, they would have to grow up and leave their juvenile ways behind to enter the heterosexual world. Gender relations in ‘lad flicks’ portray masculinity as a troubled, anxious cultural category hiding behind a humorous façade and also rely greatly on a knowing gaze and irony. The two ‘lad flicks’ that will be analyzed are The 40-Year-Old Virgin (Judd Apatow 2005) and Role Models (David Wain 2008).
This film also shows that people of different backgrounds can too be in love. This movie illustrates that even though there are differences between two people, doesn’t mean they cannot be together. In the world today, people of all different types are falling in love. This used to be unheard of, but is now becoming a way of life. I feel that this movie did a wonderful job of showing many aspects of love and the difficulties that people may come upon.
Hertenstein, Matthew J. The Tell: The Little Clues That Reveal Big Truths About Who We Are.
Andrew Sullivan, author of, What is a Homosexual, portrays his experience growing up; trapped in his own identity. He paints a detailed portrait of the hardships caused by being homosexual. He explains the struggle of self-concealment, and how doing so is vital for social acceptation. The ability to hide one’s true feelings make it easier to be “invisible” as Sullivan puts it. “The experience of growing up profoundly different in emotional and psychological makeup inevitably alters a person’s self-perception.”(Sullivan)This statement marks one of the many reasons for this concealment. The main idea of this passage is to reflect on those hardships, and too understand true self-conscious difference. Being different can cause identity problems, especially in adolescents.
The movie “Breaking Away” presents the story of a young man from working class origins who seeks to better himself by creating a persona through which he almost, but not quite, wins the girl. The rivalry between the townies and the college students sets the scene for the story of four friends who learn to accept themselves as they "break away" from childhood and from their underdog self-images.
Griffin, Susan. “Our Secret”. Ways of Reading Eds. David Bartholomae and Anthony Petrosky. Sixth edition. Boston. New York: Bedford/St. Martin’s, 2002.
Griffin, Susan. “Our Secret.” 1992. Ways of Reading: An Anthology for Writers. 9th ed. Ed.
But things were slowly evolving in the movies. Independent films had been featuring gays and lesbians as main characters, depicting real life and real relationships. Armistead Maupin’s Tales of The City revolved around a homo-hetero pairing.
Humanity is defined by one major factor: one’s understating of the self. By understanding one’s self, one can understand society and the world that surrounds themselves. There is one thing that can often distort one’s personality, one’s identity. By identifying as one thing a person can often change how they act or do certain things. This is often found to hide one’s true motives or intention, but it can also be used to hide hidden factors that aren’t as prevalent. One’s personality and identity are very closely linked, and tend to play off one another. This fact can be show in within multiple works. To name a few authors who demonstrate this fact: Clifford Geertz, Horace Miner, and Andrei Toom. Their works seek to dive deeper
Such views influence both L1 and L2 reading studies. Kern (2000) explains the importance of the social and personal interpretation of reading, he says that readers have the freedom to interpret texts in any way they like if they do not deviate from the so-called interpretive constraints. In terms of fo...