Gender Criticism & Queer

Theory

Erica OKelly, MacKenzie Knox, Isabelle Pabon, &

Kelly Jennings
What are Gender Criticism and Queer Theory?
Begins with the general discussion of how gender and sexulaity are constantly
shaped by and shaping society, behaviors, and attitudes.
Feminism and Gender Criticism are not the same but not polar opposites
Both are on a continuous balance of the attitudes toward sex and sexism, sexuality and gender.
Gender is a construct of of culture and society. (Ex. old man holding door for
women)
Feminists concentrate their study on women, while gender criticism is about
gender and sexuality as a whole.
Feminists have an essentialist view which means feminists believe women are essentially
different from men
Gender Critics have constructionists views which means men and women do not differ through
the characteristics of their sex, but rather through the masculine and feminine genders.
What are Gender Criticism and Queer Theory?
Sex by definition, will be shown to have been gender all along
A concept created by society and institution. Everything is created through culture
Gender critics view text through gender and textuality.
What they become after they are born and the way the author writes
Feminists view text through sex and textuality
Feel no man is able to write the emotions a woman feels
Gender critics also believe women can read like men and men can read like
women.
Sexuality, commonly thought to be natural as well as a private matter is in
fact completely constructed in culture according to the political aims of the
society dominant class
What are Gender Criticism and Queer Theory?
The Queer Theory discusses ideas about sexuality like how
heterosexual/homosexual distinction is a cultural construct just like
masculine/feminine
It is a continuum not fixed or static
Homosexuality and heterosexuality were around before they were named leading to the
conclusion sex, sexual difference, gender, and sexuality are all created by society/culture.
sex/gender system
Men are masculine and attracted to women, meaning its unnatural to be attracted to men.
Argue there are gay/lesbian ways of reading
Heterosexal love is not th eway to a womans heart
Study Masculinity
Effects it has on women (conquest)
The fear that artistry is unmasculine
What are Gender Criticism and Queer Theory?
Film is a social technology influential in reconstructing gender
Sexual politics is most evident
Queer- behavior without reproductive aims and without regard for social
consideration
Whatever is at odds with the normal
Not only for gender and sexuality but also race, class, and nationality
Text defines sexual identity
Liberal movement
Queer theorists believe lesbians and gays should not be grouped together under pride
Illustrations of Interpretations of Frankenstein
A collection of artwork by a man who goes by the Name of Ward was added to this
book and the author has interpreted what his illustrations are trying to portray
about Frankenstein.
II
The creatures face, from the pictures on pages 415-429, is always hidden.
Depicts the humiliation the creature feels, as he bears the burden of Victors own guilt (419).
One picture shows the creature leaning over a transparent pool, in which
readers can see his face reflecting in the pool
Shows his curiosity and reflectiveness despite his shame and humility
Face that is reflected is perfect, symmetrical; Is compared to Caliban prior to his
transformation into a deformed slave by Prospero
Perfect nature of the reflected face shows how the creature was free of the social and moral
stigma[s] of other human beings
Figure 11 shows the creature shielding himself while civilians stone him
Shield himself instead of fleeing as being stoned by villagers was considered the nicest
punishment for a homosexual in the 1800s.
II
Figure 12 depicts the creature standing, seemingly alone in the forest, only
with spotlights shining on him and a noose hanging above his head.
Villagers offering a different form of punishment, one that at the time was more appropriate for
homosexuals
Lights make a fence for the creature, therefore detaining him, and his only way out in a sense
is hanging right above his head
In several of these images, the creatures bare butt is exposed to illustrate his
homosexuality that is exposed to the entire village
The images grow increasingly more dark and violent to show the creatures
escalation as he bears more shame for Victors guilt
II
The majority of the images in this section are illustrated by Ward, as he seems to
truly grasp Grant F Scotts ideas of how the Gender Queer Theory is present in
Shelleys work.
III
It is believed that Ward is claiming the creature and victor were attracted to each
other and they continue to explain the sexuality of victor and the gay relationship
they have.

In one passage the author makes a claim that ward sexualized the death of
Elizabeth. In the illustration Elizabeth is draped over a bed, she is meant to be
dead but during this time Ward portrayed her in a way that made her provocative
in a way. Ward sexualizes the scene by taking out every word that represents
gore. (Page 438)
To emphasize this sexual infatuation it is believed that Elizabeth was placed in the
book almost as a distraction as a substitute Elizabeth as the object of victors
gaze so too keep homophobes during this time at bay, to hide this sexual
relationship of victor with his creating, Elizabeth was added to the story (Page
440)

Ward uses heterosexuality as a defense against the temptation of the

protagonists powerful homosexuality attraction to his creation

It is also suggested that victors and the creature share Elizabeth, and it claims that
the creature has sexually assaulted her.
IV
The creature makes Victor second guess himself and because of his overthinking
and because of the creature's power, it is hard for victor to assert his masculinity
and his dominance over the situation. Because of this question in masculinity it
helps play a role in exploring victors gender identity.

The Illustrations also help show our sympathy for the creature. Sympathetic
protagonist, gay lover, oppressed laborer, victimized racial other, and violent felon
- pg 441

This last illustration pays a sort of tribute to the creature as he is engulfed by

flames showing the creature succumbing to the larger forces of nature and
placing the creature's fate in his own hands
Queer Gothic in Lynd Wards Illustrations to
Frankenstein
View of male to male views and relations
Wards pictures earliest views to balance psychological with political
dimension pertaining to queer reading in Shelleys novel
Paintings illustrate Gothic influence- not taken seriously due to queer illustrations
Figure 2 (pg 405) body of man, head of woman
Paranoid Gothic (pg. 410)
Victors highly unstable and conflicted emotional state as the consequence of
his latent homosexual attraction
Homoerotic longing for the creature and homophobic loathing at the buried
emotions it raises in him.
Belief that Frankenstein was conflicted with his homosexual attraction
attracted to his own creature
 Rejects his monster due to his masculine fear of being dominated by another
man combines with powerful but unconscious homophobic feelings of panic and
loathing, driving Victor simultaneously to reject his monster/lover/himself and yet
to bond with him negatively so as to assure their mutual destruction
Shows hatred and obsession with monster
Novel interpreted as a romantic drama
Figure 6
Open defiance and provocative sexuality
Unearthly ugliness
Physical demeanor depicted in pictures instead
Changes the point of view Victor holds towards the monster
Victor uses terms to describe monster as an ape/monkey
Clash racial and ancient relation related back to slavery & race politics of America in the
1930s
 Attire included in figures by Ward exemplify the homoerotic tension in a way that
modern queer theory typically ignores
Bare upper torso
Clothes = skin tight & dont fit
Plays with idea of gender expectations
Figure 9 (pg 418)- Illustration with over-the-shoulder perspective from Lynd Wards Wild
Pilgrimage
Agricultural labor, male companionship, homoerotic desire, class conflict depicted
View between legs
Eroticizes the encounter and also entangles it with issues of power and domination