Lois Tyson - Critical Theory Today_ A User-Friendly Guide-Routledge (2006)

Page 367

350

Lesbian, gay, and queer criticism

Gatsby’s death, he tells us, “I wanted the world to be in uniform and at a sort of moral attention forever” (6; ch. 1). At the same time, however, Nick seems to go out of his way to be sure we see him as an active heterosexual. For example, he tells us he “had a short affair with a girl who . . . worked in the accounting department” (61; ch. 3) at his place of employment. Why does he give us this apparently irrelevant bit of information except to make sure we know he’s heterosexual? Having told us that the young woman he’d been seeing back home, whom everyone expected him to marry, was just “an old friend” (24; ch. l), he wants to reassure us that he’s capable of being more than just friends with a woman. Similarly, when he describes his evenings in New York City, “loiter[ing] in front of windows” (62; ch. 3) with other young men like himself, Nick deflates the homoerotic potential of the scene by relating in detail his fantasies about following “romantic women . . . to their apartments on the corners of hidden streets” (61; ch. 3). Finally, when Nick talks about dating Jordan Baker he implies, as we saw ear‑ lier, that she is sexually promiscuous. And to make sure we know that Nick is a recipient of her sexual favors, chapter 4 ends with a description of his kissing Jordan during a romantic carriage ride through Central Park—“I drew up [Jor‑ dan] beside me, tightening my arms. . . . [She] smiled and so I drew her up again, closer, this time to my face” (85; ch. 4)—and chapter 5 opens by telling us how late Nick got home: “When I came home to West Egg that night . . . . [it was] [t]wo o’clock” (86; ch. 5) in the morning. In other words, Nick wants us to know that the kiss was just the beginning of his romantic encounter with Jordan. Indeed, it seems that Nick insists on his “normality” and honesty rather too much. On the very first page of the novel Nick contrasts himself to the “wild, unknown men” at his college who wanted to reveal their “secret griefs” to him because they knew he was “inclined to reserve all judgments” (5; ch. 1). He says, “The abnormal mind is quick to detect and attach itself to this quality when it appears in a normal person” (5; ch. 1). That is, Nick may be surrounded by “abnormal” men who press themselves upon him, but he himself is “normal.” Later, he tells us, “I am one of the few honest people that I have ever known” (64; ch. 3). And lest we forget, he reminds us in the very last chapter, “I’m thirty. . . . I’m five years too old to lie to myself and call it honor” (186; ch. 9). Jordan, however, finally sees through Nick’s self-deception. She tells him, You said a bad driver was only safe until she met another bad driver? Well I met another bad driver, didn’t I? I mean it was careless of me to make such a wrong guess. I thought you were rather an honest, straightforward person. I thought it was your secret pride. (186; ch. 9)

In other words, Jordan has come to believe that Nick is (as is she) transgressive and dishonest about his transgression. Through a queer lens, by this point in

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Articles inside

Index

51min
pages 457-484

For advanced readers

8min
pages 447-450

13 Gaining an overview

15min
pages 451-456

For further reading

2min
page 446

The colony within: a postcolonial reading of The Great Gatsby Questions for further practice: postcolonial approaches to other

24min
pages 433-444

literary works

2min
page 445

Some questions postcolonial critics ask about literary texts

2min
pages 431-432

Postcolonial criticism and literature

10min
pages 426-430

Postcolonial debates

4min
pages 424-425

Postcolonial identity

12min
pages 419-423

12 Postcolonial criticism

5min
pages 417-418

Questions for further practice: African American approaches to other literary works

4min
pages 409-410

The Great Gatsby

32min
pages 396-408

African American criticism and literature

21min
pages 385-393

Some questions African American critics ask about literary texts But where’s Harlem?: an African American reading of

5min
pages 394-395

Recent developments: critical race theory

37min
pages 367-384

Racial issues and African American literary history

18min
pages 360-366

Questions for further practice: lesbian, gay, and queer approaches to other literary works

4min
pages 353-354

11 African American criticism

2min
page 359

of The Great Gatsby

27min
pages 342-352

texts

2min
page 341

Some shared features of lesbian, gay, and queer criticism Some questions lesbian, gay, and queer critics ask about literary

6min
pages 338-340

Queer criticism

8min
pages 334-337

Gay criticism

7min
pages 329-333

10 Lesbian, gay, and queer criticism

2min
page 317

Lesbian criticism

17min
pages 322-328

The marginalization of lesbians and gay men

9min
pages 318-321

For advanced readers

8min
pages 313-316

of The Great Gatsby

23min
pages 301-310

For further reading

2min
page 312

Questions for further practice: new historical and cultural criticism of other literary works

2min
page 311

Some questions new historical and cultural critics ask about literary texts The discourse of the self‑made man: a new historical reading

4min
pages 299-300

Cultural criticism and literature

3min
pages 297-298

New historicism and literature

10min
pages 291-294

New historicism

22min
pages 282-290

Cultural criticism

4min
pages 295-296

9 New historical and cultural criticism

2min
page 281

Questions for further practice: deconstructive approaches to other literary works

4min
pages 278-279

a deconstructive reading of The Great Gatsby

26min
pages 267-277

Some questions deconstructive critics ask about literary texts “. . . the thrilling, returning trains of my youth . . .”:

1min
pages 265-266

A deconstructive reading of Robert Frost’s “Mending Wall”

9min
pages 260-264

Deconstructing literature

5min
pages 258-259

Deconstructing human identity

2min
page 257

8 Deconstructive criticism

2min
page 249

Deconstructing language

11min
pages 250-254

Deconstructing our world

5min
pages 255-256

For advanced readers

7min
pages 246-248

For further reading

2min
page 245

Questions for further practice: structuralist approaches to other literary works

2min
page 244

of The Great Gatsby

22min
pages 234-243

Some questions structuralist critics ask about literary texts “Seek and ye shall find”. . . and then lose: a structuralist reading

2min
page 233

The structure of narrative (narratology

8min
pages 224-229

The structure of literary interpretation

7min
pages 230-232

The structure of literary genres

5min
pages 221-223

Structuralism and literature

4min
pages 219-220

Semiotics

7min
pages 216-218

Structural anthropology

2min
page 215

7 Structuralist criticism

7min
pages 209-211

Structural linguistics

7min
pages 212-214

For advanced readers

11min
pages 204-208

For further reading

2min
page 203

to other literary works

2min
page 202

Projecting the reader: a reader‑response analysis of The Great Gatsby Questions for further practice: reader‑response approaches

29min
pages 190-201

Some questions reader‑response critics ask about literary texts

4min
pages 188-189

Defining readers

2min
page 187

Social reader‑response theory

1min
pages 185-186

Psychological reader‑response theory

5min
pages 182-184

Affective stylistics

7min
pages 175-177

Subjective reader‑response theory

9min
pages 178-181

Transactional reader‑response theory

5min
pages 173-174

6 Reader‑response criticism

10min
pages 169-172

For advanced readers

9min
pages 165-168

The single best interpretation

3min
pages 148-149

New Criticism as intrinsic, objective criticism

2min
page 147

A New Critical reading of “There Is a Girl Inside”

10min
pages 143-146

Literary language and organic unity

13min
pages 138-142

“The text itself”

4min
pages 136-137

reading of The Great Gatsby

24min
pages 120-129

5 New Criticism

2min
page 135

Questions for further practice: feminist approaches to other literary works

2min
page 130

Some questions feminist critics ask about literary texts “. . . next they’ll throw everything overboard . . .”: a feminist

2min
page 119

Feminism and literature

4min
pages 117-118

Gender studies and feminism

21min
pages 108-116

Multicultural feminism

7min
pages 105-107

Getting beyond patriarchy

5min
pages 93-94

French feminism

19min
pages 95-104

Traditional gender roles

15min
pages 85-90

A summary of feminist premises

5min
pages 91-92

4 Feminist criticism

4min
pages 83-84

For advanced readers

7min
pages 80-82

You are what you own: a Marxist reading of The Great Gatsby

21min
pages 69-78

The class system in America

2min
page 55

Some questions Marxist critics ask about literary texts

2min
page 68

Marxism and literature

9min
pages 64-67

Human behavior, the commodity, and the family

7min
pages 61-63

The role of ideology

13min
pages 56-60

Questions for further practice: psychoanalytic approaches to other literary works

2min
page 49

of The Great Gatsby

26min
pages 39-48

Some questions psychoanalytic critics ask about literary texts “What’s Love Got to Do with It?”: a psychoanalytic reading

5min
pages 37-38

Dreams and dream symbols

6min
pages 18-20

2 Psychoanalytic criticism

1min
page 11

Lacanian psychoanalysis

19min
pages 26-33

The defenses, anxiety, and core issues

2min
pages 15-17

The meaning of death

7min
pages 21-23

Classical psychoanalysis and literature

7min
pages 34-36

The meaning of sexuality

5min
pages 24-25

The origins of the unconscious

4min
pages 12-14
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