Queer Theory

Another way to see representations

Are you queer?
• Queer is by definition
whatever is at odds with
the normal, the
legitimate, the
dominant. There is
nothing in particular to
which it necessarily
refers. It is an identity
without an essence.
Dominant ideology and hegemony
• “Normalising” gender roles
• White, male, heterosexual as the norm
• Institutionalised – politics, church,
education, the traditional family etc.
However, if you’re different then…
Queer Theory
• Queer Theory rejects conventional or
mainstream behaviour, including sexual
identity, but also a range of identities
including race, disability and gender.
• It rejects the essentialist nature of
theories of identity based on binary
oppositions like male/female,
gay/straight and argues there is another
space outside which is ‘queer’.
▪ It explores and challenges the way in which
heterosexuality is constructed as normal...
▪ And the way in which the media has limited the
representations of gay men and women.
▪ Suggests sexual identity is more fluid

▪ What media celebrity examples can you think

of?
Jack Sparrow
Charice Pempengco
Judith Butler
Judith Butler
• Suggests gender is not the result of nature, but
is socially constructed.
• Male and female behaviour roles are not the
result of biology but are constructed and
reinforced by society through media and
culture.
• Sees gender as a PERFORMANCE.
• She argues that there are a number of
exaggerated representations of
masculinity and femininity which cause
“gender trouble.”
• (Any behaviour or representation that disrupts
culturally accepted notions of gender.)
Who is?
Gender Trouble
■ In her most influential book, Gender Trouble
(1990), Butler argued that feminism had made a
mistake by trying to assert that 'women' were a
group with common characteristics and interests
■ That approach, Butler said, performed 'an
unwitting regulation and reification of gender
relations' - reinforcing a binary view of gender
relations (men and women)
■ She argued that, rather than opening up
possibilities for a person to form and choose
their own individual identity, feminism had
closed the options down
• “There is no gender identity behind the
expressions of gender; ... identity is
performatively constituted by the very
"expressions" that are said to be its
results.” (Butler)
• Queer theory suggests there are
different ways of interpreting
contemporary media texts
Eve Kosofsky Sedgwick
• Sedgwick describes Queer Theory as: “the
open mesh of possibilities, gaps,
overlaps, dissonance, and resources,
lapses and excesses of meaning when
the constituent elements of anyone's
gender, of anyone's sexuality aren't
made (or can't be made) to signify
monolithically.” (1993)
• What does that mean?
Fluidity
■ This implication of ‘fluidity’ allows us to
consider concepts such as transgenderism
(moving between genders), transsexualism
(physically changing gender), intersex (both
sexes present, affects 1 in 2000 babies),
pansexual (sexual attraction not based on
gender) and trigender (a gender outside of male
or female) amongst others
■ At it’s most radical, it implies all currently
accepted definitions of sex, gender and
sexuality are questionable, if not redundant
Its influence

• a snapshot from the movie, "Brokeback

Mountain"
And how it challenges
From this....
To this....
Is this progress?

• http://www.bbc.co.uk/sport/0/football/
25661228
Finally
• Where does all of this leave
representation and collective identity?
Under Analysis:
"Tatarin"
based on Nick Joaquin's controversial
short story, "Summer Solstice"
Author
Name: Nicomedes Marquez Joaquin
Aka: “ Quijano de Manila”
Born: May 4, 1917 (Paco Manila on Calle Herran)
Died: April 29, 2004 (San Juan Metro Manila)
Parents: Atty. Leocadio Y. Joaquin (colonel of the Philippine Revolution)
  Salome Marquez (school teacher)

Educational Background:
Elementary: Mapa High School in Intramuros
Secondary: Mapa High School in Intramuros (up to 3rd year)
College: St. Albert College in Hong Kong
Early Education
At age 17, Joaquín had his first piece published, in
the literary section of the pre-World War II Tribune,
where he worked as a proofreader. It was accepted
by the writer and editor Serafín Lanot. After Joaquín
won a nationwide essay competition to honor La
Naval de Manila, sponsored by the Dominican Order,
the University of Santo Tomas awarded him an
honorary Associate in Arts (A.A.). They also awarded
him a scholarship to St. Albert's Convent, the
Dominican monastery in Hong Kong.
Career
After returning to the Philippines, Joaquín joined the Philippines
Free Press, starting as a proofreader. Soon he attracted notice for
his poems, stories and plays, as well as his journalism under the
pen name Quijano de Manila. His journalism was both
intellectual and provocative, an unknown genre in the
Philippines at that time, and he raised the level of reportage in
the country.
Joaquín represented the Philippines at the International
PEN Congress in Tokyo in 1957, and was appointed as a member
of the Motion Pictures commission under presidents Diosdado
Macapagal and Ferdinand E. Marcos.
After being honored as National Artist, Joaquin used his position
to work for intellectual freedom in society.
Summary
The Tatarin, or otherwise known as the Tadtarin, was a three day festival that celebrated a ritual of fertility. This
was done only by women. Many men frowned upon the extravagant dances and plays surrounding the ritual.
"Summer Solstice" is set during the three days of the St. John’s festival. Lupeng, a Filipino woman who feels closed
to her womanhood, is married to Paeng, who is no doubt loyal to her. They have three small boys and live a
somewhat wealthy life as they have a carriage driver named Entoy and a maid and cook named Amada.

Guido is a cousin of Paeng’s who comes back to the Philippines after studying in Europe. The story starts when
the family is enjoying the days of the St. John’s festival until Guido makes suggestive comments to Lupeng, and even
bending down to kiss her feet. This makes her leave abruptly and have a discussion with her husband the coming
night.

Lupeng secretly found herself intrigued by the attention of Guido; she felt that he was correct in saying that
women should be ravished and men should adore them. This causes her to participate in the last night of the
festival, which is the Tatarin ritual. Paeng goes with her and tries to drag her back once the dancing begun, but she
runs from him to the women. He tries to take her back but the women in the crowds beat him out, leaving him
helpless. As the two return home, Paeng says he must whip his wife because he loves her and feels that she needs
to be put in her place. To this, she shouts and says she wants to be adored, not respected and orders him to kiss her
feet.
Characters
➢Donya Lupeng Moreta- long-married woman
with three children
➢Don Paeng Moreta- the highly moral husband
of Donya Lupeng
➢Guido- young cousin to the Moretas who
studied in Spain
➢Amada- the family cook and Entoy's wife
➢Entoy- the family driver
Settings
The story takes place in the 1850s, women
were repressed and felt shut in. Lupeng may
seem to be happy in her routine life, but she
also feels angry. You can notice this when she
states to the children “Hush, hush I implore
you! Now look: your father has a headache,
and so have I. So be quiet this instant — or no
one goes to Grandfather.”
Conflict
The stereotypes of masculinity and feminine traits run
rampant in the story. Women are supposed to look after
their husbands and children while the husbands work
and wait for their supper. Not only is this seen in the
story but in daily life as well, which makes the story
shocking to readers since it is about women wanting to
be free. Lupeng shatters the concept of the suppressed
woman when she gains control of her husband, who
kisses her feet at the end of story. This makes it seem as
though the internal conflict was that women are the
ones who want to be the rulers of men, as seen in the
Tatarin festival.
Plot
• The Summer Solstice is a short story written by Nick Joaquin. The book tells the story of a ritual
performed by women to call upon the gods to grant fertility. The ritual they perform is to dance
around a century-old Balete tree. The ritual was known as Tatarin and lasted for three days during
the summer months. 
The last day of Tatarin is the same day as St John's Day. The story is set on St John's Day in the 1850s
in the Philippines. Entoy tells Donña Lupeng that Amada has participated in the ritual. While they are
onboard a carriage, Donña Lupeng talks about why Amada still believes in the ritual. The carriage
comes to a halt and everyone watches a procession taking place. Dona Lupeng mocks the arrogance
of the men taking part in the procession. When they arrive at a house Doña Lupeng discovers
that Guido, Don Paeng's cousin, had taken part in both the procession they have just witnessed and in
the Tatarin ritual. 
Guido lifted Doña Lupeng's skirt whilst she was looking for her children. Doña Lupeng then tells Don
Paeng about the incident and tells him that Guido had even kissed her feet. Don Paeng is disgusted
that the woman has been shown adoration, as he feels that love and respect are more befitting. Doña
Lupeng and Don Paeng go to witness the ritual and Dona Lupeng joins in with the ceremony.Once
home, Doña Lupeng makes Don Paeng tell her that he adores her. He submits by kissing her feet. 
The Summer Solstice was classed as controversial because of the mix of Pagan ritual and Christian
rites of passage.
Theme
Main Theme: St. John’s and Tatarin Festivals – The
St. John’s festival is about men and their fertility,
which seems quite vulgar to Lupeng and makes her
start to realize how she wishes women could be
seen in the same way. The Tatarin festival is the
exact opposite, showing women as leaders of
fertility since they carry children. This festival is the
last trigger to make Lupeng feel as though she is
stronger than a man and deserves adoration.
Symbolism
Amada – When Lupeng rushes to find her cook, Amada,
she sees her in a compromising position on the bed
which makes Lupeng blush and feel restrained about her
own sexuality..
Guido’s Speech – When Paeng’s cousin Guido returns
from Europe, he tells Lupeng of his travels. He also says
“I remember that you are a woman, yes. A beautiful
woman. And why not? Did you turn into some dreadful
monster when you married? Did you stop being a
woman? Did you stop being beautiful? Then why should
my eyes not tell you what you are — just because you
are married?”
Analysis (Queer Theory)
Nick Joaquin's "Tatarin," (Summer Solstice) is a disruptively provocative
story that challenges our "normal" conventions of sexuality---it blurs the
line that separate what we deem as "man" and "woman" in the face of
our conservative society. By looking at how Joaquin portrayed the likes of
Paeng and Guido, we can clearly infer that while they are both
biologically men, the "roles" they played "taunts" the very common
notion of man's superiority (Paeng) and rationality (Guido). On the other
hand, there is no doubt that his representation of Doña Lupeng is in itself
an act of rebellion against the society's traditional perception of women
as weak and submissive beings. In general, Nick Joaquin's story is an
enduring reminder to us all that there is no "clear distinction" that
separates a man from a woman as far as socially expected roles are
concerned. Hence, both sexes can "perform interchangeable if not
variable roles" that destabilizes our understanding of sexuality. This does
not however changes the fact that regardless of the role every man or
woman plays, it is up to us still to decide the extent of respect we can
attribute to either of them based on how each one chooses to articulate
his/her preferred sexuality.