#i actually have some new thoughts about ljubim te and in my head i started plotting out the au please jack zimmermann character study fic

[forabeatofadrum]

What’s poppin’ LGBTs! Happy “we should totally stab Caesar day!” to all who celebrate, but most importantly happy 12 year anniversary to Kurt and Blaine 😌.

Back due to popular demand (jk?): more thesis talk! As promised, I discussed with my thesis supervisor whether or not I can share my thesis and the answer is yes! I, of course, didn’t mention to her that I am currently sharing my thesis through snippets on my fanfiction Tumblr blog, but alas, wat niet weet wat niet deert. But once I have the finished version (hopefully end June, for pride month, how appropriate!) I can send it to people if I want to. It will still be in Dutch but again ask me in 4 months what to do for my international audience (so weird to say about a thesis).

But yeah to celebrate the news 🥳, have some more of the thesis, aka my WIP for the next couple of months. On Sunday we talked about possible reasons why there are more queer men than women in media (I also added a third reason: Bury Your Gays). I described how heteroflexibility complicates what constitutes as queer representation, since women who have relations with other women aren’t always portrayed as queer, but there’s also a flip side to this:

In Russo's (2014) article on queer female fandom, a distinction is also made between subtext and maintext. The subtext consists of homoerotic elements and the discourse surrounding it. Maintext is the explicit queer representation. The boundary between subtext and main text is not always clear (Russo, 2014). Queer female fandom consists largely of queer women and these queer interpretations stem from a combination of personal and political wishes (Russo, 2014, 2017). This makes the questions surrounding the representation of queer women more complex. Heteroflexibility ensures that not all women who enter into relationships with other women are queer (Annati & Ramsey, 2022; DeCeuninck & Dhoest, 2016; Diamond, 2005; Jackson & Gilbertson, 2009), but on the other hand, queer subtext ensures that that “straight” women are perceived as queer and sometimes fans are more enthusiastic about those characters than explicit representation (Ng & Russo, 2017). Often these "straight" women are also seen as queer representation (McNicholas Smith, 2020a). This shows that queer representation is more complex than previously thought. 

(Dutch under the cut, together with the tags, for the few Dutchies who might prefer to read it in Dutch, since academics can be a bitch.)

Yes, this is technically about Faberry. Literally every paper on this phenomenon I’ve read mentions Faberry and a ship from Xena: Warrior Princess. It’s an interesting thing, because is a character like Quinn Fabray queer? (Fun fact, she also falls underneath the whole heteroflexibility mess after I Do.) I mean, I once had to write a paper on representation in Glee and it hurt me to call her straight (@blurglesmurfklaine remember the “Quinn is straight. Fans disagreed.” line?), but on the other hand it is questionable when straight characters sometimes get more love and recognition than actual on-screen canon representation. I also love pissing off straight people by claiming that Zuko is gay, but Korra is right there, amirite? I didn’t want to add too much text here in this post, but I did give a historical reasoning behind this phenomenon. This is just another interesting thing in a list of interesting things.

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