LGQ Lenses

The critical lens readings for this week were awesome! I was especially engaged in the reading on Lesbian, Gay, and Queer criticism, which I find to be one of the most interesting chapters so far in this book. It made me question my own internal biases and opinions regarding what constitutes being gay or lesbian and how generalized these terms have become in our society. Our perceptions of these definitions are relative depending on who you are, where you come from and what you believe in, and this is why I think this could be a very useful lens in a high school classroom, where chances are that not every kid is going to hold the exact same beliefs and not all of them are going have the exact same upbringing. Thus, I can see a very diverse classroom environment, with rich discussions about these issues. However, I also think this lens could be very controversial with high school students, many of whom may be very ignorant about these issues, but nonetheless, I think the advantages far outweigh the disadvantages. Since we are preparing students for a diverse world, they should have the opportunity to explore diversity thought texts and lenses in ELA classrooms.


While reading this chapter, I was especially shocked by the fact that lesbian and feminist theories are often at odds. This was a surprise to me, as I initially aligned them to be similar is not identical. However, this is not the case, despite the fact that there are some similarities among them. Further, Tyson talks about how the term homosexual wasn’t even a part of Anglo-Saxon culture until the 19th century, and I can see a clear connection with using LGQ criticism, along with a cultural or historical lens to examine the emergence of the idea of homosexuality. Further, in college, I remember having a conversation in an American Lit class about Nick Caraway possibly being a homosexual. However, we only explored this issue in relation to one scene in the book, so it was refreshing to read Tyson’s take on his character and the novel as a whole.




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