Archive for the ‘Sexuality’ Category

“…ser futbolista gay, esa combinación prohibida en la Argentina”

Cristian Pare, capitán y goleador de la SAFG

Loana Viera escribe:

Cristian es capitán y goleador de la SAFG, un equipo argentino de fútbol que viene de consagrarse campeón del mundo en un torneo disputado en Miami por tercera vez en 10 años. Es, además, un tipo como cualquier otro: tiene su trabajo de enfermero, su pareja y una vida agitada que por estos días, ante el interés de los medios por conocer su historia, debe organizar mucho más detenidamente para cumplir con los requerimientos. Hasta aquí, todo bien, nada demasiado llamativo. Cristian es homosexual e integra el seleccionado argentino de fútbol gay (SAFG). Y ahora: ¿todo bien?

No. En Argentina no hay un lugar natural para la homosexualidad, mucho menos en el fútbol. En rigor de la verdad, esta variación de la sexualidad, como lo es la heterosexualidad o la bisexualidad, existen en todos los niveles del deporte pero no su aceptación. De hecho no hay un solo caso de un futbolista argentino en actividad abiertamente declarado gay pero no porque no los haya sino porque en el fútbol argentino está prohibido serlo. ¿Por qué? Simplemente porque pese a los esfuerzos de un país que presume de su modernidad, tiene en su inconsciente colectivo un concepto de la vida arcaico y, fundamentalmente, segregacionista.

“…el carácter celoso y posesivo que manifiesta el deseo del varón”: Luciano Lutereau

Luciano Lutereau entrevistado por Yamila Musa:

¿Cuáles son los cimientos que sustentan los estereotipos del género masculino?

El estereotipo de lo masculino se piensa justamente a través de esto que decía de la relación de la puesta a prueba de la potencia. En última instancia implica, por un lado, el heroísmo como cierto componente idealizado en relación a lo amoroso. Esto arma de alguna manera la idea de lo masculino como algo que requiere siempre un cierto tipo de trabajo, esfuerzo, competencia.

Fundamentalmente habría dos elementos en este estereotipo. Por un lado la competencia, ser hombre implica haber atravesado la competencia con otros hombres, a donde no salir de alguna manera victorioso en esa competencia lo feminiza. Es algo que se ve entre los jóvenes cuando sobretodo se plantean proezas del estilo: “a que no te animas a hacer tal cosa”. La prueba como tal no tiene mucho valor sino que lo que se juega ahí es la masculinidad, el atreverse a hacerlo. Hoy en día los jóvenes hacen cualquier tontería y a veces el riesgo adolescente tiene que ver con eso, con una forma de atravesar esa competencia.

Por otro lado, en lo amoroso, con el carácter celoso y posesivo que manifiesta el deseo del varón, la consolidación de su masculinidad implica atravesar un deseo posesivo con respecto al otro. Son dos ideas que Freud siempre indicó como propias del análisis de un varón. Un varón atraviesa un psicoanálisis en la medida en que logra desposeerse de ese deseo posesivo, deja de ser alguien que ama solamente desde un punto de vista celoso.

Was Hemingway Gay? There’s More to His Story

1923 passport photo of Ernest Hemingway


For some years now and in several recent biographies, evidence has been gathering that Ernest Hemingway was not, after all, the avatar of monolithic masculinity that he was once so universally assumed to be.

Now in “Hemingway’s Genders: Rereading the Hemingway Text” — a surprisingly succinct and jargon-free essay despite its deconstructionist subtitle — Nancy R. Comley and Robert Scholes explore more deeply how Hemingway really dealt with issues of sexual identity in both his published and unpublished writing. By “gender” the authors say they mean “a system of sexual differentiation that is partly biological and partly cultural” and that extends to “sexual practice as well.”

Taking Hemingway’s masculine code name, Papa, as a starting point, Ms. Comley and Mr. Scholes — who teach at Queens College, City University of New York, and Brown University, respectively — make the witty if somewhat pedantic point that the repeated morpheme “pa” has other meanings significant to Hemingway’s art.

In ancient Greek, it is an expression of pain, “pi alpha,” being the cry of the wounded Philoctetes in Sophocles’ play, “Philoctetes.” In Mozart’s “Magic Flute” it is a song of boastful fecundity, with “Pa-pa-pa-pa-pa-pa” being part of a duet sung by Papageno and his mate, Papagena, about their future procreative activities. And in the comic opera “Der Rosenkavalier,” by Richard Strauss and Hugo von Hofmannsthal, it is an accusation of false paternity, “Papa! Papa! Papa!,” being the words uttered by a group of children falsely accusing Baron Ochs of having fathered them out of wedlock.

Following what the authors admit are “these extravagant lures,” they find in Hemingway’s works “clues to the anguish and uncertainty concealed beneath the blunt facade of Papa Hemingway.” One of the many things these clues add up to, in the authors’ view, is that for Hemingway the challenge was to grow up without becoming his own father, Clarence, and thereby running afoul of his emasculating mother, Grace Hall.

But this did not trap him in a hatred of his mother, as Kenneth Lynn has suggested in his 1987 biography, “Hemingway.” Hemingway resists reductive interpretation, Ms. Comley and Mr. Scholes insist. His esthetic problem was always to elaborate the limited images of women that growing up in his mother’s culture left him with, or to free himself from “the Mummy’s curse,” as the authors also put it.

This he did most significantly by taking the “rich bitch” of stories like “The Short Happy Life of Francis Macomber” and “The Snows of Kilimanjaro” and further masculinizing them into a character like Catherine Bourne in the posthumously published novel “The Garden of Eden.” Here, in an exploration of transsexuality far more overt in the original manuscript than in the sanitized Scribner’s version — which, the authors say, “does its author a serious disservice” — Hemingway “has positioned his surrogate, David Bourne, in an intolerable double bind: the source of his creativity lies in what for him is the forbidden territory of the feminine.”

This bind, the authors suggest, agitated Hemingway throughout his creative career and accounts for the dreamlike quality of his late fiction, in which his characters almost literally cross over into a world that is socially unacceptable. His transsexuals never found a milieu to inhabit similar to the world of his bullfighters, which for Hemingway, the authors demonstrate with great acuteness, is a world of “male figures complicated by femaleness.”

But just in case such divisions seem overschematized, the authors add that “putting things this way is too simple, of course, if only because Hemingway himself seems to have seen lesbianism and male homosexuality not only as cases in which individuals may be said to combine both genders but also as cases that may be thought of as involving an excess of one gender’s attributes, as in the case of the pathetically phallic bullfighter” in an unpublished story the authors describe, “who has no luck with women and is reduced to exposing himself to other men in bars and challenging them to fight him.”

Are Ms. Comley and Mr. Scholes trying to prove that Hemingway was unconsciously homosexual, as a crude reading of “Hemingway’s Genders” might lead a reader to suspect? “No,” the authors respond after posing the question themselves. “If anything, we have been trying to show that such a question is too simple. . . . What we have been trying to show is that Hemingway was much more interested in these matters than has usually been supposed, and much more sensitive and complex in his consideration of them.”

The results are richly rewarding. Whatever else the authors accomplish, they force one to see new subtleties in stories read dozens of times before, particularly the layers of meaning that Hemingway can pack into a simple metaphor or even a single word, or the way, as the authors put it, “the Hemingway Text often extends beyond the words on the page and requires the active participation of a reader who is not afraid to extrapolate from hints.” And what provocative conclusions the authors extrapolate in their own active participation!

Even if they don’t leave you with a handy thesis with which to pry open Hemingway’s works, they certainly convince you of their belief that their subject “remains an interesting writer because it is possible to read him in more than one way.” And you applaud them when they conclude their fascinating argument by declaring: “The Hemingway you were taught about in high school is dead. Viva el nuevo Hemingway.”

Turkey LGBT: Police stifle Istanbul Gay Pride rally

Authorities in Istanbul had banned the rally for a third successive year

Police in the Turkish city of Istanbul have thwarted attempts by organisers to hold a banned Gay Pride march.

The organisers of the annual event had vowed to press ahead despite the ban by the authorities, who had cited threats from far-right groups.

But police briefly fired rubber bullets to disperse the marchers and detained a number of them.

Homosexuality is not illegal in Turkey – unlike in many Muslim nations – but homophobia remains widespread.

President Recep Tayyip Erdogan, whose ruling AK Party is rooted in conservative Islam, has denied wanting to impose traditional religious values, saying he is committed to secularism. But he supports Turks’ right to express their religion more openly.

He has been accused of growing authoritarianism in recent years.

Alejandro Rozitchner recomienda “El erotismo” de George Bataille

Alejandro Rozitchner recomienda la lectura del libro El erotismo, de George Bataille.