Abstract
The paper relates that homosexual relationships have existed since the beginning of time, however, acceptance of such relationships in the modern era has not been so forthcoming, as was the welcoming atmosphere in ancient Greece. The paper then discusses how lesbianism appeared to be a somewhat accepted practice until Victorian social mores began to infiltrate political and societal beliefs and lesbians were considered deranged, deviant, and even insane in some cases. The paper reveals that although many famous women throughout history have been suspected of engaging in lesbian relationships, it was not until the 1950s that the "butch-femme" relationship actually made lesbians visible as an autonomous erotic force.

From the Paper
"Homosexual relationships have existed since the beginning of time, however, acceptance of such relationships in the modern era has not been so forthcoming, as was the welcoming atmosphere in ancient Greece. Lesbianism appeared to be a somewhat accepted practice until Victorian social mores began to infiltrate political and societal beliefs."

Tags:butch, femme, lesbian

Abstract
The paper discusses a passage from Feinberg's "Stone Butch Blues" and talks about the specific gender issues that come up from and within the specific passage. Mostly, the apper addresses how society repressed the "other" and how the protagonist is made to conform to the psychosexual values of our society at large.

From the Paper
""They cuffed my hands so tight behind my back I almost cried out. Then the cop unzipped his pants real slow, with a smirk on his face, and ordered me down on my knees. First I thought to myself, I can't! Then I said outloud to myself and to you and to him, "I won't!" I never told you this before, but something changed inside of me in that moment. I learned the difference between what I can't do and what I refuse to do." An Excerpt from Leslie Feinberg's Stone Butch Blues, pg. 10 This passage from Leslie Feinberg's Stone Butch Blues is a good- albeit..."

Tags:gender, politics, stone butch blues

Abstract
This essay examines how the Western genre in films is being redefined in recent times and goes on to explain the cultural significance of such an evolution. The paper examines "Butch Cassidy and the Sundance Kid" and "Dances With Wolves" and explains why these films should be considered as Western despite their significant departures from convention. The paper then subjects these films to a detailed comparative study in the context of the evolving Western genre.

From the Paper
"Butch Cassidy and the Sundance Kid was released in 1969 and went on to become the highest grossing film of that year. To all outward appearances it belongs to the western genre, except that the tone and rhythm are at complete odds with what is expected of this genre. Instead of a taut and grim drama in which the rugged qualities of the western hero are celebrated, we have a light-hearted romp through the familiar western plains. Here the ready verbal quip of the hero is more important that his gritty survival skills. It is indeed a comedy which verges on being a parody of the genre, and therefore almost disqualifies itself from being classed as western altogether. However, George Roy Hill's film must still be considered a western because it is manifestly about the American past."

Tags:differentiation, cowboy, Hollywood, frontier, nature, wilderness, outlaw

Abstract
The paper describes several acts Kernan participated in and witnessed during his years aboard carriers and Avenger aircraft during WWII. The paper looks at Kernan's discussion in his work, "Crossing the Line" of the Battle of Midway and the failed torpedo bomber attacks. The paper then describes the sinking of the USS Hornet and Kernan's spontaneous courage and commitment to a shipmate. Finally, the paper addresses how Kernan attempted to save Butch O'Hare's life just before O'Hare was shot down.

Outline:
Courage at Midway
Death of the USS Hornet
The Heroism and Loss of Butch O'Hare

From the Paper
"Kernan witnessed the death of Butch O'Hare, the Medal of Honor winner, after whom O'Hare International Airport in Chicago, is named. As a matter of fact, it was Kernan, flying as the rear gunner in the Avenger aircraft, who attempted to save O'Hare's life just before he was shot down.
"Both were patrolling along with another Hellcat to protect the U.S. carriers at sea when low-flying Japanese torpedo bombers, called Betty's, attacked at night. The Hellcats chased them off, but as they turned back toward the carriers, Kernan, in the Avenger, noticed an unknown aircraft slip in behind O'Hare's Hellcat.
"Kernan fired. But the Japanese aircraft fired first, right down into the cockpit of O'Hare's aircraft. His Hellcat descended "gently" as it was later described and Kernan saw a grayish splash in the ocean below.
"At first it was thought that perhaps Kernan had mistakenly shot this war hero down by accident. But it was later determined that he had not, and Kernan, for his efforts to save O'Hare, was awarded the Navy Cross.
""It greatly relieved the guilt that I carried about the possibility that I had hit the group commander (O'Hare) while firing at the Japanese intruder" (Kernan, 2007, p. xvi)."

Tags:Battle of Midway, USS Hornet, Butch O'Hare

Abstract
This paper examines the reasons for Hollywood's unfavorable portrayals of women in film, looking at three films as examples of the evolution of women in film--"Butch Cassidy and the Sundance Kid", "Thelma and Louise", and "Silence of the Lambs". The paper traces the evolution of women's roles through the three films, culminating with the role of Clarice in "Silence of the Lambs", which is comparable to a male hero's role in similar movies.

From the Paper
"The images of women in films reflect Hollywood's preoccupation with and fear of women as well as that of American society at large. Hollywood has portrayed women in the prescribed roles that it felt comfortable seeing them in, but has always maintained a veneer of the artificial that constrained women from expressing their real selves on the screen. From the femme fatale role depicted by Marlene Dietrich in which woman was mysterious and profound, never to be understood completely, to the bimbo played..."

Tags:women, film, movie, Hollywood, Butch Cassidy and the Sundance Kid, Thelma and Louise, Silence of the Lambs

Abstract
The paper discusses how people in our society are wont to take great pleasure in the reassuring notion that we live in a free country, however, recent academic publications give cause to consider whether in fact we are free at all. The paper discusses Vered Amit-Talai's research-based article "Waltz of Sociability: Intimacy, Dislocation, and Friendship in a Quebec High School" that paints a bleak picture of adolescents whose lives are entirely circumscribed by adult's preconceptions, and who are ultimately coerced into an understanding of intimacy as a prelude to loss. Moving to the adult realm, the paper looks at how Tom Delph-Janiurek in "Sounding Gender(ed): Vocal Performances in English University Teaching Spaces" suggests that we do not even choose our voices - that female and male voice patterns and tones are a response to socialization. The paper addresses the fascinating terrain of gender as controlled not by biology, but by a more subtle (but equally irresistible) force, that is, social expectations and conditioning. The paper explains that all of this begs the question of whether it is possible to escape socializing forces and create one's own personality and expression. In this respect, the paper then considers Cheshire Calhoun's discussion of butch and femme lesbianism in her article "Separating Lesbian Theory from Feminist Theory."

From the Paper
"People in our society are wont to take great pleasure in the reassuring notion that we live in a free country. However, recent academic publications give cause to consider whether in fact we are free at all. For example, Vered Amit-Talai's research-based article "Waltz of Sociability: Intimacy, Dislocation, and Friendship in a Quebec High School" paints a bleak picture of adolescents whose lives are entirely circumscribed by adult's preconceptions, and who are ultimately coerced into an understanding of intimacy as a prelude to loss. Moving to the adult realm, Tom Delph-Janiurek in "Sounding Gender(ed): Vocal...""

Tags:freedom, calhoun, society

Abstract
In this article, the writer notes that to some members of the modern audience, the film 'Pulp Fiction' represents the worst aspects of modern culture and that the critical acclaim it received for its unabashed embrace of violence has led to an increasing amount of violence in films, up to and including the modern horror porn. The writer points out that others argue that the violence in 'Pulp Fiction', while disturbingly real, absolutely excessive, and not representative of daily life, serves a very important purpose. The writer maintains that rather than detracting from the plot, the violence in 'Pulp Fiction' is an essential part of the plot; without which, the movie simply would not exist. The writer concludes that by humanizing the character Marcellus, Tarantino makes a cogent argument for the fact that, as a society, Americans have dehumanized and marginalized a huge segment of people, simply because of their criminal behavior, and that this dehumanization is morally wrong.

From the Paper
"Like the other characters in the story, Butch's livelihood depends on violence. However, while Butch's life may have been violent, which is a prerequisite for a professional fighter, the film makes it clear that Butch has not previously been engaged in the type of criminal activity as the story's other leading characters. Therefore, when the audience is introduced to Butch, they see a washed-up has been who is willing to take a dive for money, but who is not entirely comfortable with having made that decision. What the audience does not know is that Butch has not actually decided to throw the fight, but is actually making his own plans to score big on the fight and escape with the money. Somehow knowing that Butch intends to cheat Marcellus, a crime boss, makes Butch seem virtuous in comparison. In addition, there is something underneath Butch's complacent and dopey exterior, and Tarantino uses violence to show the real Butch, who is actually a proud man with a lot of honor, even if his views of what is honorable do not coincide with society's views."

Tags:Butch, criminal, honor, brutal

Abstract
This paper is an examination of why the very words that have been used to make gays and lesbians feel inferior became so critical to their liberation. The author discusses how slang's purpose is to question and to subvert the notion of gender.

From the Paper
"One of perhaps the most fundamental linguistic shifts in the last thirty years or so since Stonewall has been the questioning and rendering as unacceptable of certain derogatory terms for gays and lesbians in "polite society." Words such as "queer" and "dyke" and "butch" as terms of abuse are no longer considered appropriate for educated people to say. So post-modern etiquette would have it. Yet almost as quickly as these terms became unacceptable to use as expressions of hatred and abuse, gays and lesbians began to reconfigure the use of these terms within their own communities."

Tags:butch, gay, lesbian, dyke, homosexual, slang, term, social, etiquette, men, women, gender, femme