These traces are found in the language of the text as well as in the interactions between the characters and the setting of the story. This question determines the direction of the entire project and the methods used for its purpose. The main difference between the two positions is determined by the functioning of Western and non-Western culture and the way they interact.
Some of the misconceptions that were widespread within the colonial attitudes towards the nature of. The discussion of the West/non-Western dichotomy highlights the challenges of situating this project within the wider literature. I knew about the existence of these online resources before starting this project because of my personal belonging to the foreign community of Kazakhstan.
I have been a part of this special layer of the local queer community since my teenage years. Spivak deals with notions of Western subjectivity and the role of the subaltern in a world defined by the Western male (Morris 2010). All the speech attributed to the subaltern by Western academia or the media is nothing more than a replacement for the subaltern speech.
A deeper discussion of the role that shame plays in the construction of queer identities and cultures in Kazakhstan and Central Asia also deserves consideration.
Online spaces and anti-visibility
Whispers” is moderated by group administrators, has minimal control over content topics. Within the reality show concept, nothing escapes the watchful eye of the viewer. In other words, instrumental reason uses objects and other human beings as means to the ends of the rational actor, which in this case is the culture industry.
The bourgeois values of order and reason in the form of the culture industry limit the freedoms of lay consumers (Horkheimer, Adorno and Noeri 2002). This duality in the author's self-identification is caused by the nature of the space in which his stories are published. I will argue that the blog Blue Book exists outside the mainstream media space, whose character is dictated by the dialectic of the culture industry.
In this essay, Adorno examines the use of the term mass culture to describe the culture industry, and the confusion such use can cause. In this chapter, however, I will argue that the author's activities on his blog, which are a response to the culture industry and a re-imagining of it within a heterotopic sphere of the blog, are radically political. The language of the Blue Book stories will be discussed in depth in the next chapter, where I will analyze the blog's short story “Renaissance.”
In other words, the value of fan fiction lies in the total obliteration of meaning, or rather of the meaning currently created by the culture industry. The anonymous accounts of the Blue Book or Whispers readers also act as a mediator between the users and the queer underground of the local social media. In other words, the creation and use of anonymous accounts is directly linked to the construction of partial visibility of users' identities.
In other words, Whispers participants have created a community within a community that mirrors many institutions in the mainstream. In other words, participants in Whispers and Blue Book create a hyperreality by poaching elements of the reality forced upon them. Although he noted that this was his impression five years before the time of the interview.
The discourse of the "closet" as a space of confinement for queer individuals takes a central role in the discussion of queer rights. In other words, Arsen has convinced himself that he does not belong in the discourse that is being developed on Blue Book, and that his closet is separate from the closet of the author.
Into the heterotopias
At the same time, I switch from the plane of "reality of living people" to. Applied to the story from the Blue Book, this Deleuzian understanding of being will aid in the deconstruction of the queer self—the ultimate goal of this entire project. The in-betweenness of the protagonist's position and the hybridity of his Self are communicated throughout the story in various ways.
Both names convey the foreignness and difference of the place. This association of the homosexual with the other is also present in the history of the post-Soviet regions. In Renaissance, the author repeatedly alludes to the uniqueness of hotel architecture throughout the story.
The disconnection between hotel time and historical time is just one example of this process. Since, as we have already established, time and space in the narrative are inextricably linked, a similar thing happens with the space of the story. He stands in the middle of the street in the rain and enjoys the smell.
Instead, he firmly establishes himself within the space/time of the hotel and tells his story. The role of the environment as the new strange space for the protagonist is of crucial importance in the story. The hotel and the secrets it contains become the main driving force of the protagonist's sexual coming of age.
This unity established in the opening chapters of the story sets the stage for the conflict to come. In the above paragraphs, it has been shown how the rhizomatic connections between the hotel as space/time and the protagonist's body created the "I" of the protagonist as a queer character. Consequently, the narrative becomes a signifier of the Self that is created within the story.
In the same way, the protagonist's Subject in the Renaissance, implied by the narrative, immediately becomes a signifier of the meanings to come. Thus, we come full circle in the construction of the elusive unity (which must also be hidden) between space, time and the body of the protagonist.
