There has been little research conducted in general that explores the impact of sexualized violence on lesbian, gay, bisexual, trans, and queer (LGBTQ) youth. There is even more limited qualitative research, and almost none of it from a therapeutic perspective. This led me to engage with the fictionalized stories of LGBTQ youth characters who have survived sexualized violence to learn how these stories might inform the work of helping professionals. This thesis provides a reflexive thematic analysis of three novels written by queer authors. Through the lens of response-based therapy, intersectional feminism, and queer theory, it considers the ways in which the characters are impacted by their experiences with sexualized violence and their responses to it. Findings indicate that the characters were affected by childhood sexual abuse at a time in their lives when their sexual identities were on the cusp of being formed. Their experiences with sexualized violence impacted the ways that the characters learned to live with contradictions; experienced ambivalence in the relationships with the adults who caused them harm; and engaged in small acts of resistance against the impact of sexualized violence in their lives to create futures in which they could thrive. The characters’ experiences with casual sex and sex work are shown as an act of resistance against violence. This research aims to queer the discourses on LGBTQ youth who have experienced sexualized violence, expose the small acts of resistance that they perform against the impacts of sexualized violence, and transform the ways that child and youth care workers, therapists, social workers, and other helpers understand the resilience and experiences of LGBTQ survivors. / Graduate

As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche.