ABSTRACT
Bangla bhasha has always excelled in representing the LGBTQ+ community in its literary, visual and fine arts. The queer gaze in the representation did internalize the arts beyond its surrealism and transformed the objectification into subjectifying the queer identity in Bangla. Whether in literature or in films, or in queer fine arts, all creative artists have interchangeably used the LGBTQ+ icons, symbols or sub-cultures to create an ambience of acceptance of not only memories, feelings, impressions, perceptions and names; but also formulate a meta-narrative of recognition, reconstruction, and renegotiation of queerness that exists in West Bengal. Queering the heteronormative patriarchal mainstream creative art of all forms has always been the main intention of representation, but beyond such representation, queer performativity of inclusion, prototyping personagraphy of the queer people in the socio-cultural structure are also subjectified. This chapter tries to probe into such cartographies of representations of expressions and experiences that question not only the heterosexual conformism, but also criticizes the inclusivity and unified subjectivity of all members of the community within the queer rubric through examination of literary/cinematic/artistic texts available in Bangla, in the context of consuming cultures through post-individual, post-body and post-class of the Bengali society.
