Deviant Character Quotes

With so many willing, complex women in the world, he had little respect for men who fixated on girlishness. Innocence was, by definition, an absence of experience—character—knowledge. To desire that absence seemed rather deviant.

Institutional psychiatry in particular was an instrument of oppression to control troublesome or morally deviant characters, whom he called “parasites.

And there was a wonderful thing that tended to happen, something that felt like poetic justice: every time someone started shouting about the supposed monopoly of the Circle, or the Circle’s unfair monetization of the personal data of its users, or some other paranoid and demonstrably false claim, soon enough it was revealed that that person was a criminal or deviant of the highest order. One was connected to a terror network in Iran. One was a buyer of child porn. Every time, it seemed, they would end up on the news, footage of investigators leaving their homes with computers, on which any number of unspeakable searches had been executed and where reams of illegal and inappropriate materials were stored. And it made sense. Who but a fringe character would try to impede the unimpeachable improvement of the world?

As I've often observed and remarked: the most gifted screenwriters can concoct believable monsters, deviants, heroes, regular-joes, atheists, agnostics, all sorts of characters. But the believable depiction of a full-orbed Christian character is simply beyond them. Evidently they have never known (much less understood nor liked) even one credible, practicing, Biblically-faithful Christian. It's the one color missing from their palate — as starved for ideas as they are.

Aristotle tells us that the high-pitched voice of the female is one evidence of her evil disposition, for creatures who are brave or just (like lions, bulls, roosters and the human male) have large deep voices…. High vocal pitch goes together with talkativeness to characterize a person who is deviant from or deficient in the masculine ideal of self-control. Women, catamites, eunuchs and androgynes fall into this category. Their sounds are bad to hear and make men uncomfortable…. Putting a door on the female mouth has been an important project of patriarchal culture from antiquity to the present day. Its chief tactic is an ideological association of female sound with monstrosity, disorder and death…. Woman is that creature who puts the inside on the outside. By projections and leakages of all kinds—somatic, vocal, emotional, sexual—females expose or expend what should be kept in…. [As Plutarch comments,] “…she should as modestly guard against exposing her voice to outsiders as she would guard against stripping off her clothes. For in her voice as she is blabbering away can be read her emotions, her character and her physical condition.”… Every sound we make is a bit of autobiography. It has a totally private interior yet its trajectory is public. A piece of inside projected to the outside. The censorship of such projections is a task of patriarchal culture that (as we have seen) divides humanity into two species: those who can censor themselves and those who cannot…. It is an axiom of ancient Greek and Roman medical theory and anatomical discussion that a woman has two mouths. The orifice through which vocal activity takes place and the orifice through which sexual activity takes place are both denoted by the wordstoma in Greek (os in Latin) with the addition of adverbs ano and kato to differentiate upper mouth from lower mouth. Both the vocal and the genital mouth are connected to the body by the neck (auchen in Greek, cervix in Latin). Both mouths provide access to a hollow cavity which is guarded by lips that are best kept closed.

I'd been so tired of 'strong female characters' for so long by then. I was so tired of the way female strength was made to look cold and humorless; the way it was characterized as deviant and 'unnatural' and always lonely and exceptional. I was tired of the grim undertone of tragedy that lurked under its surface. 'Strong female characters' were never funny, and they never had any fun, either. More often than not, they were celibate, friendless, and clinically depressed. Their monomaniacal devotion to crime fighting made them lean, cranky, and impatient. Naturally, they had axes to grind: they were avenging brides, poker-faced assassins, gloomy ninjas with commitment issues. Who were these characters? What were they trying to tell us? Why didn't they ever say goodbye before hanging up the phone? And why were they always being reborn or remade as killing machines after losing everything they held dear? ...I don't want to see another symbolic woman start all over again. I want to see the symbolic world change to acknowledge her existence. I don't want to see a young girl get a makeover or go shopping with her boyfriend's credit card. I want to watch her blow up the Death Star - metaphorically, of course.

when other characters mistake Sam and Dean for a couple, this is not just a crude attempt at homophobic humor. It also reflects that many Americans are not used to observing intimacy in people unless they're romantic partners. We joke about "bromances", because we struggle with the idea that men -- emotionally stoic and self-sufficient creatures -- can engage in tender and intimate relations with one another, especially if they are straight. Even if we think we're okay with the idea of men having sex with other men, we still may have to impulse to laugh at two men being caring and intimate friends. This tention comes out when the angel Zachariah yells in a fit of frustration that Sam and Dean are "psychotically, irrationally, erotically codependent on each other." Their intimacy and personal devotion to one another seems so deviant that it looks live a mental illness (or sexual tension) to Zacharaiah. Stacey Goguen, "Masculinity and Supernatural Love