Abstract In lesbian, gay, bisexual, transgender, and queer (LGBTQ) spaces, gay male practices, sexualities, and priorities often dominate. I argue that in mixed-gender LGBTQ festival spaces in the South, gay aesthetics are normative, which often minimizes the contributions of lesbian, bisexual, and queer (LBQ) women. I compare two festival events run by the LGBTQ community—Cornyation, a mock debutante pageant that is part of Fiesta in San Antonio, Texas, and Osiris Ball, a formal Carnival ball during Mardi Gras in Mobile, Alabama. This research is based on participant observation data collected at both events over several years and 38 interviews conducted with event participants. I argue that at these events, gay aesthetic power is exerted through the expectation that LBQ women should master these aesthetics, a dynamic that often relies on gay men as arbiters of successful mastery. These processes were more dramatic in organizations and spaces where men were a numerical majority. This marginalization fits within a pattern of androcentric bias in both the arts and the workplace.

中文翻译：

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“你超越了同性恋”：LGBTQ空间中的同性恋审美力量和女同性恋，双性恋和同志女性

摘要在女同性恋，男同性恋，双性恋，变性者和同性恋者（LGBTQ）空间中，男同性恋行为，性行为和优先事项经常占主导地位。我认为，在南方的LGBTQ混合性别节日空间中，同性恋美学是规范性的，这通常使女同性恋，双性恋和同性恋（LBQ）妇女的贡献最小化。我比较了LGBTQ社区举办的两个节日活动：Cornyation，这是德克萨斯州圣安东尼奥市嘉年华的模拟初次登台比赛的选美比赛，以及Osiris Ball，这是阿拉巴马州莫比尔在狂欢节期间的正式狂欢节舞会。这项研究基于几年来在两次活动中收集的参与者观察数据以及对事件参与者进行的38次访谈。我认为，在这些事件中，同性恋的审美力量是通过期望LBQ妇女应该掌握这些美学来发挥的，这种动态往往依赖于男同性恋者作为成功掌握的仲裁者。在男性占多数的组织和空间中，这些过程更具戏剧性。在艺术和工作场所，这种边缘化都符合雄性偏见的模式。