The article proposes a re-examination of the role and position of the so-called “Disney villains” within the narrative framework of animated films and popular culture as a whole. In the first part, the historical evolution in the representation of these villains will be explored according to the practice of “queer coding,” which involves attributing stereotypically queer traits to them without explicitly stating their gender and sexual identity. It will be observed how their non-conforming gender and sexuality, used to mark their moral deviance, challenge and defy dominant gender and narrative norms. It is precisely through their queer performance and camp aesthetic that “evil stepmothers,” “sissy-villains,” and “drag-queen-like” sea witches can emancipate themselves from their traditional roles as antagonists (narrative level) and as social outcasts (discursive level) to seize the spotlight through the screen (manifest surface). This study combines tools of Greimasian text analysis, including the canonical narrative schema and the generative trajectory of meaning, with Lotman’s theory and notion of “semiosphere,” to investigate the centrality and criticality of these “quillains” within the heteronormative narrative framework and the broader cultural context. To capture (or being captured by) the queer aspect of these characters and their stories, the invitation is to look at their visage not as a coded symbol of an underlying identity and truth, but as an image that exceeds any defined meaning thanks to its iconic power.

中文翻译：

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超越异性恋叙事：迪士尼恶棍的表演和出现

文章提出在动画电影和整个流行文化的叙事框架内重新审视所谓“迪士尼反派”的角色和地位。在第一部分中，我们将根据“酷儿编码”的实践来探讨这些恶棍形象的历史演变，其中包括将刻板印象中的酷儿特征归因于他们，而不明确说明他们的性别和性身份。我们将观察他们的不合规性别和性取向如何被用来标记他们的道德偏差，挑战和反抗主导性别和叙事规范。正是通过她们的酷儿表演和营地审美，“邪恶继母”、“娘娘腔恶棍”和“变装皇后”海女巫才能将自己从传统的对手（叙事层面）和社会弃儿的角色中解放出来（话语层面）通过屏幕（显性表面）抓住聚光灯。本研究将格雷马斯文本分析的工具（包括规范叙事图式和意义生成轨迹）与洛特曼的理论和“符号圈”概念相结合，以调查这些“奎林”在异性恋规范叙事框架和更广泛的范围内的中心性和关键性。文化背景。为了捕捉（或被捕捉到）这些角色及其故事的酷儿方面，我们邀请您看看他们的面貌不是作为潜在身份和真理的编码符号，而是作为由于其标志性力量而超越任何定义含义的图像。