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Mueller, Mark A. "Understanding gay cultures." Diss., Columbia, Mo. : University of Missouri-Columbia, 2004. http://hdl.handle.net/10355/4100.
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Thesis (M.F.A) University of Missouri-Columbia, 2004.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (June 30, 2006) Vita. Includes bibliographical references.
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Heiford, Dana. "Me, myself and I an artist exploration of notions of identity : this exegesis [thesis] is submitted to Auckland University of Technology in partial fulfilment of the degree of Master of Arts (Art and Design), February 2002." Full thesis. Abstract, 2002.
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Cheung, Yuk-ting, and 張旭廷. "The glocal queer in Singaporean gay writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46701114.
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Woods, Christopher Huia. "Masqueulinities [sic] an [sic] MA thesis by practice /." Click here to access this resource online, 2007. http://repositoryaut.lconz.ac.nz/theses/1368/.
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Bond, Richard P. "Sexual Orientation and the Advanced Placement Art History Survey." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc700015/.
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This two-part study included a content analysis of an AP art history text and a survey together with interviews with AP art history teachers that embraced both quantitative and qualitative research methodologies. The first phase of the study examined one of the more popular art history survey texts in the AP art history program, Gardner’s Art through the Ages, in terms of how inclusive it is in addressing issues of sexual orientation and, particularly, same-sex perspectives. In addition, the text was examined for evidence of sexual orientation ignored – particularly same-sex perspectives ignored and for heteronormative hegemonies. The second phase investigated the understandings and opinions of AP art history teachers toward the inclusion of sexual orientation and same-sex perspectives in their curriculums and classrooms. Recent recognition of gay, lesbian, and same-sex perspectives in the study of art history has challenged art educators and art historians to begin to consider opening up their curriculums and writings to include these perspectives. These ignored perspectives produce important understandings that enrich and deepen the discourse of art history. The inclusion of gay and lesbian content and same-sex perspectives to the study of AP art history, not only effectively serves the needs of AP art history teachers, but it provides a more equitable and comprehensive visual arts education to students. The implications of this study are broad and complex. If students are to be well and comprehensively educated in the history of the visual arts, including discussions about the sexual orientation of gay and lesbian artists as well as artworks depicting same-sex perspectives is important. Similarly, their teachers must be well-informed and believe that including such material in the curriculum is important. There is definitely a need for designing more balanced and equitable AP art history programs that include gay and lesbian artists as well as same-sex perspectives. From a multicultural art education perspective, this study reveals that gays and lesbians are marginalized in a major AP art history survey text. It illuminates how an AP art history survey text and AP art history teachers’ attitudes and knowledge base on same-sex perspectives inform their curriculums, specifically concerning what’s important to teach in an AP art history classroom. If approved AP art history survey texts as well as the influential annual AP College Board art history exam included issues of sexual orientation, particularly same-sex perspectives, it would encourage more AP art history teachers to include gay and lesbian artists and same-sex perspectives in their curriculums.
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Honeychurch, Kenn Gardner. "Inside out/outside in, sexual diversity : a comparative case study of two post-secondary visual art students." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0030/NQ27164.pdf.
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Makhubu, Nomusa. "The "other" Africans : re-examining representations of sexuality in the work of Nicholas Hlobo and Zanele Muholi." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1713/.
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Pottmeyer, Ollie W. "Illustrations from the CD collection of Ollie W. Pottmeyer." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=1952.
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Thesis (M.F.A.)--West Virginia University, 2001.Title from document title page. Document formatted into pages; contains iii, 17, [19] p. : col. ill. Includes abstract. Includes bibliographical references (p. 17).
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Giffen, Rebecca Lubarsky Romm. "The effects of art education on low-income youth, youth of color and queer youth." Online pdf file accessible through the World Wide Web, 2009. http://archives.evergreen.edu/masterstheses/Accession89-10MIT/Giffen_RMITthesis2009.pdf.
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Gray, Sally Suzette Clelland School of Art History & Theory UNSW. "There's always more: the art of David McDiarmid." Awarded by:University of New South Wales. School of Art History and Theory, 2006. http://handle.unsw.edu.au/1959.4/32495.
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This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.
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Hurlstone, Nigel. "The relationship between installation art practice and the presentation of history with particular reference to the Nazi oppression of homosexuality 1933-1945." Thesis, Manchester Metropolitan University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324143.
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Boulvain, Thibault. "L' art en sida : les représentations de la séropositivité et du sida dans l'art américain et européen, 1981-1997." Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H040.
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Jusqu'en art, la crise du sida est un tournant majeur de l'histoire contemporaine. Cette étude couvre la période allant de ses origines à la révolution thérapeutique (trithérapies) de la fin des années 1990, et s'intéresse à son impact sur les artistes américains et européens et leurs œuvres. Ceux-ci, sur la question, ont trop rarement été regardés ensemble, et pourtant: de Cindy Sherman à Derek Jarman, de Niki de Saint Phalle à Jeff Kaons, de Gilbert & George à Jenny Holzer, de Michel Journiac à David Wojnarowicz, on repère le même saisissement dans les représentations, qui ne pouvaient alors plus être les mêmes, et pour cause. Y est en effet passé tout ce qui travaillait profondément les sociétés occidentales au temps de l'épidémie, et d'abord le pire d'elles-mêmes qui se défoulait dans un espace social considérablement abîmé par la crise épidémique. Les images s'en souviennent, comme des forces de résistance qui lui furent opposées, et de la volonté intraitable de n'y rien céder, de sortir par tous les moyens d'une situation bloquée. Structuré en quatre parties ("l''esprit de catastrophe" ; "Les corps de la maladie" ; "Violence exaspérée" ; "L'esprit de communauté"), qui correspondent chacune à une entrée dans l'époque et dans la crise du sida, à une hypothèse les concernant, L'art en sida ... envisage la possibilité d'écrire une histoire de la maladie à partir des très nombreuses représentations qui la firent autant qu'elles ont été provoquées par elleThe AIDS crisis was a major turning point of contemporary history. This work, which begins with the start of the epidemic and ends with the medicinal revolution that was triple therapy, at the end of the 1990's, focuses on the impact of AIDS on - and in the works - of American and European artists. These artists have rarely been considered together through the lens of the virus, and yet Cindy Sherman, Derek Jarman, Niki de Saint Phalle, Jeff Kaons, Gilbert & George, Jenny Holzer, Michel Journiac and David Wojnarowicz - they are ail seized by same need to represent this crisis, at a time when no representation could truly be unaffected. In these works of arts, the undercurrents of western societies - starting with the bleakest - could be made current. These images could act as a memorial, like an emblem of resistance to that which would oppose them, and as beacon of indomitable will to never give up, and to try and find a way out of a deadlock. Centred on four main parts (« The Spirit of Catastrophe» ; « Bodies of Sickness »; « Frustrated Violence » ; « Community Spirit »), which each correspond to a window into the aids crisis, four proposals are put forward in order to comprehend the artistic output of the period. Art in AIDS puts forward the possibility that the works produced at the time of the disease are as much an integral part of the history of the disease than they are a consequence of it
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Enarsson, Stina. "Upplysa, upphetsa, uppmana eller utmana : Vad var syftet med Abdullah Buharis homoerotiska miniatyrmålningar?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97307.
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This essay is primarily focusing on finding the purpose of Abdullah Buhari’s homoerotic miniature paintings. We may never know for sure the sole purpose and know what Buhari’s intentions was when creating these paintings. By creating categories focusing on homoerotic artwork I have tried to answer that question. To be able to create these categories and to further use them as a tool to analyse and discuss Buhari’s artwork, I have analysed and discussed other homoerotic art from different genres and eras and looked for significant characteristics and elements in these work of art that can be connected to each respective category. To support these characteristics and these different categories I have refered to existing research and literature. Although Buhari is mostly known for his artwork portraying women, I chose his homoerotic art as my main focus. Mainly because I was positively surprised when I first saw them and also because I found the lack of references to these homoerotic art rather puzzling. How come one primarily focus on Buharis portrayal of women and heterosexual relations when talking of him and not those portraying manly relations? Since my main focus in this essay, was to analyse art portraying sexual relations between men, and because there are significantly more sources and studies regarding same sex relationship between men I have chosen not to include work portraying woman and lesbian relationships, although a female perspective will be present to some degree since I identify as female myself.
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Delille, Damien. "Le troisième genre : androgynie et trouble de la masculinité dans les arts visuels en France au passage du XXe siècle." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010584.
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Cette thèse entend analyser la figure de l’androgyne du mouvement symboliste à l’avant-garde abstraite. La relecture de la modernité au passage du XXe siècle en France permet de comprendre de quelle manière le symbolisme a exploré le trouble de la sexualité dans un contexte sociopolitique de crise de la masculinité. L’étude visuelle et anthropologique des normes sexuelles révèle une angoisse de l’entre-deux androgyne, associée aux théories psychopathologiques de l’homosexualité. Cette thèse démontre de quelle manière l’androgynie correspond à ce que nous intitulons « le troisième genre » artistique, défini par le rejet des assignations de genre et par de nouveaux modèles de représentation et d’intersubjectivité, issus de l’immersion du féminin dans le masculin. Dans la première partie, l’étude des sources néo-classiques et spirituelles de l’androgyne révèle la recherche d’un idéal politique et artistique permettant la régénération de l’unité des sexes. La deuxième partie envisage la résurgence de cet idéal dans les pratiques symbolistes fin-de-siècle, à travers différents modèles androgynes comme la figure de l’ange, celles d’Orphée et du troisième sexe primitif. Face au trouble des identités sexuelles, la réception de l’idéalisme est analysée à partir de la rhétorique de la dégénérescence associant androgynie, efféminement du masculin et homosexualité. La quatrième partie examine la poursuite de l’idéal androgyne dans les sources de l’abstraction. Le troisième genre abstrait alimente l’utopie avant-gardiste d’un art qui s’auto-génère, dépourvu de caractère sexué et créé par un artiste moderne, célibataire et androgyneThis thesis aims to analyze the figure of androgyny from the movements of Symbolism to the abstract avant-garde. This reinterpretation of modernity at the turn of the 20th century in France allows an understanding of how Symbolism explored the trouble of sexuality within a social and political context entrenched by the crisis of masculinity. The visual and anthropological study of sexual norms reveals a fear of the androgynous in-between associated with psychopathological theories of homosexuality. This thesis demonstrates how androgyny is tied to what I call the artistic “third gender,” defined by the refusal of gender assignation and new models of representation and intersubjectivity, following the feminine immersion within the masculine. In the first part, the study of the Neoclassical and spiritual sources of androgyny demonstrates the search for the political and artistic ideal, allowing for the regeneration of the unity of sex. The second part reveals the resurgence of this ideal in the fin-de-siècle Symbolist's practices through different androgynous models such as the figure of the angel, the ones of Orpheus and the primitive third sex. Toward the trouble of sexual identities, the reception of idealism is analyzed through the rhetoric of degeneration associating androgyny, masculine effeminacy and homosexuality. The last part examines the pursuit of the androgynous ideal in the sources of abstraction. The abstract third sex nourishes the avant-gardist utopia of an art that is self-perpetuating, devoid of sexual characteristic and led by a modern artist, single and androgynous
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Fichera, Giorgio. "Caravage queer : l'histoire de l'art face aux sexualités." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0170.
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Le topos de l’homosexualité chez Caravage et celui de l’homoérotisme associé à sa première production picturale posent des questions à l’histoire de l’art. Ce travail contribue à la critique de l’épistémologie hétéro-patriarcale encore largement naturalisée dans les études de l’image pour les époques anciennes. Pour ce faire, il a fallu un retour aux catégories historiques et anthropologiques déployées pour déterminer des sexualités non conformes, problématisant en particulier l’héritage binarisé homo-hétéro du XIXe siècle. En opposition aux spéculations biographiques et à l’application littérale de la psychanalyse, ce travail met à profit un anachronisme queer, moins normatif et plus affectif, en continuité avec une histoire de l’art faite au présent. L’analyse du corpus homoérotique caravagesque et sa mise en perspective dans une tradition figurative élargie permet de voir le travail de l’image qui défait le genre et questionne le sujet-regardant. Elle permet de montrer comment l’articulation historiographique identité-acte travaille la représentation (de peinture) plus qu’elle ne la détermine, et comment l’autonomie du visuel trouble la présence, le poids et la structuration du régime discursif – aussi bien l’ancien que celui de l’historiographie actuelleThe topos of homosexuality and homoerotism that is associated with Caravaggio’s initial paintings poses a number of questions for Art History. My research contributes to the critique of the hetero-patriarchal epistemology that remains widely naturalised in the study of images from ages past. To elaborate this critique, I have returned to historical and anthropological categories in order to determine the evolution of non-conforming sexualities, notably problematising the binary heritage “homo-hetero” of the 19th century in contemporary texts on Caravaggio. In opposition to biographical speculation and the literal application of psychoanalytic theory to Caravaggio’s life and painting, my work draws on the anachronism of queer theory, which is less normative and more affective, in line with a current elaboration of art history. The analysis of Caravaggio’s homoerotic corpus and its insertion into a wider tradition of figurative art allows us to see how the work of the image undoes categories (both that of art history and those pertaining to gender) to question the subject who is looking. It further shows how the historiographic articulation of act and identity works through the representation (in painting) more than it determines it, and how this autonomy of the visual troubles the presence, structure and weight of the discursive regime–as much in past as in contemporary historiographies
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Skoting, Joel. "Bilder av Sjömän : En studie om queera uttryck och maskulinitet." Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-78143.
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In this essay I will study three different paintings by the Swedish artists Lars Lerin and Gösta Adrian Nilsson (also known as GAN). All of these pieces incorporate sailors as part of their motives. The aim of the study is to analyse how these pieces differ in how they convey homoerotic themes. Both of these artists refer to their sexuality through their artistry, the sailor being a common motive between the two. I will also examine how the sailor relate to different ideas of masculinity. To do this I will use methods from both the iconologic and semiotic schools of art analysis, before comparing the different pieces, presenting my interpretations of them. The result of this study shows that these artists use varying methods to present their sexual identity. The motives of GAN are more subtle than those of Lars Lerin, relying on symbolic interpration rather than men posing suggestivily. This is not suprising, as homosexuality was still illegal during GANs life. The artists also portray masculinity in different ways.
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Devon, Donesse Noly. "Legends the nexus between drag and identity : this exegesis [thesis] is submitted to the Auckland University of Technology in partial fulfilment of the degree of Masters of Art and Design, 2003." Full thesis. Abstract, 2003.
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Thomazeau, Romain. "Du sida aux cendres : entre guerre culturelles et guerre biologique : représenter (dans) la crise du sida." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01H310/document.
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La crise du sida n'est pas derrière nous, même si l'incendie semble éteint, les cendres elles, restent. Premièrement, parce que l'épidémie n'est nullement endiguée, mais aussi parce que nous continuons d'être hantés par les représentations, les discours, les constructions et les significations que cette pandémie transporte avec elle. Le sida est un phénomène complexe, tenter de le comprendre, c'est faire face en premier lieu à des séries de mots, d'images médiatiquement puissantes qui supplantent d'autres réalités. Pour parvenir à percer cette pandémie, il faut pouvoir en étudier tous les aspects, et parmi ces facettes, l'art a joué un rôle prépondérant dans la crise du sida, notamment parce qu'il a été particulièrement utilisé pour signifier une partie de ces autres réalités cachées. Dans ce travail de recherche, quatre axes se sont dessinés qui parcourent un large spectre des questions posées par le sida et ses représentations, autant, que les enjeux d'expositions, de médiatisation, de discursivité ou encore de significations que cette épidémie contemporaine sans précédent a mis en exergue. Le sida a révélé de nombreux problèmes dans nos sociétés occidentales, sans pour autant qu'ils soient aujourd'hui circonscrits. L'art a joué un rôle majeur dans la prise de conscience durant ces trente-cinq dernières années, en produisant des images et des contres-images. L'art a permis de contre-représenter une réalité qui de par nos sociétés de pouvoirs nous était tue, il a donné une voix à ce qui reste toujours une épidémie silencieuse et stigmatisante. Représenter (dans) la crise du sida a donc été et est toujours un combat, si ce n'est une forme de guerre culturelleThe AIDS crisis is not behind us, even if the fire seems to be extinguished, the ashes remain. First, because the epidemic is by no means contained, but also because we continue to be haunted by the representations, discourses, constructions and meanings that this pandemic carries with it. AIDS is a complex phenomenon, trying to understand it, is the deal first with a series of words, images that are media-intensive, which supplant other realities. To achieve to break this pandemic, we must be able to study ail aspects, among these facets, art has played a leading role in the AIDS crisis, especially because it has been particularly used to signify those other hidden realities. ln this research, four axes have emerged that cover a broad spectrum of questions posed by AIDS and its representations, as much as the stakes of exhibitions, media coverage, discursivity or meanings that this unprecedented contemporary epidemic has highlighted. AIDS revealed many problems in our Western societies, without, however, being circumscribed by now. Art has played a major role in raising awareness over the past thirty-five years by making images and counters-images. Art has allowed to counter-represent a realité which through our societies of power, was silent to us, it gave a voice to what always remains a silent and stigmatizing epidemic. Representing (in) the AIDS crisis has therefore been and still is a struggle, if not a form of cultural war
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Narauskaitė, Gintarė. "Subversyvus queer teorijos žvilgsnis: homoseksualaus vyriškumo reprezentacija Gintaro Varno spektakliuose." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130613_162218-22294.
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Lietuvos teatre įsivyravęs hegemoninis heteroseksualus vyriškumas dominuoja didžiojoje dalyje Lietuvos spektaklių. Tuo tarpu homoseksualūs vyrai reprezentuojami sporadiškai, dažnai jiems suteikiamos neigiamos konotacijos, jie tampa parodijiniais spektaklio elementais. Tačiau jau galima prabilti ir apie kitoniškus gėjų vaizdinius Lietuvos teatre, kadangi homoseksualaus vyriškumo tematiką vis aktyviau plėtoja režisierius Gintaras Varnas. Nepaisant ryškėjančio dėmesio netradiciniam vyriškumui Lietuvos scenoje, moksliniame teatrologiniame diskurse ši tema nėra aktyviai analizuojama. Taigi šiame darbe siekiama ne tik atkreipti dėmesį į gėjų reprezentaciją Lietuvos scenoje, bet homoseksualaus vyriškumo vaizdinius ir problematiką išanalizuoti pasitelkiant reikšmingą, XX a. JAV suklestėjusią queer teoriją. Darbe pristatomos queer teorijos susiformavimo aplinkybės ir įtakos, išryškinamos svarbiausios queer teorijos tezės. Tačiau svarbiausias dėmesys skiriamas subversyviam queer teorijos žvilgsniui, kuris įveiksmina heteronormatyvumo dekonstrukciją per šeimos, santuokos institucijų transformacijas heteronormatyvumo sistemoje. Parodoma kokią destabilizuojančią ir asimiliacinę galią formuoja heteroseksualumo simbolių mimikrija. Queer teorija, kvestionuodama heteronormatyvumo konvencionalumą, taip pat atskleidžia kokia stereotipizuojanti galia įveiksminama gėjų bendruomenėse. Pasitelkiant šias teorines subversyvumo tendencijas, analizuojami keturi režisieriaus Gintaro Varno spektakliai... [toliau žr. visą tekstą]A hegemonic heterosexual manhood is dominant in most of the Lithuanian theatre plays. Meanwhile, the homosexual relationships between men are represented in a sporadic manner and often get negative connotation, as well as, become an element of parody. However, today it is possible to start analysing different images of gays since the theme of homosexual males is being developed intensively by a director Gintaras Varnas. Despite the increasing attention towards the untraditional manhood in the Lithuanian theatre, this subject is not actively analysed in a scientific theatrological discourse. Therefore, this research tries to emphasize the representation of gays in the Lithuanian plays and in order to analyse the homosexual male images and problems it is useful to use the queer theory, which bloomed in the 20th century in the USA. The factors of the development and the origin of the queer theory and the most important theses are presented in this research. Nevertheless, the focus is placed to the subversive aspect of the queer theory, which enables the deconstruction of heteronormativity through the transformations of family and marriage in the system of heteronormativity. The research shows destabilizing and assimilative power, which forms the mimicry of the heterosexual symbols. The queer theory questions the conventionality of heteronormativity and reveals, which stereotypical power is applied in the gay communities. Four plays by Gintaras Varnas (‘Publika’, 1997, ‘Tolima... [to full text]
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Holford, Stephen Charles John. "Cocteau in London: the Lady Chapel, Notre-Dame de France." Thesis, The University of Sydney, 2014. http://hdl.handle.net/2123/12327.
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The murals created by Jean Cocteau, for the walls of the Lady Chapel in London’s Notre-Dame de France (1959-60), are the only works of their kind outside of France. The visual art of Cocteau – better known for his poetic and filmic achievements – has suffered long-standing scholarly neglect. This dissertation seeks to redress this gap and to further our understanding of this renowned twentieth-century French multi-media artist. This study of Cocteau’s London murals demonstrates that they are informed by earlier artistic tradition, with which he was deeply engaged, as well as his own poetic and filmic œuvre; crucially also, by his own experience as a gay male in the mid twentieth-century. Despite the original and idiosyncratic beauty of this cycle, the paintings are amongst Cocteau’s least known. It is distinguished from the artist’s other religious projects; not only the smallest, but the London commission was the only one undertaken in his lifetime overseen and controlled by ecclesiastical authorities. Cocteau depicts three significant moments from the life of the Virgin: the Annunciation, Crucifixion, and Assumption. Cocteau’s murals are dissimilar to any other sacred art of the period, notably that of post-war Art sacré. What is revealed is Cocteau’s innovative method of re-imagining these canonical subjects, which he does in a manner that is both surprising and yet highly respectful of the Marist Order. A detailed case study, this thesis traces the progress of the commission, reconstructs Cocteau’s creative process as revealed in extant sketches, journals and other archival materials, and analyses the artist’s distinctive renditions of canonical religious subjects. In chapter 1, the historical context, the church itself and the commissioning order is examined. Cocteau’s original envisaged scheme is reconstructed and analysed in chapter 2. Chapters 3 to 8 examine in detail each of the three murals as they appear today.
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Grove, Jennifer Ellen. "The collection and reception of sexual antiquities in the late nineteenth and early twentieth century." Thesis, University of Exeter, 2013. http://hdl.handle.net/10871/15064.
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Sexually themed objects from ancient Greece and Rome have been present in debates about our relationship with the past and with sexuality since they were first brought to modern attention in large numbers in the Enlightenment period. However, modern engagement with this type of material has very often been characterised as problematic. This thesis pushes beyond the story of reactionary censorship of ancient depictions of sex to demonstrate how these images were meaningfully engaged with across intellectual life in late nineteenth- and early twentieth-century Britain and America. It makes a significant and timely contribution to our existing knowledge of a key historical period for the development of the modern understanding of sexuality and cultural representations of it, and the central role that antiquity played in negotiating this fundamental aspect of modernity. Crucially, this work demonstrates how sexual antiquities functioned as symbols of pre-Christian sexual, social and political mores, with which to think through, and to challenge, contemporary cultural constructions around sexuality, religion, gender roles and the development of culture itself. It presents evidence of the widespread and prolific acquisition of sexually themed artefacts throughout private and institutional collecting culture. This deliberate seeking out of ancient images of sex is shown to have been motivated by debates on the universal human connection between sex and religion, as part of wider constructions of notions such as ‘culture’ and ‘primitivism’, with Classical material maintaining a central position in these ideas, despite research into increasingly diverse cultures, past and present. The purposeful engagement with sexual imagery from antiquity is also revealed as having acted as a valuable new source of knowledge about ancient sexual life between men which gave new impetus to the negotiation, defence, celebration and promotion of homoerotic desire in contemporary turn of the twentieth century, Western society.
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Cepitelli, Thomas. "L'interprétation par les publics des rôles de l'homosexuel masculin dans le théâtre en France au XXème siècle." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30022.
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Résumé en français Le personnage homosexuel masculin dans le théâtre en France au cours du XXème siècle a singulièrement évolué. Nous analyserons d’une part, les typologies de ce personnage, à travers huit pièces. D’autre part, pour chacune d’entre elles, nous verrons comment la presse et les publics ont interprété ces personnages. Nous verrons comment, au delà de la forme théâtrale, c’est tout un discours sur les homosexuels qui est donné à voir et qui vient par là interroger les rapports entre le théâtre et la société. Dans la première partie de notre présente étude nous avons présenté le personnage homosexuel dans trois pièces, de facture différente, mais qui donnent toutes les trois à voir une figure de solitaire : Le Monsieur aux Chrysanthèmes, Armory, Un Taciturne de Roger Martin du Gard er Adam de Marcel Achard.. Il est solitaire car emmuré dans une tradition qui le condamne pour son désir alors même qu’il est resté inassouvi. L’homosexualité serait donc la marque d’un esprit faible, qui ne sait pas taire ses penchants et ne s’y employant pas suffisamment bien, se suicide.La deuxième partie de notre travail s’est penchée sur le personnage homosexuel présenté comme source de comique. Il s’agira le plus souvent de montrer que le rire qu’il suscite est une autre forme de condamnation par la société. Il s’agit alors d’un mode mineur, moins violent apparemment, mais tout aussi significatif d’un regard porté par la société sur les homosexuels. Cette partie est centrée sur les pièces d’Edouard Bourdet, La Fleur des Pois, d’André Roussin, Les Œufs de l’Autruche et enfin de Jean Poiret, La Cage aux folles. Le personnage homosexuel fait rire car il est incapable de se conformer à ce que la société, implicitement, attend de lui. Un homme doit, naturellement aimer les femmes, être viril, masculin, maîtriser ses sentiments et ses émotions, ne pas pleurer. Dans notre dernière partie, apparaîtra, pour la première fois, une réappropriation qui va se faire par les homosexuels eux mêmes et, de ce fait, ouvrir la voie à d’autres artistes qui ne parleront pas à la place des homosexuels. Au contraire, naîtront des formes qui seront revendiquées comme étant écrites par des homosexuels. C’est le cas avec les deux dernières pièces que nous avons réunies dans notre corpus : Angels in America de Tony Kushner et Le Pays Lointain de Jean-Luc Lagarce. Elles évoquent, de manière plus directe pour la première, l’épidémie de SIDA dans les années 1980 et 1990 au sein de la communauté homosexuelleIn the XXth century, in French theatre, the gay male character has remarkably changed. We will analyse on one hand the character typologies across eight plays. One the other hand, for each of the plays we will see how the public and the press interpreted these characters. We will see, above the theatrical form, how it finally is a speech on homosexual that is given and that comes and asks the links that are between theatre and society.In the first part of our study we introduced, the gay male character in three plays, with different styles but the three of them will give a solitary figure : Le Monsieur aux Chrysanthèmes of Armory, Un taciturne of Roger Martin and Adam of Marcel Achard. It is a solitary character because it is walled in a tradition that condemns it for its own desire where it is already unfulfilled. Homosexuality will then be seen as the mark of a weak spirit, that can not shut its inclinations and when it’s too obvious the character will commit suicide.The second part of our work underlines gay male character seen as a comic part. The point will show how the character generates laughter, and so, it does prove society condemnation. It is a minor mode indeed, apparently less violent, but it just shows how society sees homosexuals, in an other way . This part will be focused on 3 plays : La Fleur des Pois of Edouard Bourdet,, Les Oeufs de l’Autruche of André Roussi and La Cage aux folles of Jean Poiret. The homosexual character does make laugh because it is unable to conform to what society really expects from him. A man has to love a woman, be manly, masculine, he has to master his feelings and not cry.In our last part will appear for the first time, an acquisition of homosexual signs. Thanks to that other artists will not talk instead of homosexuals. On the contrary, some forms will be born and they will be claimed as written by homosexuals. It is the case in the last two plays we gathered in our corpus: Angels in America of Tony Kushner and Le Pays Lointain of Jean-Luc Lagarce. They both talk, in a more direct way, of the AIDS epidemic in the 80’s and 90’s among the homosexual community
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Lima, Rodolfo Pereira de 1976. "O homoerotismo na dramaturgia nacional : um olhar obsceno para a dramaturgia de Newton Moreno." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270476.
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Orientador: Carolina Cantarino RodriguesDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-27T16:59:38Z (GMT). No. of bitstreams: 1 Lima_RodolfoPereirade_M.pdf: 13333600 bytes, checksum: 6f14916c85f45c014392f1802fab932e (MD5) Previous issue date: 2015
Resumo: A dissertação propõe uma intersecção entre teatro e homossexualidade a partir da produção dramatúrgica do autor Newton Moreno, produzida no começo do século XXI. Peças em que homossexuais masculinos e travestis tiveram suas idiossincrasias reverenciadas através de esquetes permeados por (des)amor, violência e preconceito. A dissertação apresenta-se em ensaios interdependentes, apoiados nos textos de Theodor W. Adorno e Jorge Larossa que arejam o conceito de ensaio, bem como os conceitos de obsceno e pornográfico, defendidos respectivamente por Eliane Robert Moraes e Susan Sontag. Não esquecendo de autores como Michel Foucault, José Antônio Marina, Wilton Garcia, Denilson Lopes e Gilles Deleuze, entre outros, para fomentar a discussão em torno desse suposto "teatro gay". A relação teatro/gay não é comum no meio acadêmico. Por isso, o intuito de que parte da memória teatral gay não se perca com o tempo
Abstract: The dissertation proposes an intersection between theater and homosexuality from the theatrical production of the author Newton Moreno, produced in the early twenty-first century. Texts on homosexuals and transvestites which has its idiosyncrasies revered through skits permeated by disaffection, violence and prejudice. The dissertation is presented in interdependent trials supported in the writings of Theodor W. Adorno and Jorge Larossa airing the concept of study, and the concepts of obscene and pornographic, defended respectively by Eliane Robert Moraes and Susan Sontag . Not forgetting of authors like Michel Foucault, José Antonio Marina, Wilton Garcia , Denilson Lopes and Gilles Deleuze , among others, to encourage discussion around this supposed "gay theater " . The relationship theater / gay is not common in Brazilian academia. Therefore, in order that the gay theater memory is not lost with time. Keywords ¿ Newton Moreno, Gay Theatre, homoeroticism, dramaturgy
Mestrado
Divulgação Científica e Cultural
Mestre em Divulgação Científica e Cultural
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Hallin, Louise. "Kriminaliserad kärlek : En studie av HBT-personers situation och rättigheter i Uganda utifrån ett heteronormativt perspektiv." Thesis, Linnéuniversitetet, Institutionen för statsvetenskap (ST), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-34869.
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LGBT people, in Uganda, have since the colonial time been in a vulnerable situation. When the President signed the “Anti-Homosexuality Act” into law 2014 all forms of same-sex relationships became criminalized. The time after the law passed have been characterized by an increased homophobia and further violence against LGBT people. These are seen as deviants since they do not live according to the social norms, that the right thing to be is heterosexual. They are considered “non-African” and by some an “infectious agent” that will destroy the traditional African family, which is one of society’s most important functions. Except from the fact that LGBT people are persecuted and mistreated they are also denied access to health care and information. The purpose of this study is to explain LGBT persons’ situation and rights in Uganda, mainly based on the “Anti-Homosexuality Act”. This law is reviewed against the ratified conventions, charters and similar laws. This is then related to the theory of heteronormativity, which seems to dominate the Ugandan society. The used methods are case study and conceptual analysis, that provided a deeper and surveying understanding of what this study intended to process.
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Maurice, Roland. "The otherings of Miss Chief : Kent Monkman's Portrait of the artist as hunter /." Address to access a reproduction of the painting on the Kent Monkman website (viewed Feb. 14, 2010), 2007. http://kentmonkman.com/works.php?page=painting&start=38.
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Medlen, Kim Stanley. "Deliberate masquerades: socialised stigma, HIV/AIDS and altered gay male body image." Thesis, Curtin University, 2010. http://hdl.handle.net/20.500.11937/824.
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Three themes are developed in this exegesis. Firstly, it discusses the conceptual base that informs the creative outcomes of this research. This centres on homo-sexuality, disease, illness and the deliberate masquerades that are often under-taken by HIV-positive Australian homosexual males as a response to socialised stigma. Through these masquerades, they enhance the physicality of their bodies so as to conform to Western cultural perceptions of masculine and healthy body ideals and thus avoid stigma that would otherwise be placed on them. This exploration draws upon theories from sociology to discuss these physical enhancements with an emphasis on the period since the onset of HIV/AIDS in the early 1980s. Secondly, it explores the works of visual artists that comment on the HIV/AIDS pandemic prior to the mid 1990s when no effective long-term treatments were available. Thirdly, it investigates HIV/AIDS-based art produced since the mid 1990s, after long-term treatments became available, and discusses how this work contrasts with the earlier works. Also discussed are the parallels and differences between the body of work that is supported by this exegesis and these other contemporary artworks that address HIV/AIDS issues.
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Orlichová, Zuzana. "The emerging market of cosmetics for men - What are the adoption barriers?" Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-85276.
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The aim of this study is to describe adoption barriers emerging on the cosmetics for men market through market research and consumer behaviour exploration. The relationship men have with the cosmetics is not easy to understand, so the purpose of this study is to explore on what is based their relationship to cosmetics market - why some are ready to use cosmetics while other reject. Regarding market of cosmetics for men, there are the barriers that prevent in adoption of cosmetics. The thesis would reveal what influence the social decision making, and would go deeper into what influence men; and what the relationships with products, brands, services, and environment they have. The conclusion will be the interpretation of the adoption barriers on cosmetics for men market.
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Williams, Craig Arthur. "Roman homosexuality : ideologies of masculinity in classical antiquity /." New York ; Oxford : Oxford university press, 1999. http://catalogue.bnf.fr/ark:/12148/cb37557518c.
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Rocke, Michael. "Forbidden friendships : homosexuality and male culture in Renaissance Florence /." New York : Oxford University Press, 1996. http://catalogue.bnf.fr/ark:/12148/cb39224771s.
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Högberg, Jessica. "Heteronormativitet inom pedagogiska rum och representationer av homosexualitet, bisexualitet respektive transpersoner inom rörliga media : examensarbete Bild & Media." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-560.
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Mediala produktioner kan analyseras som delaktiga socialisationsagenter i individers identitetskonstruerande processer, genom att agera medaktörer i skapandet/befästandet respektive utmanandet av rådande och etablerade normer. De rollregister som erbjuds individer inom såväl mediala som pedagogiska rum, är ofta mycket stereotypa och signalerar hur vi som representanter för det ena eller det andra könet förväntas anpassas till på förhand givna och begränsande mallar. Individer som inte förmår eller önskar infogas i dessa betraktas inte sällan som normavvikelser alternativt osynliggörs till fullo. Dessas handlingsutrymmen och individuella förutsättningar till harmoniska liv riskerar därför att berövas, liksom rätten till desamma förebilder och möjligheter till identifikation som övriga samhällsmedborgare tar för givna. För att i enlighet med skolverkets direktiv uppnå ett jämlikt samhälle, inom vilket var individs människovärde kan betraktas som okränkbart, måste i pedagogiska rum rollmönster problematiseras, spektrat vidgas och människor ses som individer i första hand, snarare än man eller kvinna med föreskrivna förutsättningar och förväntade egenskaper. I detta arbete diskuteras heteronormativiteten inom såväl skola som kommersiell rörlig bild. Empiriskt underlag utgörs av litteratur- och källgranskningar, deltagande observationer i skolmiljö, samt enkätundersökningar/frågeformulär, vilka delats ut till elever och lärare vid Eriksdalsskolan och till unga vuxna som själva definierar sin identitet som hbt. Undersökningarnas resultat tyder generellt på en ökande medvetenhet kring medier som normbevarande, liksom verkande för homo- och bisexuellas rättigheter tillskrivits politisk korrekthet. Däremot speglas stundtals bristande reflektioner kring könsidentitet/könsuttryck. Didaktiska metoder finns tillhanda om bara förståelsen för vikten av denna diskussion kan uppnås. Gestaltningsarbetet (rörlig bild) utgör resultatet av visuella observationer och sammanställer ett urval av mediala representationer av homooch bisexuella respektive transpersoner, i avsikt att framhäva rollmönstrens befästanden av betraktandet av dessa som normavvikelser. Då Konstfack kan betraktas som ett pedagogiskt rum, riktas arbetet i sin helhet i hög grad till studenter och lärare vid denna institution.BI/Media
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Sonnekus, Theo. "Invisible queers investigating the 'other' Other in gay visual cultures /." Diss., Pretoria [S.n.], 2009. http://upetd.up.ac.za/thesis/available/etd-10152009-152556.
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Ross, Iain Alexander. "The New Hellenism : Oscar Wilde and ancient Greece." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:574a4841-5fb9-4b1f-bd09-6965c9ecef1c.
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I examine Wilde’s Hellenism in terms of the specific texts, editions and institutions through which he encountered ancient Greece. The late-nineteenth-century professionalisation of classical scholarship and the rise of the new science of archaeology from the 1870s onwards endangered the status of antiquity as a textual source of ideal fictions rather than a material object of positivist study. The major theme of my thesis is Wilde’s relationship with archaeology and his efforts to preserve Greece as an imaginative resource and a model for right conduct. From his childhood Wilde had accompanied his father Sir William Wilde on digs around Ireland. Sir William’s ethnological interests led him to posit a common racial origin for Celts and Greeks; thus, for Wilde, to read a Greek text was to intuit native affinity. Chapters 1–3 trace his education, his travels in Greece, his involvement with the founding of the Hellenic Society, and his defence of the archaeologically accurate stage spectaculars of the 1880s, arguing that in his close association with supporters of archaeology such as J.P. Mahaffy and George Macmillan Wilde exemplifies the new kind of Hellenist opposed by Benjamin Jowett and R.C. Jebb. Chapter 4 makes a case for Wilde’s final repudiation of archaeology and his return to the textual remains of Greek antiquity, present as an intertexual resource in his mature works. Thus I examine the role of Aristotle’s Ethics in ‘The Soul of Man Under Socialism’ and of Platonism in the critical dialogues, The Picture of Dorian Gray and ‘The Portrait of Mr W.H.’ I present The Importance of Being Earnest as a self-conscious exercise in the New Comedy of Menander, concluding that Wilde ultimately returned to the anachronistic eclecticism of the Renaissance attitude to ancient texts.
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Volckmer, Katharina Barbara Emmy. "Society and its outsiders in the novels of Jakob Wassermann." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:84e42410-5b61-4299-a2c3-f69d89b4921e.
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This thesis looks at a number of Jakob Wassermann’s novels and the ways in which society is depicted in them. Seen as a whole, Wassermann’s oeuvre can therefore be understood as an attempt to portray (mostly) German society at different historical stages. The periods in question are Biedermeier Germany, the Wilhelmine era, the years of the Great War and finally the Weimar Republic, the depiction of all of which reveal Wassermann as a fierce critic of his time. In addition to this interest in society, this thesis will examine Wassermann’s concern with various outsider figures which complement his portrayals of society. The outsider figures Wassermann seems to be mostly interested in are the Jew, the woman, the child and the homosexual man. However, Wassermann is not just interested in these outsiders on their own but also draws extensive parallels between the various forms of exclusion they experience in a society dominated by the Gentile man or, as in the case of the child, by the adult. These parallels have proven to be revelatory and have led to new insights into Wassermann’s works. The dynamic of the outsider vs. society is, however, in many ways no longer applicable to those novels written during and after the Great War. Instead Wassermann now combines his interest in the figure of the outsider with an interest in the depiction of character. At the same time character becomes a mirror not only for the society Wassermann portrays in his writing but also for the society he lived in. This makes for an altogether more complex but also more intriguing structure of his later writing. This thesis will examine how all these different elements when combined offer new ways of looking at Wassermann’s writing.
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Martin-Clark, Philip. "Art, gender and sexuality : new readings of Cernuda's later poetry /." Leeds : Maney for the Modern Humanities Research Association, 2000. http://www.gbv.de/dms/sub-hamburg/327367970.pdf.
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Dyson, Sue. "Practised ways of being : theorising lesbians, agency and health /." Access full text, 2007. http://www.lib.latrobe.edu.au/thesis/public/adt-LTU20080630.162510/index.html.
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Thesis (Ph.D.) -- La Trobe University, 2007."A thesis submitted in total fulfilment of the requirement for the degree of Doctor of Philosophy, [to the] School of Public Health, (The Australian Research Centre in Sex, health and Society), Faculty of health Science, La Trobe University, Bundoora, Victoria." Research. Includes bibliographical references (p. 244-261). Also available via the World Wide Web.
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Galvan, Michael R. "The First Days of Spring: An Analysis of the International Treatment of Homosexuality." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc794925/.
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In recent history, the rights of gay, lesbian, bisexual and transgendered (LGBT) persons have been in constant fluctuation. Many states criminalize homosexual behavior while other states legally recognize same-sex marriages and same-sex adoptions. There are also irregular patterns where LGBT interest groups form across the globe. With this research project, I begin to explain why these discrepancies in the treatment of homosexuality and the formation of LGBT interest groups occur. I develop a theory that the most obvious contrast across the globe occurs when analyzing the treatment of homosexuals in OECD member states versus non-OECD countries. OECD nations tend to see the gay community struggle for more advanced civil rights and government protections, while non-OECD states have to worry about fundamental human rights to life and liberty. I find that this specific dichotomization is what causes the irregular LGBT interest group formation pattern across the globe; non-OECD nations tend to have fewer LGBT interest groups than their OECD counterparts. When looking at why non-OECD nations and OECD nations suppress the rights of their gay citizens, I find that religion plays a critical role in the suppression of the gay community. In this analysis, I measure religion several different ways, including the institution of an official state religion as well as the levels of religiosity within a nation. Regardless of how this variable is manipulated and measured, statistical analysis continuously shows that religion’s influence is the single most significant factor in leading to a decrease in both human and civil rights for gays and lesbians across the globe. Further analysis indicates that Judaism plays the most significant role out the three major world religions in the suppression of civil rights for homosexuals in OECD nations.
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Guscio, Lelia. ""We trust ourselves and money, period" : relationships, death and homosexuality in David Leavitt's fiction /." Berne [sic] : P. Lang, 1995. http://catalogue.bnf.fr/ark:/12148/cb376315447.
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Tureau, Zachary L. "College Student Identity and Attitudes Toward Gays and Lesbians." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4286/.
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This study investigates the relationship between an individual's attitude toward gay men and lesbians and their identity development. The sample included 440 undergraduates from a university in the northeast Texas area. Many, if not all, of the factors that are associated with negative attitudes toward gays and lesbians (i.e., restrictive gender-role attitudes, high levels of authoritarianism, perceptions of negative attitudes toward homosexuals within their peer group, little or no contact with homosexuals, and conservative religious ideologies) have a logical relation to identity development. Furthermore, the various functions that attitudes toward gays and lesbians can serve (e.g., value-expression, group membership) were hypothesized to be especially attractive for persons in specific identity statuses. Thus, the case was made that identity development may be a valuable framework in which to understand attitudes toward gays and lesbians. In the current study, attitudes toward gays and lesbians were related to identity development, though the relationship is complex. When comparing persons who were higher and lower on absolutism, attitude toward gays and lesbians were most similar in achieved identity groups, while those who were foreclosed were the most disparate. In the interaction between identity, absolutism and gender role stereotyping, some groups utilized their attitude to express values more than other groups. Clinical implications as well as limitations of the study are discussed.
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Skaug, Halsos Martin. "[par] 213 i almindelig borgerlig straffelov av 1902 : homoseksualitet i Norge og rettslige sanksjoner mot den fra slutten av 1800-tallet til 1972 /." Oslo : Universitet i Oslo, 2001. http://catalogue.bnf.fr/ark:/12148/cb38852172h.
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Stearns, Susan 1965. "Making Meaning out of Difference: A Cultural Studies Analysis of the Struggle over the Meaning of Gayness in "Ellen" and Time Magazine." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc935679/.
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On April 30, 1997, for the first time in television history, an actress on a popular television sitcom announced to the world that both se and the character she played were lesbians. This study offers an interpretation of the significance of Ellen DeGeneres' coming through a cultural studies analysis of the April 14, 1997 Time magazine article in which DeGeneres comes out and the April 30, 1997 "Ellen" television episode in which DeGeneres brings her character, Ellen Morgan, out. The study revealed sites of ideological differences between the two texts that could point to a struggle over the meaning of gayness in modern American society. The results suggest that mainstream attitudes and beliefs could be in the process of shifting toward a more normalized view of homosexuality.
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Thorpe, Alan, and n/a. "Sexuality and straightjackets : issues affecting gay men in rural communities : an exploratory investigation of homosexuality in rural areas." University of Canberra. Education, 1996. http://erl.canberra.edu.au./public/adt-AUC20061109.133331.
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This is a qualitative study forming half of a coursework/thesis MA in Community
Education (HRD). It investigates some of the influences affecting gay men growing up in
rural communities. It provides material that may be useful in developing education
programs for gay men themselves, for the general community and particularly for health
educators.
The study illustrates and highlights these issues by presenting extracts and case studies
from twenty indepth interviews with rural homosexually active men. It looks at factors
affecting homosexual identity formation in rural communities and finds there are common
influences of family, religion, school and role models. It also identifies and examines other
influences of a rural nature, including concepts of masculinity, heterosexism and
homophobia, which may have a very restrictive effect on an emerging homosexual
identity.
The effects of such influences are explored, revealing common issues of isolation,
loneliness and lack of self esteem. The study reveals some of the particular difficulties
faced by young men becoming aware of and dealing with their emerging homosexuality
particularly in a rural community. Resultant behaviour is investigated and found to include
for some a fairly successful integration of homosexuality into their lives, but for others
there are common behaviours of denial, moving away from the community, or
contemplation of suicide.
The study highlights the importance of contacts with gay-identified men for support and
the need to be exposed to role models with whom gay men can identify. In this respect,
the influence on smaller communities of the mass media is found to be having an
increasing significance Unfortunately, the study also postulates that broader and positive
changes in the wider community may have served to heighten difficulties faced by rural
men if such changes are not mirrored at the local level. An awareness of increasing
acceptance and support for gay men in the wider community may be frustrating at least, if
local support has not also developed. In fact the study finds support for the assertions by
other researchers that there are links between sexuality and recent increases in rural male
youth suicide. The findings support the view that sexuality may play a significant part in
the contemplation of suicide by young gay men.
The particular value of the study is in exploring the issues through the words of the men
themselves. The extracts and case studies offer rich and varied illustrations of growing up
gay in the country.
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Aspin, S. C. (Stanley Clive), and n/a. "Trans-Tasman migration and Maori in the time of AIDS." University of Otago. Wellington School of Medicine & Health Sciences, 2000. http://adt.otago.ac.nz./public/adt-NZDU20070522.134607.
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At the dawn of the new millennium, migration has been identified as a crucial element in the ongoing HIV/AIDS epidemic yet few studies have been carried out into the specific ways in which migration is able to fuel the epidemic. Since the beginning of the epidemic in the 1980s we have witnessed increasing mobility of people throughout the world, with migration being a major factor in the ongoing transmission of HIV in particular regions of the world.
This study looks at the particular of migration that exists between New Zealand and Australia and examines the effects that this has had on a group of Maori gay men and transsexuals during the time of the HIV/AIDS epidemic. In particular, the study examines the effects that trans-Tasman migration has on identity and sexual practice and the implications that this has for HIV prevention among the Maori gay and transsexual communities of both countries.
In order to examine the relationship between trans-Tasman migration, identity and behaviour, in-depth interviews were conducted with two groups of Maori gay man and transsexuals. One group resided permanently in Sydney, Australia (n=13) and the other group had returned to live in New Zealand after having lived in Sydney for at least one year (n=11). During the interviews respondents were invited to talk about their cultural and sexual identity, their upbringing, their reasons for migrating to Sydney and their sexual practice in Sydney.
Analysis of the interviews showed that there were distinct differences in the two groups of respondents. While the Sydney gay community offered a haven for Maori migrants from New Zealand, this was sometimes at the expense of a compromised sense of cultural identity as well as exposure to racism, violence and prejudice from living in a predominantly white middle class society. In contrast, those who had returned to live in New Zealand had a stronger sense of their cultural identity than those who resided long-term in Sydney as well as ongoing access to a cultural context which reaffirmed and supported their sense of Maori identity. At the same time, those who lived in Sydney were more likely to report risk behaviour associated with the transmission of HIV than did those who lived in New Zealand.
This project concludes that Maori gay men and transsexuals who have a strong sense of their cultural identity may be at a lower risk of HIV infection than those who do not. These findings have significant implications for the design and implementation of HIV prevention programmes both in New Zealand and in Sydney. Such programmes need to acknowledge the cultural diversity of the gay community and must provide the means whereby community members, especially those from minority groups, may have ongoing access to cultural structures which support and reaffirm their sexual as well as their cultural identity.
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Hedlund, Simon. "“The Kingdom of God cannot be inherited by ἀρσενοκοῖται! (1 Cor 6:9)” : Who are they, and why is Paul condemning them?" Thesis, Uppsala universitet, Nya testamentets exegetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-254533.
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This paper will look at the interpretation and translation of ἀρσενοκοῖται (1 Cor 6:9) in the list of people who will not inherit the kingdom of God. The word is mentioned in 1 Cor 6:9-10, and it has been translated in ways going from “homosexual”, “men who lay with men” and “sodomite” to “a man who lets others use himself or who uses others for debauchery” and “pedophile”. By looking at the views on sexuality, and male same-sex sexuality in particular, pertaining the Greco-Roman society and the Jewish culture contemporary to Paul, and also paying attention to the textual context as well as the context of the congregation in Corinth, the study has its aim set on finding what the word might have denoted to the first readers in the congregation in Corinth, and to Paul. The goal, then, is not to find a translation of the word ἀρσενοκοῖται that is literal, but to find one that is as close to a dynamic equivalent as is possible. This goal will, hopefully, be attained by giving the translation to the modern reader that is the one most likely to connote the same ideas and emotional connotations as the Greek word did in its original context. As the meaning of words change with time and context, there is a need for a translation that can bridge the gap created by that shift of meaning. Building that bridge in the case of ἀρσενοκοῖται is the goal of this paper. When the meaning, or meanings, that is found most likely to have been attained by the ancient readers is found, there will be a critical evaluation of some of the modern translations (and some a bit older) of the word in 1 Cor 6:9 to see if there already exists a translation that can be said to reach the goal of dynamic equivalence, given the meaning that is found most plausible in this paper. The study will argue that that is not the case, and therefore also propose a new translation, one that is argued to be closer to dynamic equivalence than those that has been evaluated. This translation is ”Men who sexually exploit men to gain social powers”.Denna uppsats undersöker översättningen och tolkningen av ordet ἀρσενοκοῖται, det ord som avslutar 1 Kor 6:9 och är del av en lista över dem som inte kan ärva Guds rike (6:9-10). Ordet har översatts på olika sätt genom tiderna, med förslag som sträcker sig från “homosexuella”, “sodomiter”, “män som ligger med män” till “en man som låter utnyttja sig eller utnyttjar andra till osedlighet” och “pedofiler”. Genom att titta på hur sexualitet, och främst då manlig homosexualitet, sågs i den grekisk-romerska och judiska kontexten på Paulus tid, samt studera ordets litterära kontext och församlingens kontext i Korint, är målet att utröna vad ἀρσενοκοῖται bar med sig för betydelser och konnotationer för Paulus och de första mottagarna i Korint. Vad ett ord betyder är inte alltid statiskt över tid och rum utan förändras ofta, om än gradvis. Det riskerar därför att uppstå en klyfta mellan det som ordet från början innebar samt uppfattades som att det innebar, och hur det uppfattas idag. Den här uppsatsens mål är att överbrygga den klyftan för ἀρσενοκοῖται genom att ta reda på vad det grekiska ordet innebar i sin ursprungliga kontext och sedan ge en översättning som på bästa möjliga sätt ger en modern läsare konnotationer som i högsta möjliga grad stämmer överens med de konnotationer som de antika läsarna fick när de mötte ordet. Detta innebär alltså att målet inte är att ge en bokstavlig översättning av ἀρσενοκοῖται, utan en dynamisk ekvivalent översättning, där läsaren så långt det är möjligt får möjligheten att uppfatta det de första läsarna uppfattade. När den, eller de, meningar det är mest troligt att ordet bar med sig i sin ursprungliga kontext är konstaterade, kommer en kritisk utvärdering utifrån den slutsatsen göras av ett antal moderna översättningar (och några lite äldre), för att se om det finns en existerande översättning som uppnår dynamisk ekvivalens. Det kommer visa sig att så inte är fallet, och en ny översättning kommer därför att föreslås: ”Män som sexuellt utnyttjar män för att vinna social makt”.
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Maysonet, Joel R. "Wine & Beer." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4951/.
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Wine & Beer tells the story of childhood friends Brian and Vic who, after spending some time apart, deal with the tensions of sexual orientation after they attempt to renew their friendship. At the beginning it seems that Vic's sexuality will not be a problem, but after the two friends hang out in a local bar, Brian realizes his hometown is not as tolerant as he is. The couple is faced with family and social concerns, which goes from the argumentative to the violent. As the main characters try to mingle with the conservative town, they soon find themselves looked upon by a small town resistant to change. This 35-minute film explores homophobia and violence in small town USA.
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Broqua, Christophe. "Engagements homosexuels et lutte contre le sida au sein de l'association Act Up-Paris." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0152.
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A partir d'un travail de terrain ethnographique effectué entre 1993 et 1999, d'entretiens semi-directifs et d'une enquête quantitative réalisée en 1998, cette recherche propose d'éclairer le parcours de l'association de luttre contre le sida Act Up-Paris, appréhendée ici à travers la dimension centrale qu'y occupe la question de l'homosexualité. Ses membres sont en effet majoritairement homosexuels, et elle est historiquement la première à se créer (en 1989) en revendiquant cette dimension. Les homosexuels sont par ailleurs, dès les années 80, et en particulier à Paris et dans la région Ile-de-France, l'une des populations les plus touchées par l'épidémie de sida, notamment lorsque se développent les tests de dépistage en 1985. Ainsi, l'action d'Act Up est ici envisagée comme un projet homosexuel de lutte contre le sida visant à rendre possible la mise en cohérence de la double expérience du sida et de l'homosexualité. Ce travail répond à une logique existentielle et à une logique instrumentale. Sont examinées en détail les stratégies de représentation qui permettent à l'association de constituer un tel espace de socialisation et de se voir reconnaître ainsi comme acteur légitime tant dans le champ de la lutte contre le sida que dans celui de l'homosexualité. Sont en outre interrogées quelques trajectoires individuelles d'engagement.
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Baer, Jessica Kaye. "CLOSETS ARE FOR CLOTHES: PERCEIVED FAMILIAL REACTIONS WHEN A FAMILY MEMBER COMES OUT AS GAY." Oxford, Ohio : Miami University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1160665890.
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Collier, Stephen Erskine, and stephen@collierarchitects com. "PARADIGMS OF OBSERVATION: Azul Oscuro Casi Negro (A Blue That Is Almost Black)." RMIT University. Architecture and Design, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091002.112332.
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A work of architecture holds the observations of the architect, an accumulation of images, feelings and sensations. These remain largely detached and invisible to the casual observer, occasionally becoming apparent as an idea is glimpsed through an external point of observation. The research has looked to redefine the paradigms of observation, that define the way architecture is seen and interpreted, by exploring attachments to places and belief systems. It has followed a journey within practice. Part of this journey has been about locating the aesthetic and metaphysical experience of architecture within its physical and operational realities. The research is an observation of the architect experiencing, as an observer, himself, his place in the world, and of the cities and spaces that occupy his imagination. By observing the interface between things that have defined career and identity, an architectural narrative has been developed to describe how an architect' s persona, what he lives through and the memories that he carries with him have been and can continue to be condensed into his work. Beauty resides in the interface between these things and ultimately, the fixed reality of the work. The search is characterised by the appearance of The Blue Room. It is a metaphorical place representing both the present and the un-created future. The Blue Room is a metaphor for all of the emotions that rest behind the evolution of an architectural idea and which remain embedded within it as a finished work. It is a metaphor for beauty and a metaphor for loss and sadness, all of the things that exist in-between the idea and the representation of that idea; between the visible and the invisible. It also represents the inherent paradox of the architectural work in that the idea is never the same as it is first imagined; in its finished form it is both the space of the architect and the client.
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Lauzière-Vanasse, Claudel, and Claudel Lauzière-Vanasse. "L'utilisation de la honte comme moteur de création." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/37766.
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Ce mémoire porte sur le sentiment de honte intériorisée pouvant résulter de l’expérience de l’homosexualité et s’intéresse aux différentes stratégies créatives comme le récit de soi que l’artiste peut mettre en place pour s’en détacher. Alimentée par la réalisationd’actions concrètes à traversla vie quotidienne et par une immersion au sein de la culture queer, cette recherchetendà démontrerl’impact important que peut engendrer ledépassement de la honte sur le processus créatif. Plus encore, elle met de l’avant l’idée que l’œuvre qui trouve son fondement et sa raison d’être dans une expérience traumatique peut êtrele lieu d’une renaissance et d’une réinvention identitaire.Ce mémoire porte sur le sentiment de honte intériorisée pouvant résulter de l’expérience de l’homosexualité et s’intéresse aux différentes stratégies créatives comme le récit de soi que l’artiste peut mettre en place pour s’en détacher. Alimentée par la réalisationd’actions concrètes à traversla vie quotidienne et par une immersion au sein de la culture queer, cette recherchetendà démontrerl’impact important que peut engendrer ledépassement de la honte sur le processus créatif. Plus encore, elle met de l’avant l’idée que l’œuvre qui trouve son fondement et sa raison d’être dans une expérience traumatique peut êtrele lieu d’une renaissance et d’une réinvention identitaire.
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Sahuquillo, Ángel. "Federico García Lorca y la cultura de la homosexualidad masculina : Lorca, Dalí, Cernuda, Gil-Albert, Prados y la voz silenciada del amor homosexual /." Alicante : Instituto de cultura "Juan Gil-Albert, 1991. http://catalogue.bnf.fr/ark:/12148/cb355644723.
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Karsten, Ida. "“We are saying no to homosexuality!”- A Critical Discourse Analysis of the Dialogue Between Zambia and the US Ambassador Regarding LGBT+ Rights Advocacy in a Postcolonial Context." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-20991.
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This thesis analyses a dialogue between the US ambassador to Zambia and two Zambian officials, regarding LGBT+ rights, following the sentencing of a same-sex couple by the Zambian high court. The theoretical framework utilizes postcolonial theory and a few of its concepts, namely cultural imperialism, and colonial discourses. To analyse the material, critical discourse analysis was conducted to examine if colonial discourse is present in the dialogue, and if so, how the discourses are used to reproduce or challenge the uneven power relationship between the West and Zambia. The thesis could conclude that discourses of cultural imperialism as well as colonial discourses were indeed present in the dialogue. The US ambassador reproduced the uneven power structure and the Zambian officials both reproduced as well as challenged it. The findings aim to contribute to the field of global LGBT+ advocacy, especially when conducted in a postcolonial context.