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Dissertations / Theses on the topic 'Queer culture'
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1
Brady, Anita, and n/a. "Constituting queer : performativity and commodity culture." University of Otago. Department of Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080429.113540.
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This thesis foregrounds a question unanswered in queer theory�s account of the ongoing reproduction of heteronormativity. In Gender Trouble, Judith Butler asks "From where does the performative draw its force, and what happens to the performative whose task it is to undo" that discursively legitimated enacting? (Bodies That Matter 224-5). While queer theory offers a compelling account of how the normative fictions of identity privilege heterosexuality, the first part of Butler�s question remains relatively under-theorised. This thesis addresses this gap and argues that to understand the source of performative authority, we must address the intimate relationship between gay identity and commodity culture. Thus, I investigate the connections between the marketing industry, an historically politicised gay press, and a lesbian and gay politics imagined through the paradigm of identity, and argue that they combine in a citational feedback loop to performatively produce gay identity as the "ideal consumer." I then undertake case studies of two media texts, the website Gay.com and the television series Queer Eye for the Straight Guy, in order to demonstrate how the white, male, middle-class gay aesthete functions hegemonically as gayness in culture.
My analysis then turns to the second part of Butler�s question -"what happens to the performative whose task it is to undo?"- and examines the consequences of the absence of an analysis of commodity culture for the notion of queer. To that end, I suggest that alongside their repetitions of gay normativity, both Gay.com and Queer Eye perform queer possibility. However, the case studies I undertake, along with the critical reception of Queer Eye and the internet technologies behind Gay.com, suggests that these media texts fall short of the promise of queerness. This apparent failure to disturb heteronormative reproduction is connected in these critiques to each text�s commercial imperatives. This thesis argues that such critiques tend to rely on determinations of the authenticity of queer performance, and emphasise veracity over queer theory�s potential to exploit the critical potential of deliberate indeterminacy. I argue, instead, that a key part of queer theory�s contingency is its capacity to respond to the changing performative contexts of the normative repetitions it seeks to undo. To put this more simply: If consumer desire defines contemporary gayness, then it is with consumer desire that queer theory must contend. It is precisely the indeterminacy of queer that enables such shifts in its strategies of subversion. Recognition of how queer�s indeterminacy enables those subversive moves returns us to the importance to queer theory of a sustained consideration of the constitutive capacities of commodity culture. What I suggest in this thesis is that if we do no ask "From where does the performance draw its force?" then we cannot answer "And what happens to the performative whose task it is to undo?" the normative framework of identity.
2
Lee, Juwon. "The Globality of the Seoul Queer Culture Festival: Subverting the Neocolonial Queer Narrative." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555520368932493.
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Maddison, Stephen. "Queer sisters : gay male culture, women and gender dissent." Thesis, University of Sussex, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362271.
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Gay male culture is suffused with indications of the importance of women and bonds with women. Indeed the Stonewall riots, mythologised moment of the birth of modern gay politics, are often said to have been catalysed by gay male grief at the death of Judy Garland. Why should a culture apparently founded on same-sex desire be so preoccupied with relationships across gender difference? The thesis attempts to map the shape and effects of bonds with women by using a materialist analytical framework in relation to texts and their critical retinue. The first chapter looks at A Streetcar Named Desire, a play that has engendered significant cultural contest which spans key historical and political shifts in the nature of gay male identity. This chapter attempts to show how a diverse range of critical engagements with Tennessee Williams's work, including authoritative and resistant, heterosexual, homosexual and queer ones, exhibit considerable investment in the proposition that the playwright's sexuality not only structures a libidinous desire, but a gender identification. The second chapter situates gay men within the homosocial gender bonds mapped by Eve Sedgwick, and draws attention to the dissident opportunities gay male culture has exploited within this narrative system. It goes on to examine the potential political and cultural links between such strategies and the resistance of straight women who are also organised as homosocial subjects. This chapter includes a reading of Tarantino's Pulp Fiction as homosocial text and looks at a number of autobiographical and journalistic writings which identify a predominant dissident strategy which I refer to as heterosocial bonds. The latter part of the thesis comprises two complementary chapters. The first of these, chapter three, assesses the plausibility of heterosocial bonding in the representations of relationships between straight women, lesbians and gay men in the American situation comedy Roseanne. Chapter four conducts a similar inquiry in relation to Pedro Almodovar and the representational alignment he makes with women in the film Women on the Verge of a Nervous Breakdown. The analysis conducted in both of these chapters attempts to treat the texts not only as generic and formal representations,but as attempted acts of bonding. The thesis attempts to judge the political expediency and effectiveness of heterosocial bonding, and locates the difficulty and contingency of such endeavours within the fabric of homosocial structures.
4
Hannan-Leith, Madeline Naomi. ""That's how I found queer culture in so many ways" : narratives of online dating in queer women." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/61850.
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The past few decades have seen a rise in the visibility and legal rights of lesbian, gay, bisexual, transgender and queer (LGBTQ) people, yet persistent stigmatization has left many searching for alternate ways of seeking connection. An increasingly popular means for LGBTQ individuals to find relationships is through online dating. While the Internet has been prolific in connecting LGBTQ communities, existing research on the use of Internet-dating sites in sexual minorities has focused primarily on gay men’s dating practices, overlooking queer women. The present study used a narrative approach to address the primary research question: What are queer women’s experiences of using online dating websites to find partnership? Qualitative, open-ended interviews were conducted with a purposive sample of five women who identified as queer and had used dating websites. Interviews were then transcribed and analyzed using Braun and Clarke’s (2006) thematic content analysis, resulting in the creation of three themes and 13 subthemes. These themes represent a significant and unique aspect of participants’ experiences of online dating, including their reasons for going online, how they navigated those spaces and the issues that they faced. The research findings aligned with previous literature on the subjects of online dating and queer women’s communities, and also highlighted new ideas for consideration and further exploration. Investigating these narratives may ultimately be used to inform clinical practice for sexual minority clients by contributing to our understanding of queer lived experiences and adapting counselling approaches based on this knowledge. This may improve LGBTQ client satisfaction with counselling and increase the potential for beneficial therapeutic outcomes.Education, Faculty of
Educational and Counselling Psychology, and Special Education (ECPS), Department of
Graduate
5
Adair, David Francis, and n/a. "'Queer Theory': Intellectual and Ethical Milieux of 1990s Sexual Dissidence." Griffith University. School of Arts, Media and Culture, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20041014.102015.
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The main problem addressed by this thesis is the question of how to assess the politics and the cultural effects and implications of 'Queer Theory' during the period of the 1990s. 'Queer' was invoked in numerous institutions, spaces, and cultural practices over this period, and yet queer-identified theorists and many of their critics have often assumed that this term refers to a relatively unified object. I ask if it is appropriate to treat these 'queer' occasions in this manner, and whether this 'dispersed' object requires a different approach: one that sets out to describe means and routes by which it became possible and desirable to pose 'queer' problems across so many diverse sites and practices. In addition, if there are discernible patterns to these distributed cultural capacities and inclinations, what political significance do they have? These questions inform my account of the career of 'Queer Theory' during the 1990s. A post-humanist approach to these matters is not premised on an essential or a socially constituted general category of 'subjectivity'. Instead, it addresses 'Queer Theory' as a problem, without automatically critiquing it; it is sceptical of the perfectionist pulsion that has treated this critical practice as either a good or a bad object: dual roles that are mandated by the logic of dialectical criticism. These roles are exemplified by the frequent relegation of 'queer' in the relevant literature to the 'innately political' or the 'merely aesthetic'. In this thesis I identify ethical, cultural, and political yields of these conventional choices and the modes of problematisation in which they operate; I positively redescribe them as aesthetico-political practices. My approach therefore not only deviates from the 'good' or 'bad' critical options, but also from a third option: the equally rationalist response of assuming that 'Queer Theory' is fundamentally a problem of under-theorisation.
6
Adair, David Francis. "'Queer Theory': Intellectual and Ethical Milieux of 1990s Sexual Dissidence." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367520.
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The main problem addressed by this thesis is the question of how to assess the politics and the cultural effects and implications of 'Queer Theory' during the period of the 1990s. 'Queer' was invoked in numerous institutions, spaces, and cultural practices over this period, and yet queer-identified theorists – and many of their critics – have often assumed that this term refers to a relatively unified object. I ask if it is appropriate to treat these 'queer' occasions in this manner, and whether this 'dispersed' object requires a different approach: one that sets out to describe means and routes by which it became possible and desirable to pose 'queer' problems across so many diverse sites and practices. In addition, if there are discernible patterns to these distributed cultural capacities and inclinations, what political significance do they have? These questions inform my account of the career of 'Queer Theory' during the 1990s.
A post-humanist approach to these matters is not premised on an essential or a socially constituted general category of 'subjectivity'. Instead, it addresses 'Queer Theory' as a problem, without automatically critiquing it; it is sceptical of the perfectionist pulsion that has treated this critical practice as either a good or a bad object: dual roles that are mandated by the logic of dialectical criticism. These roles are exemplified by the frequent relegation of 'queer' in the relevant literature to the 'innately political' or the 'merely aesthetic'. In this thesis I identify ethical, cultural, and political yields of these conventional choices and the modes of problematisation in which they operate; I positively redescribe them as aesthetico-political practices. My approach therefore not only deviates from the 'good' or 'bad' critical options, but also from a third option: the equally rationalist response of assuming that 'Queer Theory' is fundamentally a problem of under-theorisation.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Arts, Media and Culture
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Patel, Alpesh Kantilal. "Queer Desi visual culture across the 'Brown Atlantic' (US/UK)." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494299.
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Through an intersectional, embodied (psycho-spatial and synaesthetic), and processual theoretical matrix, my thesis unpacks the complex mechanisms underpinning the visual identification of subjects and artworks as "Desi" - the Hindi word meaning "from my country" - within the geographical and conceptual space that roughly includes the US, UK, and the South Asian subcontinent. To add further traction to my investigation, I yoke "queer" to Desi. The latter as two overlapping, and at other times competing, sets of visual identifications, serve to bring to the fore, rather than subsume, the complexities of the broader spectrum of intersecting visual identifications connected to both.
8
Dawson, Leanne. "Femme : Representations of queer femininities in post-war German culture." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511248.
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Robertson, Megan. "Called and Queer Exploring the lived experiences of queer clergy in the Methodist Church of Southern Africa." university of western cape, 2020. http://hdl.handle.net/11394/7306.
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Doctor Theologiae - DThIn South Africa anti-queer attitudes are propped up by religious moral claims and by strong assertions that queer sexualities are un-African and a secular Western import. This study contributes to the growing body of literature which challenge these claims, and at the same time interrupts scholarly trends in the field of religion and sexuality which either characterises institutional religion as singularly oppressive or homogenises queer Christians as inherently subversive. In this thesis, I explored the lived experiences of six queer clergy (one of whom was discontinued) in the Methodist Church of Southern Africa (MCSA), in order to understand the complex relationship between institutional power and the ordinary lived realities of clergy. The study focuses particularly on the MCSA as it is statistically the largest mainline Protestant denomination in South Africa and holds significant positions of power and influence on national, interdenominational and political platforms, not least of all because it has fostered an institutional identity as the ‘church of Mandela.’ Further, situated within a continental and national context where anti-queer attitudes are politicised through cultural and religious discourses, I have argued that the MCSA also serves as a case study which represents the ways in which institutionalised religion continues to be co-constitutive of social systems and hierarchies.
10
Pereira, Cristiano Fabrício Lopes. "Rhiz'hommes: redes de subjetividades." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4443.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorCom a profusão de imagens fotográficas do mundo capitalista e o incentivo para que todos sejamos produtores, o modo de fruição das fotografias e a nossa relação com esses simulacros vão se alterando. A necessidade que a web traz de nos apresentarmos em imagens faz com que tenhamos que fabricá-las e através delas passamos a nos relacionar de maneira narcísica. Com o projeto artístico Rhiz'hommes vão se discutindo as construções desses avatares nos sites de relacionamento e a (des)construção da figura masculina heteronormativa como observadora ideal, ponto de fuga para onde deveriam convergir todas as representações. Junto à queda do homem cartesiano, a autoria e a originalidade artística foram se transformando e cedendo espaço a práticas mais permissivas e abrangentes. Essa diluição de fronteiras é o epíteto de tempos pós-orgânicos de relações telemáticas e rizomas de subjetividades
With the profusion of photographic images in the capitalist world and with the incentive for all of us to become photographic producers, the enjoyment of photography and our relations with it keep changing. The virtual need that web brings to present ourselves as images leads us to make them and is through then that we will relate to each other in a narcisistic way. With the artistic project called Rhiz'hommes it will be discussed the construction of avatars on social networking websites and the (de)construction of the heteronormative male figure as the ideal observer, the vanishing point where all representations should converge. After the fall of cartesian man, the authorship and the artistic originality will be changed, making room for more permissives and broad pratices. This boundaries dissolution is the epitet of post-organic times with telematic relations and subjectivities rhizomes
11
Jerome, Collin. "Queer Melayu : queer sexualities and the politics of Malay identity and nationalism in contemporary Malaysian literature and culture." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/39644/.
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This thesis examines Malay identity construction by focusing on the complex processes of self-identification among queer-identified Malays living in Malaysia and beyond. By analysing representations of queer Malays in the works of contemporary Malaysian Malay writers, scholars, and filmmakers, as well as queer Malays on the internet and in the diaspora, the thesis demonstrates how self-identifying gay, lesbian, bisexual, and transgendered Malays create and express their identities, and the ways in which hegemonic Malay culture, religion, and the state affect their creation and expression. This is especially true when queer-identified Malays are officially conflated with being “un-Malay” and “un-Islamic” because queer sexualities contravene Malay cultural and religious values. This thesis begins by discussing the politics of Malay identity, particularly the tension between “authority-defined” and “everyday-defined” notions of being Malay that opens up a space for queer-identified Malays to formulate narratives of Malayness marked by sexual difference. The thesis then discusses how queer-identified Malays specifically construct their identities via various strategies, including strategic renegotiations of ethnicity, religiosity, and queer sexuality, and selective reappropriations of local and western forms of queerness. The ways in which “gay Melayu” identity is a hybrid cultural construction, produced through transnational and transcultural interactions between local and western forms of gayness under current conditions of globalization is also examined, as well as the material articulation of queer narratives of Malayness and its diverse implications on queer-identified Malays' everyday lives and sense of belonging. The thesis concludes with a critical reflection on the possibilities and limitations of queerness in the context of queer Malay identity creation. Such reflection is crucial in thinking about the future directions for research on queerness and the politics of queer Malay identity. It is hoped that this study will show that queer-identified Malays reshape and transform received ideas about “Malayness” and “queerness” through their own invention of new and more nuanced ways of being “queer” and “Malay.” This study also fills up the lacunae in the scholarship on Malay identity and queer Malays by addressing the productions of Malay ethnicity and sexual identity among queer-identified Malays within and beyond Malaysia's borders.
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Gonzatti, Christian. "Bicha, a senhora é performática mesmo: Sentidos queer nas redes digitais do jornalismo pop." Universidade do Vale do Rio dos Sinos, 2017. http://www.repositorio.jesuita.org.br/handle/UNISINOS/6902.
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A pesquisa visa entender, através dos sentidos acionados pelo Papel Pop, as relações entre o jornalismo, a cultura pop e os estudos queer. Busco nas transformações e nos desdobramentos históricos do jornalismo a maneira como as lógicas do pop foram se implicando nele. Proponho, assim, uma perspectiva jornalística específica para entender essas dinâmicas, o jornalismo pop: voltado à cobertura da cultura pop, pautando acontecimentos engendrados por uma lógica intensamente midiática e comercial, mas que não se encerra aí. Constato que existem, em um contexto de crise sistêmica instaurada pela cultura digital que atravessa as lógicas jornalísticas, sete categorias para pensar a cobertura do pop no país – e que muitas vezes se interprenetam através de estratégias de produção diversas: a cobertura jornalística em torno de produtos que se desdobram da música pop, das celebridades, da cultura geek/nerd/otaku, de produções audiovisuais como filmes e séries, das novelas e do humor e a geral. Existem, nessas possibilidades, os vínculos de produção que são perpassados pelas práticas das/dos fãs – podendo serem institucionalizados no sentido de se tornarem (micro) empresas ou não – e os políticos, que envolvem um olhar crítico através de marcadores como o sexo/gênero, a raça e a sexualidade para as produções da cultura pop. O Papel Pop, no que se refere à cobertura noticiosa, movimenta-se através de todos esses focos, estando alocado no que eu entendi como uma macrotegoria: a cobertura da cultura pop de uma maneira mais ampla e geral. No entanto, há uma predominância da música pop feminina nas matérias e notícias, assim como o corpo editorial também remete a marcadores dissidentes da masculinidade heterossexual cisgênera. Visando desdobrar os sentidos acionados pelo jornalismo pop em questão, recorro à metodologia da Análise de Construção de Sentidos em Redes Digitais, que tem como pressuposto os movimentos de mapeamento de processos semióticos em rede, a elaboração de constelaçãoes de sentidos e o desenvolvimento de inferências sobre elas. Através de perspectivas dos estudos queer, notei, assim, a emergência de sete constelações de sentidos: Linguagens do Vale, Transviadices, Feminismos, Heteronormatividades Racismos/Multiculturalismos, Representações e Enfrentamentos Políticos. Elas sinalizam a maneira como o jornalismo pop do Papel Pop configura-se como uma territorialidade semiótica singular na cobertura da cultura pop, que rompe com pressupostos do masculino que atravessam o jornalismo hegemônico e que vai além da feminilidade que pode ser associada ao jornalismo cultural, sendo, portanto, queer.
The research search understands, through the senses triggered by Papel Pop, as relations between journalism, pop culture and queer studies. I seek in the transformations and historical developments of journalism the way in which the logics of pop have been implied in him. I propose, therefore, a specific journalistic perspective to understand these dynamics, pop journalism: aimed at the coverage of pop culture, setting forth events engendered by an intensely mediatic and commercial logic, but that does not end there. I note that there are, in a systemic crisis context established by the digital culture that runs through the journalistic logic, seven categories to think the pop coverage in the country - and often interpenatre through various production strategies: media coverage around products that are deployed from pop music, celebrities, geek/nerd/otaku culture, audiovisual productions like movies and series, novels and humor and the general. There are, in these possibilities, the production links that are permeated by the practices of the fans - they can be institutionalized in the sense of becoming (micro) companies or not - and the politicians, who involve a critical look through markers like sex / gender, race and sexuality for pop culture productions. The Papel Pop, as far as news coverage is concerned, moves through all these focuses, being allotted in what I understood as a macrotegory: the coverage of pop culture in a broader and more general way. However, there is a predominance of female pop music in stories and news, just as the editorial body also refers to dissident markers of heterosexual masculinity cis. Aiming to unfold the senses triggered by the pop journalism in question, I turn to the methodology of the Analysis of Sense Construction in Digital Networks, which has as a presupposition the movements of mapping of semiotic processes in the network, the elaboration of sense constellations and the development of inferences about they. Through the perspectives of the Queer studies, I thus noticed the emergence of seven constellations of meanings: Valley Languages, Transviadices, Feminisms, Heteronormativities, Racisms / Multiculturalisms, Representations and Political Confrontations. They signal the way Papel Pop’s pop journalism configures itself as a singular semiotic territoriality in the coverage of pop culture, which breaks with the assumptions of the masculine that crosses hegemonic journalism and goes beyond the femininity that can be associated with cultural journalism, being, therefore, queer.
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Stielau, Anna. "Double agents : queer citizenship(s) in contemporary South African visual culture." Master's thesis, University of Cape Town, 2016. http://hdl.handle.net/11427/20625.
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South Africa claims the most progressive constitution on the African continent, extending protections to all citizens regardless of race, gender, ability or sexual orientation. Much has been published in recent years about the induction of LGBTIQ persons into this inclusive post-1994 human rights framework, often with a particular focus on the role of the state in instituting non-discrimination legislation and promoting equality. This document reflects my belief that South African sexuality scholarship too often presents incorporation into a unified nation-state as the only desirable outcome for queer citizens. By mapping the manner in which sexual difference has been uneasily imagined in national discourses, I argue here that the ideal South African citizen remains a heterosexual citizen presupposed as private, patriotic, familial and reproductive. I posit that when non-normative sexual identities and practices become visible in the public sphere, they risk assimilation into "acceptable" modes of representation produced in accordance with the expectations and responsibilities attending state-sanctioned national membership. In so doing, I assert, these cultural forms mandate a queerness that leaves structural inequalities intact. To look beyond this horizon I choose to explore dissident citizenship forms that intervene in dominant cultural narratives to expand the boundaries of belonging. Specifically, I concern myself with representations of queer subjects in visual culture and the multiple audiences these representations invite.
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Davis, Glyn Peter. "New queer cinema : the work of five gay directors in the context of queer culture and its politics of representation." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496465.
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The term 'New Queer Cinema' was coined by critic B. Ruby Rich in 1992, in an attempt to mark a flourishing of independent lesbian and gay film and video work that she observed occurring at the time. Key films of the (rather short-lived) movement included My Own Private Idaho (Van Sant, 1991), Poison (Haynes, 1991), Swoon (Kalin, 1992), and The Living End (Araki, 1992). To date, very little has been written about New Queer Cinema. This thesis is an attempt to fill this gap in scholarship. Chapter One offers an overview of three main perspectives on New Queer Cinema that have been taken to date, and their implications: Rich's claim that the movies share a similar aesthetic, which she terms 'Homo Pomo'; Jose Arroyo's assessment of the films as affiliated to, and intimately connected with, queer activism of the late 1980s and early 1990s; and John Pierson's positioning of New Queer Cinema within a history of independent filmmaking in North America. These three viewpoints are useful and valid, but do not begin to account for the complex content and political significance of New Queer Cinema texts. In Chapters Two, Three and Four, I examine in depth three alternative approaches to these films. In Chapter Two, I argue that New Queer Cinema (and queer culture more broadly) provoked a re-examination of the 'positive images' debate: one of the main ways it did this was through its representations of queer killers. Chapter Three assesses the role of space and place in New Queer Cinema, as many of the key films of the movement are set either in Los Angeles or on the 'open road'. Finally, Chapter Four investigates the persistence of campness in queer culture of the 1990s, offering a comparison of New Queer Cinema and mainstream American movies' uses of camp. The exploration of this trio of topics enables a nuanced appreciation of the significance of New Queer Cinema texts, and their relation to broader topics of cultural and political debate.
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Webb, Brock F. "This side of midnight: Recovering a queer politics of disco club culture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363615857.
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Nordling, Madonna Paulina. "Started from the Internet, Now We're Queer. The usage of SNS to explore, build and communicate queer identities." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21227.
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This study has examined how young queer people are using SNS for exploring, buildingand communicating their identities and how this may differ in the different stages ofcoming out. The aim of the study has been to broaden the field with and obtain a deeperunderstanding of how a marginalized group in society can use social media as a part inexploring and building an identity. The study was conducted with a method of semistructuredpersonal in-depth interviews with a sample of five Swedish queer people in theage span of 23-27. The result was analyzed along previous research within the field andwith a theoretical perspective of culture, representation, performative acting and selfpresentation.The result showed that young queer people are exploring, building andcommunicating their identities in different ways that varies depending on where in theprocess of coming out they are. The result showed that it was common for the queerpeople in this study to use SNS while exploring and building their queer identities, but notas common when communicating it. There were both similarities and differences in thesefindings compared to previous research.
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Dempsey, Danielle. "Envisioning Queer Culture: Toward a Theological Framework for Reimagining Sexuality and Sexual Orientation." Digital Commons at Loyola Marymount University and Loyola Law School, 2014. https://digitalcommons.lmu.edu/etd/140.
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In this thesis, I argue that the both the Church and the Queer Community will benefit from a reexamination of Church teachings on sexuality. I argue that Church’s current position on sexuality does not uphold its own teaching on the importance human dignity, because a sexual ethic that opposes homosexuality contributes to the marginalization of members of the Queer Community. I then argue that Michael Lawler’s and Todd Salzman’s The Sexual Person: Toward a Renewed Catholic Anthropology provides a revisionist theory on sexual ethics that is inclusive of same-sex couples while also paying deference to the fundamental elements of the Church’s teaching on sexual ethics. Having suggested that a revisionist sexual ethic such as Salzman’s and Lawler’s serves as a cohesive response to the Church’s existing position on sexuality, I appeal to Elizabeth Johnson’s framework in Quest for the Living God: Mapping Frontiers in the Theology of God. Johnson argues that individuals who experience marginalization are an asset to the Christian Church because they offer unique insights into God. I propose that instead of approaching homosexuality solely in terms of ethics, Johnson’s framework allows us to regard members of the Queer Community in terms of the contributions they have to offer the Church. Finally, I employ David Tracy’s methodology in Blessed Rage for Order: The New Pluralism in Theology and propose that in light of postmodernity, we ought to use a pluralistic model when approaching a multiplicity of belief systems as well as when approaching the multi-faceted nature of sexuality. I conclude that in doing so both the Church and the Queer Community will benefit from the Queer Community’s full and open participation within the Catholic Church.
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Dasgupta, Rohit K. "Digital queer spaces : interrogating identity, belonging and nationalism in contemporary India." Thesis, University of the Arts London, 2016. http://ualresearchonline.arts.ac.uk/8960/.
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Contemporary Indian sexual identities are constructed out of the multiple effects of tradition, modernity, globalisation and colonialism. The nation as we understand it is constructed on the basis of a commonality which ‘binds’ its citizens, and also banishes and expels those who do not conform to this commonality. Within this logic of disenfranchisement I firmly place the Indian queer male. This thesis examines the online ‘queer’ male community in India that has been formed as a result of the intersection and ruptures caused by the shifting political, media and social landscapes of urban India. Through multi-sited ethnography looking at the role of language, class, intimacy and queer activism, this thesis explores the various ways through which queer men engage with digital culture that has become an integral part of queer lives in India. Through this approach, this thesis makes a significant contribution to knowledge. Widely available scholarship has explored the historical, literary and social debates on queer sexualities in India. To reach a more holistic understanding of contemporary Indian queer sexualities it is necessary to engage with the digital landscape, as India’s global power stems from its digital development. By looking at the multiple ways that the queer male community engages with the digital medium, I illustrate the multifaceted, complex and sometimes contradictory ways in which this community understands, accesses and performs their sexual identities within both the context of the nation and their local space. This thesis combines textual and visual analysis along with ethnographic data collected through field research in India using multiple research sites including online forums and digital spaces such as Planet Romeo, Facebook groups and Grindr as well as engaging with individuals in offline spaces (New Delhi, Kolkata, Barasat). Studying digital queer spaces across several research sites especially a cross-ethnic and cross-social comparison is unusual in this field of study and produces new insights into the subjects explored.
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Lorenzi, Marie-Emilie. "Activisme rose : cultures et arts féministes queer en France." Thesis, Paris 1, 2015. http://www.theses.fr/2015PA010578/document.
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Le terme "Queer" ne résonne pas de la même façon en version originale - le contexte anglo-saxon d'émergence - qu'en version française. L'objectif principal de cette recherche est de questionner les phénomènes de transferts culturels dans le contexte français du féminisme queer, à la fois mouvement de pensée critique, activisme et subculture apparus au milieu des années 1980 aux Etats-Unis. De cette traduction culturelle du mouvement queer en France est né un activisme rose qui à l'inverse du contexte anglo-saxon a développé une politique basée sur une forte affirmation identitaire, à la fois collective et individuelle, afin de déjouer le modèle d'intégration français largement imprégné d'idéaux républicains et où les dérives d'un universalisme abstrait conduisent à l'aveuglement face aux inégalités entre les individus. Ainsi la question centrale qui anime cette recherche est d'examiner comment cet activisme rose fait irruption dans le contexte français réfractaire aux politiques identitaires.Et, au-delà de la seule traduction linguistique, les phénomènes de réception et d'appropriation dans le contexte français du féminisme "queer" sont à comprendre dans toutes leurs dimensions : culturelle, politique, théorique, artistique, etc. Ainsi, cette recherche cherche à comprendre les spécificités de cet activisme, de son inscription parfois mouvementée au sein des mouvements féministes et des mouvements dits LGBT, à ses applications particulières en terme de pratiques culturelles et artistiques, afin d'interroger le phénomène d'esthétisation des techniques de lutteThe term queer, when used in the French language, does not echo the same way as in English –then referring to the anglo-saxon context of emergence. The main purpose of this study is to question the phenomena of cultural transfers of queer feminism – which appeared in the mid 1980s in the United States as both a subculture and a movement of critical thinking and activism- into the French context. This cultural translation resulted in pink activism which unlike its anglo saxon original model developed a policy based on strong identity affirmation, on both a collective and individual level. The goal was to beat the French integration system deeply imbued with republican ideals, where the drifts of an abstract universalism had produced blindness towards inequalities therefore the central issue investigated in this research is how this pink activism arose in a French context of opposition to identity-based politics.Moreover, the phenomena of reception and appropriation of queer feminism into the French context must be understood beyond the sole linguistic translation – in all their dimensions, cultural political, theoritical, artistic, etc. This study aims to understand the special features of this activism, from its sometimes uneasy integration among feminist and LGBT movements to its specific applications in terms of cultural and artistic practices, thus questioning the phenomenon of aestheticism of resistance techniques
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Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
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Bernthal, James Carl. "A queer approach to Agatha Christie, 1920-1952." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/18196.
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This thesis provides the first extensive queer reading of a 'Golden Age' British detective fiction writer. The aim of this thesis is to assess queer potential in texts published by Agatha Christie between 1920 and 1952. Human identity can be read as self-consciously constructed in Christie's novels, which were written in a context of two world wars, advances in technology and communication, and what Michel Foucault called the 'medicalization' of Western culture. The self-conscious stereotyping in Christie's prose undermines her texts' conservative appeal to the status quo. Chapter One justifies this project's critique of identity essentialism in the texts by considering the manufacturing of 'Agatha Christie' as a widely-read celebrity author. Reading Christie's authorial identity as something established and refined through a market-driven response to readers' expectations and a conscious engagement with earlier forms of detective fiction provides space for reading identity itself as a stylized, performative, and sometimes parodic theme within the texts. In subsequent chapters, employing theoretical insights from Eve Kosofsky Sedgwick, Judith Butler, and Lee Edelman, I explore Christie's participation in contemporary debates surrounding masculinity, femininity, and the importance of the family in shaping individual identity. Finally, I consider Christie's reputation in the twenty-first century by exploring nostalgic television adaptations of her work. Comparing the presentation of 'queer' characters in the literary texts to the adaptations' use of explicit homosexual themes and characters, I conclude that there is a stronger potential for 'queering' identity in the former. As the first full queer reading of a 'Golden Age' detective novelist, this thesis expands queer notions of archive and canonicity: few scholars to date have considered mainstream literary texts without overt LGBTQ+ themes or characters from a queer perspective. Given Christie's global reach and appeal, locating queerness in her texts means understanding queerness as fundamental to everyday culture. This means engaging with a subversive potential in twentieth century middlebrow conservatism.
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Director, Elliot Aaron. "Something Queer in His Make-Up: Genderbending, Omegaverses, and Fandom's Discontents." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494803296589862.
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Johnston, Dawn Elizabeth B. "Sites of resistance, sites of strength the construction and experience of queer space in Calgary /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ47950.pdf.
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Evans, Alexander Robert. "Cultural politics and the gay fantasia : transcending and ending queer crises in 90's North American and British culture." Thesis, University of Sussex, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.407064.
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Pearson, Wendy Gay. "Calling home queer responses to discourses of nation and citizenship in contemporary Canadian literary and visual culture /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060123.143327/index.html.
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Means, Michael M. "Adaptive Acts: Queer Voices and Radical Adaptation in Multi-Ethnic American Literary and Visual Culture." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5773.
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Adaptation Studies suffers from a deficiency in the study of black, brown, yellow, and red adaptive texts, adaptive actors, and their practices. Adaptive Acts intervenes in this Eurocentric discourse as a study of adaptation with a (queer) POC perspective. My dissertation reveals that artists of color (re)create texts via dynamic modes of adaptation such as hyper-literary allusion, the use of meta-narratives as framing devices, and on-site collaborative re-writes that speak to/from specific cultural discourses that Eurocentric models alone cannot account for. I examine multi-ethnic American adaptations to delineate the role of adaptation in the continuance of stories that contest dominant culture from marginalized perspectives. And I offer deep adaptive readings of multi-ethnic adaptations in order to answer questions such as: what happens when adaptations are created to remember, to heal, and to disrupt? How does adaptation, as a centuries-old mode of cultural production, bring to the center the voices of the doubly marginalized, particularly queers of color? The texts I examine as “adaptive acts” are radical, queer, push the boundaries of adaptation, and have not, up to this point, been given the adaptive attention I believe they merit. David Henry Hwang’s 1988 Tony award-winning play, M. Butterfly, is an adaptive critique of the textual history of Butterfly and questions the assumptions of the Orientalism that underpins the story, which causes his play to intersect with Pierre Loti’s 1887 novella, Madame Chrysanthéme, at a point of imperial queerness. Rodney Evans, whose 2004 film, Brother to Brother, is the first full-length film to tell the story of the black queer roots at the genesis of the Harlem Renaissance, uses adaptation as a story(re)telling mode that focalizes the “gay rebel of the Harlem Renaissance,” Richard Bruce Nugent (1906-1987), to Signify on issues of canonization, gate-keeping, mythologizing, and intracultural marginalization. My discussion of Sherman Alexie’s debut film, The Business of Fancydancing, is informed by my own work as an adaptive actor and showcases the power of adaptation in the activation of Native continuance as an inclusive adaptive practice that offers an opportunity for women and queers of color to amend the Spokane/Coeur d'Alene writer-director’s creative authority. Adaptive acts are not only documents, but they document movements, decisions, and sociocultural action. Adaptation Studies must take seriously the power and possibilities of “adaptive acts” and “adaptive actors” from the margins if the field is to expand—adapt—in response to this diversity of adaptive potential.
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Maynard, Tonya A. "A Matrix of Marginalization: LGBT and Queer Women's Experiences in Nerd Spaces." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493893323935791.
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Cocarla, Sasha. "Straddling (In)Visibility: Representations of Bisexual Women in Twenty-First Century Popular Culture." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34608.
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Throughout the first decade of the 2000s, LGBTQ+ visibility has steadily increased in North American popular culture, allowing for not only more LGBTQ+ characters/figures to surface, but also establishing more diverse and nuanced representations and storylines. Bisexuality, while being part of the increasingly popular phrase of inclusivity (LGBTQ+), however, is one sexuality that not only continues to be overlooked within popular culture but that also continues to be represented in limited ways. In this doctoral thesis I examine how bisexual women are represented within mainstream popular culture, in particular on American television, focusing on two, popular programs (The L Word and the Shot At Love series). These texts have been chosen for popularity and visibility in mainstream media and culture, as well as for how bisexual women are unprecedentedly made central to many of the storylines (The L Word) and the series as a whole (Shot At Love). This analysis provides not only a detailed historical account of bisexual visibility but also discusses bisexuality thematically, highlighting commonalities
across bisexual representations as well as shared themes between and with other identities. By examining key examples of bisexuality in popular culture from the first decade of the twenty-first century, my research investigates how representations of bisexuality are often portrayed in conversation with hegemonic understandings of gender and sexuality, specifically highlighting the mainstream "gay rights" movement's narrative of "normality" and "just like you" politics. Finally, it is in recognizing how representations of bisexuality are framed by specific reoccurring
themes/tropes, as well as how these themes/tropes work together within larger social, cultural, and political climates, that it becomes possible to challenge existing gender and sexuality norms and ideals and create a more nuanced and complex understanding of bisexuality.
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Pearson, Wendy G. "Calling home queer responses to discourses of nation and citizenship in contemporary Canadian literary and visual culture /." Connect to this title online, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060123.143327/.
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Thesis (Ph. D.)--University of Wollongong, 2004.Title from PDF title page (viewed on Mar. 6, 2006). Includes bibliographical references (p. 299-323). Also issued as a print manuscript. Print manuscript includes ill. omitted from online version.
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Stephens, David F. "A Family of One's Own: Reconstructing Queer Families of Color in Film." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2187.
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I will focus on the resistance to white heteronormative depictions of the American family occurring within two contemporary films directed by gay black men—The Skinny, directed by Patrik-Ian Polk, and The Happy Sad, directed by Rodney Evans. These movies complicate understandings of black gay male relationships by humanizing the characters and providing clarity about the motivations behind the decisions these characters make. As opposed to simply associating their queerness and immorality, the directors of these films explore what brings people to the various social positions they occupy. In this way, these directors resist the tendency to pathologize either blackness or queerness (and blackness/queerness at the expense of one another). The films I use do not structure family through the heteronormative model of relationships. Of there is no sight or mention of actual biological family members. Despite these factors, the groups of people presented in these films display their love and affection for each other in ways that resist monolithic narratives about queer kinship. Additionally, I will argue that these narratives regarding black homosexuality are not attempting to fit inside the mold of the racialized patriarchal determinants of the family.
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Loist, Skadi [Verfasser], and Joan Kristin [Akademischer Betreuer] Bleicher. "Queer Film Culture : Performative Aspects of LGBT/Q Film Festivals / Skadi Loist. Betreuer: Joan Kristin Bleicher." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2015. http://d-nb.info/1071948296/34.
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Douglas, Erin Joan. "Queer Makings of Femininities in the Twentieth Century." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1283298119.
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Cavcic, Antonija. "Boys' Love for the Love of it: Progressive prosumers and the proliferation of queer culture through Manga." Thesis, Cavcic, Antonija (2017) Boys' Love for the Love of it: Progressive prosumers and the proliferation of queer culture through Manga. PhD thesis, Murdoch University, 2017. https://researchrepository.murdoch.edu.au/id/eprint/37969/.
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Boys’ love (BL) manga (as a genre of Japanese comics) with either homoerotic or homosocial graphics and content, is largely produced by and for female readers. Much like the audacious women writers in Victorian Britain, these amateur female BL artists (dōjin) and their respective consumers in Japan have arguably empowered themselves as a subcultural community, as well as the represented LGBT community, through progressive and often radical means. Although much scholarly attention has focused on the readers’ gratifications and why BL has such a large female readership, little attention has been given to how, or the extent to which, the popularity of BL manga has potentially fostered LGBT visibility; or to the illustrators who have continued to independently publish such content at their own expense. Essenitally, I analyse the positive socio-economic effects and greater significance which lie in autonomous authorship, exclusive fan rituals, and their potential by-product of progression towards equality in terms of gender and sexuality. By comparing content, readership and fandom practices from the Victorian era and modern-day Japan, I demonstrate that the dissemination and consumption of cultural products which cater for and stem from a disempowered gender group may foster an explicitly queer space and its wider tolerance in the community. Determining if and how this phenomenon has fostered the empowerment of traditionally disenfranchised groups in Japan can provide insight into the subtle social and ideological shifts currently underway in Japan—shifts in which gender and sexuality are enmeshed, and occur in a contemporary context of an ageing population which is clinging onto the security found in traditions and conventions, albeit while adapting to the effects of globalisation.
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Watanabe, Yukina. "Queer som doujinshi : En fallstudie av Yonezawa Yoshihiro Memorial Library." Thesis, Uppsala universitet, Institutionen för ABM, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323868.
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This thesis investigates how libraries can build a collection of doujinshi – Japanese fanzines – with a focus on the problematic connection between doujinshi, queer sexualities and pornography. Yonezawa Yoshihiro Memorial Library is one of the few libraries collecting and providing access to doujinshi, including those with extreme pornographic imagery. I conducted qualitative interviews with four library employees to study their views and attitudes towards collection, age regulations, shelving and classification of doujinshi. In addition, I apply queer theory to elucidate how sexual norms are reflected in the library's classification system. Findings show that informants consider the preservation of manga culture as the most important reason to collect doujinshi. Other functions of doujinshi, such as being a way for self-expression without social restrains, are also appreciated. Informants’ attitudes towards collecting and providing access to extreme pornographic doujinshi are not particularly negative, instead resisting censorship, but the fact that the library has extreme pornographic doujinshi is taken up as a reason for the library' s age limit. Moreover, I observe sexual norms surrounding women’s consumption of pornography and that women should link sex and love, and a lack of critical perspectives on such issues. Lastly, informants were open for changes of the library’s classification system for doujinshi, but showed reluctance toward user influence, such as social tagging. This is a two years master’s thesis in library and information science.
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Isoke, Saidah K. "“Thank God for Hip-hop”: Black Female Masculinity in Hip-hop Culture." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1492775852958055.
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Dowman, Sarah. "Mapeando la cultura Kruda: Hip-Hop, Punk Rock y performances queer latino contemporáneo." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363463760.
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Campisi, Caitlin. "Homonationalism on TV?: A Critical Discourse Analysis of Queer and Trans* Youth Representations on Mainstream Teen Television Shows." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/24263.
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As representations of queer and trans* youth become increasingly numerous and diverse in mainstream teen television, this thesis explores the social processes of normalization present in the elaboration of queer and trans* youth characters in the 2010-2011 seasons of Pretty Little Liars and Degrassi. The methodology involves a critical discourse analysis of racialized queer youth identities on Pretty Little Liars and white trans* youth identities on Degrassi, complemented by an analysis of their political economy of production and their circulation of discourse surrounding sexuality and gender identity in online youth communities. Drawing upon literature on homonormativity and emerging literature on transnormativity in mainstream media texts, this thesis illustrates that despite their amenability to dominant social power structures, contemporary televisual representations of queer and trans* youth identities achieve meaningful cultural work through the creation of new societal frameworks for youth to engage with non-normative sexualities and gender identities.
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Alegria, Sharla N. "Queer identity? Discussing identity and appearance in an on-line "Genderqueer" community." [Tampa, Fla] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001939.
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Douglas, Erin. "Femme fem(me)ininities a performative queering /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1091803962.
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Sheehan, Brieanne M. "Aging on Wheels: The Role of Age in a Queer Female Biker Community." Oxford, Ohio : Miami University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1260824565.
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Ryerson, Rachael. "Queering Writing Pedagogy: A Multimodal Archive of Composing Queer(ly) in the Writing Classroom." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1501671833271702.
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Marburger, Anna C. "Queer Content in Science Fiction Allegory and Analogue: Is It In Disguise?" Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/609.
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This thesis performs a textual analysis of two for-profit science fiction texts in which the authors implanted queer content: Bryan Singer's X-Men films and James Robert's Transformers comic series, "More Than Meets the Eye". The argument incorporates queer (referring to attraction and gender variance) media representation and western identity politics lenses into its critique.
By interrogating reality through the masquerade of an impossible universe, science fiction affects how subversive a text can be. When authors designate the natural and the unnatural in a strange universe, they designate what and who belongs in our society. Whatever they imagine has an effect on our reality.
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Maaouia, Zakia. "Le posthumanisme exposé : une étude sociosémiotique du corps extrême dans la culture visuelle." Paris 1, 2012. http://www.theses.fr/2012PA010592.
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Le constat sociologique selon lequel le corps est une réalité instable prend tout son sens dans le champ de la culture visuelle. Les imagiers posthumains, qu'ils soient artistes ou publicitaires, inventent des présences corporelles radicales grâce aux différentes potentialités de la société hypermoderne. Les assemblages posthumains sont dès lors les pourvoyeurs de stratégies sociales et culturelles dont la visée est le remodelage incessant des limites du corps et le bouleversement des concepts de « norme » et de « normalité » en tant que catégories hégémoniques. Cette recherche, à travers une démarche méthodologique interdisciplinaire où se croisent les approches culturaliste, sémiotique et compréhensive, s'intéresse aux codéterminations sociales qui ont permis l'émergence du paradigme posthumain dans la culture visuelle. En outre, il s'agit de comprendre en quoi le posthumanisme exposé est une modalité performative d'expression de la corporéité et dans quelle mesure, il est le précurseur de mutations qui concernent à la fois les habitudes visuelles et corporelles des acteurs sociaux.
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Cooper, Steven. ""In My Church We Don't Believe in Homosexuals": Queer Identity and Dominant Culture in Three Texts of the AIDS Era." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3439.
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My thesis seeks to examine the relationship that exists between queer selfidentification and heterosexual hegemonic/heteronormative power in three works of and about the AIDS era. Working from feminist and queer theory perspectives, I first chart the way in which a problematic identity—be that identity a non-identity of utter invisibility, a sick identity, a dangerous identity, or (most commonly) an identity of utter hedonism disconnected from any notions of attachment, affection, or love beyond the physical sexual act—has been and is still wholly adopted by some. I do this principally with a close reading of Renaud Camus' 1981 novel Tricks, as well as with substantial historical grounding. I assert that this is not just a problem in queer literature, but in queer life which queer literature deeply reflects. Through a close reading of Tony Kushner's play Angels in America: A Gay Fantasia on National Themes, I seek to illustrate the consequences of accepting entirely and without question a constructed and problematic identity for gay men. Historical examination also comes strongly into play through correspondence and personal narratives of men who lived through (and died in) the AIDS era, casualties of war of queer self-definition. Employing a close literary analysis of Larry Duplechan's 1986 novel Blackbird, my thesis seeks to chart a way to a stable, holistic, queer identity negotiated from a position of strength. In a larger sense my thesis explicates constraints upon queer identity intended to limit queer people to a heteronomous, damaged, vulnerable social position. I raise awareness of these constraints in attempt to navigate a way around them with the ultimate destination of this navigation being a perpetually increasing humanization of a historically and institutionally dehumanized population.
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Carrillo, Justine, and Julie Marie Houston. "Exploring Cultural and Linguistic Aspects within the Lesbian, Gay, Bisexual, Transgender, and Queer Youth Community." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/170.
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The purpose of this study was to explore the cultural and linguistic aspects within the Lesbian, Gay, Bisexual, Transgender, and Queer (LGBTQ) youth community. A qualitative research design with an exploratory approach was utilized in this study. An interview questionnaire was created to explore participants’ perceptions and experiences to generate an understanding on LGBTQ culture in practice. The study sample consisted of 12 youth who self‑identify as LGBTQ recruited by snowball sampling. One‑on‑one interviews were conducted, audio‑recorded, per participant consent, and transcribed for thematic analysis. Based on participant narratives, this study found there are cultural considerations that pertain specifically to the LGBTQ community, such as the importance of having family togetherness or personal identity. A key finding was LGBTQ youth sought to create families who provide them with feelings of acceptance, warmth, and belonging. Another key finding was LGBTQ youth are continuously developing and creating new ways of naming themselves to self‑identify and identify others in the community. Implications for social work practice include increasing cultural humility and awareness of the fluidity in the LGBTQ community when working with LGBTQ youth. Future research is needed to understand LGBTQ youth perceptions of cultural sensitivity and social work practice. Finally, it is recommended that researchers use feminist and queer theoretical frameworks when working with the LGBTQ youth population.
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Zhao, Jin. "Imagining Queerness: Sexualities in Underground Films in the Contemporary P. R. China." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/73.
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In response to the globalizing queerness argument and the cultural specificity argument in queer cultural studies, this thesis examines the emerging modern queer identity and culture in the contemporary People’s Republic of China (PRC) in an intercultural context. Recognizing Chinese queer culture as an unstable, transforming and complex collection of congruent and/or contesting meanings, not only originated in China but also traveling across cultures, this thesis aims to exorcise the reified images of Chinese queers, or tongzhi, to contribute to the understanding of a dynamic construction of Chinese queerness at the turn of a new century, and to lend insight on the complicity of the elements at play in this construction by analyzing the underground films with queer content made in the PRC.
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Aaron, Sophie M. "Love in the Time of Corona: Changes to Oberlin Hookup Culture During the COVID-19 Pandemic." Oberlin College Honors Theses / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1623939670177554.
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Adams, Amanda Dalla Villa. "“An Alternative Narrative: Memorial Culture, Mourning, and Death in the Work of Felix Gonzalez-Torres, 1987-1995”." University of Cincinnati / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1305892175.
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Hickey, Anna Germaine. "Genderqueer fashion models and their representations of gender in visual culture." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/128297/1/Anna_Hickey_Thesis.pdf.
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Amidst global cultural shifts towards gender diversity, genderqueer fashion models have emerged as an atypical case in a largely heteronormative fashion industry. This project examines the work of four gender diverse models as cultural intermediaries of gender in visual culture. Using methods of interpretive analysis this project provides insights into the genderqueer fashion model's capacity to make social and political agendas visible. Also, the project documents how they facilitate social, cultural and political discussion and influences on the evolving notions of gender, fashion and beauty through their bodily practice.
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Guzman, Maria J. "Grace Jones in One Man Show: Music and Culture." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1187633537.
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