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Journal articles on the topic 'Queer culture'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Gaidash, Anna, and Andrii Mykhailiuk. "DRAG QUEEN CULTURE: THE INTERACTION OF FEMINITY AND THE MALE EGO IN D. H. HONG’S PLAY "M. BUTTERFLY"." LITERARY PROCESS: methodology, names, trends, no. 19 (2022): 33–38. http://dx.doi.org/10.28925/2412-2475.2022.19.4.

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The study's relevance is due to the development and dissemination of works on the culture of a drag queen, as it is understood not only in queer research and literary exploration but also in fiction. The article analyses the interaction of femininity and male ego in D. H. Hwang's play "Madame Butterfly" through the prism of elements of drag queen culture. The study results will also help to outline new interpretations of images in works of art. The cultural-historical method, feminist approach and aspect analysis were used to achieve the goal. The study clarified the meaning and origin of the term "drag queen"; the specifics of the elements of drag queen culture are singled out; the term "femininity" and the features inherent in the feminine model of behaviour are outlined; the artistic image and worldview of the protagonists (M. Butterfly and R. Gallimard) are characterised. During the research, it appeared that M. Butterfly represents drag queen culture because it has elements of "transformation", but not in its traditional sense. Most of the representatives of this culture use reincarnations for entertainment purposes, but in our case, the main character uses these techniques to manipulate and deceive. In addition, the peculiarities of Gallimard's worldview were outlined, which allowed us to understand the peculiarities of the interaction of femininity and the male ego between the protagonists. Analysis of communicative acts between the main characters of the work showed that they represent the confrontation of two cultures: Western and Eastern (Orientalism). It is worth noting that the stereotypical and superficial perceptions of both cultures played an essential role in shaping the protagonists of Madame Butterfly. Given the result, we see prospects in further study of drag queen culture, as it will not only improve the film adaptation of works and more thoroughly study the artistic images of the characters. Our study also has the prospect of growth in the field of queer research, as members of the drag queen culture primarily identify themselves as queer people.

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Chatzipapatheodoridis, Constantine. "Beyoncé’s Slay Trick: The Performance of Black Camp and its Intersectional Politics." Open Cultural Studies 1, no. 1 (December 20, 2017): 406–16. http://dx.doi.org/10.1515/culture-2017-0038.

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Abstract This article pays attention to African-American artist Beyonce Knowles and her performance of black camp. Beyonce’s stage persona and performances invite multiple ideological readings as to what pertains to her interpretation of gender, sexuality, and race. While cultural theory around the icon of Beyonce has focused on her feminist and racial politics as well as her politicization of the black female body, a queer reading applied from the perspective of camp performance will concentrate on the artist’s queer appeal and, most importantly, on her exposition of black camp, an intersection of feminist, racial and queer poetics. By examining video and live performances, the scope of this article is to underline those queer nuances inherent in Beyonce’s dramatisation of black femininity and the cultural pool she draws from for its effective staging. More specifically, since Beyonce plays with tropes and themes that are common in camp culture, her performance relies on a meta-camping effect that interacts with African-American queer culture. This article, thus, traces black queer traditions and discourses in the artist’s praxis of black camp.

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Lopes, Denilson. "Desafios dos Estudos Gays, Lésbicos e Transgêneros." Comunicação Mídia e Consumo 1, no. 1 (September 15, 2008): 63–73. http://dx.doi.org/10.18568/cmc.v1i1.5.

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Resumo: Este ensaio introduz algumas questões relativas aos estudos feministas, gays, lésbicos, transgênecos e teoria queer na busca de contribuições teórico-metodológicas na análise da cultura contemporânea. Palavras-chave: Estudos gays e lésbicos, estudos transgêneros, teoria queer, cultura. Abstrat: This essay introduces some issues related tofeminist studies, gay and lesbian studies, transgender studies and queer theory in the search of theoretical and methodological contributions in the analysis of contemporary culture. Key-words: Gay and Lesbian Studies, transgender studies, queer theory, culture

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4

Sliwinska, Basia. "Art and Queer Culture." Third Text 27, no. 6 (November 2013): 808–10. http://dx.doi.org/10.1080/09528822.2013.860794.

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5

Amin, Kadji. "Taxonomically Queer?" GLQ: A Journal of Lesbian and Gay Studies 29, no. 1 (January 1, 2023): 91–107. http://dx.doi.org/10.1215/10642684-10144435.

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Can taxonomy—a scientific method critiqued for its utility within Western imperial projects of racial and species classification—be queered? This article mines the tensions between the hostility to taxonomy within critical theory and the taxonomical renaissance within contemporary queer, trans, and asexual vernacular systems of classification. Contemporary queer uses of taxonomy express a shared utopian vision of combinatorial queerness, in which sexual, gender, and relational liberation occur through a multiplying menu of increasingly fine-grained identity options. The article examines the untimely echoes between contemporary queer classification systems and German sexologist Magnus Hirschfeld's 1910 taxonomy of “sexual intermediaries,” which forwards a combinatorially lush kaleidoscope of sexual and gendered possibilities that outflanks even contemporary developments. The goal is to simultaneously challenge the notion that sexology is contrary to queer projects and to consider the consequences of acknowledging sexology as a living inheritance of contemporary queer and trans culture. The conclusion asks how Native and racialized queers might resist the universalizing logics of taxonomy from within.

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6

Payne, Robert. "Lossy Media: Queer Encounters with Infrastructure." Open Cultural Studies 2, no. 1 (November 1, 2018): 528–39. http://dx.doi.org/10.1515/culture-2018-0048.

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Abstract In an era of “frictionless” digital environments, this article proposes a queer analysis of the “lossy” materialities of mediated encounters. Building on recent scholarship on media failure and media infrastructures, it will argue that moments of disruption and deterioration commonly experienced by users reveal the failure of overlapping social and technical infrastructures to ensure lossless transmission of normative fantasies of subjectivity and mediated relationality. Highlighting the queer instability of material assemblages, it will pay close attention to how the articulation of bodies, objects, and spaces in particular scenes of lossy encounter generates unplanned affective intensities which may disorient and undo the consuming subject. Borrowing the concept of lossy file compression and adapting it for this purpose, the article’s broad aim is to offer a queer critical framework for inhabiting the contingent, emergent, and dissipating energies of media encounters beyond the capital-driven instrumentalisation of agency and the neoliberal imperatives of update culture.

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7

Stacey, Judith, Mary Bernstein, and Renate Reimann. "Queer Families, Queer Politics: Challenging Culture and the State." Contemporary Sociology 31, no. 4 (July 2002): 411. http://dx.doi.org/10.2307/3089078.

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8

See, Sam. "“Spectacles in Color”: The Primitive Drag of Langston Hughes." PMLA/Publications of the Modern Language Association of America 124, no. 3 (May 2009): 798–816. http://dx.doi.org/10.1632/pmla.2009.124.3.798.

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The chapter “Spectacles in Color” in Langston Hughes's first autobiography, The Big Sea (1940), envisions modernist Harlem culture as a drag performance and offers a useful rubric for understanding Hughes's The Weary Blues (1926), a lyric history of that culture whose poems characteristically cross gender, sexual, racial, and even formal lines. The Weary Blues employs a low-down, or nature-based, and down-low, or queer, aesthetic of racial and gender crossing that I term “primitive drag,” an aesthetic that ironically coincides with the stereotypes of African Americans and queers that were propagated by early-twentieth-century sexological science and degeneration theory: namely, that blacks and queers were unnatural and degenerate because they, unlike whites and heterosexuals, exhibited a lack of racial and gender differentiation. Disidentifying with those stereotypes, the primitive drag in The Weary Blues depicts queer feeling as natural and nature as queer, thus offering a productive paradox for rethinking literary histories of modernism and theories of sexuality by the rather Darwinian notion that “the nature of the universe,” as Hughes calls it, is always subject to change, or queering.

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9

Lindner, Katharina. "Review of Queer Film Culture: Queer Cinema & Queer Film Festivals International Conference." Transnational Cinemas 6, no. 1 (January 2, 2015): 97–103. http://dx.doi.org/10.1080/20403526.2015.1014176.

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10

Newhall, Kristine. "“Look at Me! I Can Change Your Tire”." Journal of Bodies, Sexualities, and Masculinities 2, no. 2 (September 1, 2021): 39–56. http://dx.doi.org/10.3167/jbsm.2021.020204.

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Outside of bodybuilding, queer women in fitness and exercise cultures have received little attention in popular discourse and academic research. In this article, I examine how queer use of gym space can inform and reify a queer identity, specifically the enactment of queer female masculinity. I use Jack Halberstam’s work on female masculinity and literature in the fields of cultural studies and sport studies to discuss how queer identity, space, and power operate on the body in the context of fitness culture.

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11

Hennessy, Rosemary. "Queer Visibility in Commodity Culture." Cultural Critique, no. 29 (1994): 31. http://dx.doi.org/10.2307/1354421.

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12

Dahl, Ulrika. "Becoming fertile in the land of organic milk: Lesbian and queer reproductions of femininity and motherhood in Sweden." Sexualities 21, no. 7 (September 12, 2017): 1021–38. http://dx.doi.org/10.1177/1363460717718509.

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This article draws on popular culture, ethnographic materials and mainstream commercials to discuss contemporary understandings of the relationship between fertility, pregnancy and parenthood among lesbians and other queer persons with uteruses. It argues that, on the one hand, same-sex lesbian motherhood is increasingly celebrated as evidence of Swedish gender and sexual exceptionalism and, on the other, queers who wish to challenge heteronormative gender disavow both the relationship between fertility and femininity, and that of pregnancy and parenthood. The author argues that in studying queer family formation, we must move beyond addressing heteronormativity and begin studying how gender, sexuality, race and class get reproduced in queer kinship stories.

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13

Bao, Hongwei. "“Queer Comrades”: Transnational Popular Culture, Queer Sociality, and Socialist Legacy." English Language Notes 49, no. 1 (March 1, 2011): 131–37. http://dx.doi.org/10.1215/00138282-49.1.131.

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14

Bean. "U.S. National Security Culture: From Queer Psychopathology to Queer Citizenship." QED: A Journal in GLBTQ Worldmaking 1, no. 1 (2014): 52. http://dx.doi.org/10.14321/qed.1.1.0052.

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15

Bailey, Aimee. "“Girl-on-girl culture”." Journal of Language and Sexuality 8, no. 2 (August 20, 2019): 195–220. http://dx.doi.org/10.1075/jls.18013.bai.

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Abstract This article investigates the construction of sex advice for queer women as it features on the world’s most popular lesbian website, Autostraddle. Based in the United States, the website is a “progressively feminist” online community for lesbian, bisexual and other queer women. Using multimodal critical discourse analysis and corpus linguistics, this article explores how representations of sexual and gender identity facilitate the construction of homonormativity on the website. It argues that these representations involve a tension between exclusivity and inclusivity. On the one hand, Autostraddle wants to construct an exclusive markedly lesbian subjectivity and a subcultural model of lesbian sex, which is lacking in mainstream culture. On the other hand, it aims to be inclusive of transgender and bisexual women, and to deconstruct the idea of sexual homogeneity. Findings show that Autostraddle discursively negotiates these competing goals to construct a distinctly “queer female” normativity centred on young cisgender feminine lesbians.

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Florêncio, João, and Ben Miller. "Sexing the Archive." Radical History Review 2022, no. 142 (January 1, 2022): 133–41. http://dx.doi.org/10.1215/01636545-9397115.

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Abstract Despite being a widely consumed genre of visual culture, pornography remains a touchy subject in contemporary queer historiography. Queer archives overflow with it, but queer histories don’t. Historically associated with low culture and distrusted by value systems that have tended to privilege the “high” faculties of reason to the detriment of the “base” materiality of the body, its affects and appetites, porn is too rarely approached as a legitimate source with which to think cultural, affective, intellectual, and sexual histories. This article draws from porn studies and queer historiographies to draw some methodological considerations about the value, benefits, and challenges posed by porn archives to the writing of queer subcultural histories. Rather than trying to solve porn’s double ontological status as both documentary and fantasy, the authors locate in that defining feature of the genre porn’s value as a historical source. Simultaneously a document of sex cultures and of the edges of morality, and a historically and culturally situated speculation on what bodies and sex may become, porn offers both cultural critics and historians a rich archive for deepening their knowledge of the intersections of culture, morality, pleasure, community, embodiment, and the politics of belonging.

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17

Rohrer, Melissa, and Sara Austin. "Christ is a magical girl: Queer popular culture and Paradise Lost." Queer Studies in Media & Popular Culture 9, no. 2 (June 1, 2024): 135–50. http://dx.doi.org/10.1386/qsmpc_00125_1.

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In Queer Milton, Volume 10 (2014) of Early Modern Culture, and the subsequent Palgrave collection, queer studies and gender studies scholars argue that intersections of knowledge and power trouble cultural assumptions about sex and gender and, in fact, make a strong case for queering readings of Milton’s poem. Building on this critical thread, we trace the queer pop culture adaptation of Paradise Lost. A narrative of queer desire develops, we argue, culminating in contemporary examples such as Lil Nas X’s video for ‘Montero (Call Me By Your Name)’, and the Netflix shows Lucifer and Sandman. While these examples focus on Satan as the embodiment of queer identification, the centre of our analysis shifts this queer identification to Christ. 2013’s animated movie My Little Pony: Equestria Girls uses Paradise Lost as queer source material for a story about forgiveness and love.

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18

O’Rourke, Michael. "Quantum Queer: Towards a Non-Standard Queer Theory." Identities: Journal for Politics, Gender and Culture 10, no. 1-2 (January 1, 2013): 123–34. http://dx.doi.org/10.51151/identities.v10i1-2.287.

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This essay looks at some potentially fruitful lines of correspondence between Laruelle’s non-philosophy and gender, feminist and queer theories. Drawing on the work of leading Laruelle scholars I seek to outline some highly tentative principles for a non-standard queer theory which would help us to think about democracy, the human, performativity, sexual difference and some other crucial questions for current queer theorizing. Author(s): Michael O’Rourke Title (English): Quantum Queer: Towards a Non-Standard Queer Theory Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013) Publisher: Institute of Social Sciences and Humanities – Skopje Page Range: 123-134 Page Count: 12 Citation (English): Michael O’Rourke, “Quantum Queer: Towards a Non-Standard Queer Theory,” Identities: Journal for Politics, Gender and Culture, Vol. 10, No. 1-2 (Summer-Winter 2013): 123-134.

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19

Somerville, Siobhan B. "Locating queer culture in the Big Ten." Learning and Teaching 6, no. 3 (December 1, 2013): 9–23. http://dx.doi.org/10.3167/latiss.2013.060302.

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This article offers a first-person account of the author's experience teaching an undergraduate course on local queer culture, using her own campus as the site for primary research. The course asks how students might understand the role of Midwestern public universities in the production of queer culture. And how might such knowledge revise understandings of queer culture and its locations, both in the past and in the present? The author describes the course design, the goals of introducing undergraduate students to two scholarly methods (archival research and ethnography) and a number of original research projects undertaken by students.

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Wagner, Travis L., and S. Gavin Weiser. "Queer Digital Forensics as Methodology for Documenting Queer Culture at Higher Education Institutions." Departures in Critical Qualitative Research 12, no. 4 (2023): 102–32. http://dx.doi.org/10.1525/dcqr.2023.12.4.102.

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This article proposes queer digital forensics as a method for exploring the discursive manifestations of queerness across multiple institutes of higher education (IHEs). Informed by historical frameworks of queerness within IHEs and contemporary understandings of queer archival theory, the article identifies queer digital forensics as an innovative tool to highlight both the resilience and absence of queerness within geographically and ideologically diverse IHEs. Through analysis of four IHEs, the article finds that the imagined presence of queerness on a campus often contradicts queer visibility within digital settings while offering new ways to enumerate queer visibility, even within fiercely anti-queer IHEs.

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McNicholas Smith, Kate, and Imogen Tyler. "Lesbian brides: post-queer popular culture." Feminist Media Studies 17, no. 3 (February 2, 2017): 315–31. http://dx.doi.org/10.1080/14680777.2017.1282883.

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22

Welker. "Introduction: Queer(ing) Japanese Popular Culture." Mechademia: Second Arc 13, no. 1 (2020): 1. http://dx.doi.org/10.5749/mech.13.1.0001.

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23

Slade, Laurie. "Social Dreaming for a Queer Culture." Self & Society 33, no. 3 (November 2005): 32–40. http://dx.doi.org/10.1080/03060497.2005.11083885.

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24

Hazarika, Anupam. "Queer in Europe :." Jindal Journal of International Affairs 2, no. 1 (August 1, 2012): 195–97. http://dx.doi.org/10.54945/jjia.v2i1.37.

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The term queer is much contested and forms certain ripples around it when thrown in any sphere of any society. The book ‘Queer in Europe’ thus, tries to explain with what connotation did the term settle in the periphery of Europe. ‘Queer in Europe’ clears a lot of misconceptions that one has about the concept of queer. It is not a set of instructions or directions; rather it’s an in-depth analysis about the concept of Queer in Europe. The book deals with the progress of sexuality and culture in Europe. The main purpose of its text is to highlight and observe the divisions between one clear line of consistent antiquity, regulation, lived experience and the cultural change of European queer culture.

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Eppley, Charles. "Queer Trash." Resonance: The Journal of Sound and Culture 4, no. 2 (2023): 198–209. http://dx.doi.org/10.1525/res.2023.4.2.198.

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“Queer Politics & Positionalities in Sonic Art” series editor Charles Eppley speaks with Michael Foster and Richard Kamerman of Queer Trash, a curatorial platform based in New York City that features experimental art, music, and performance by LGBTQ2S+ artists. They discuss the concepts of queer sound and listening, methods of improvisation, queer identity and expression, tokenization and exploitation, DIY culture, and the limits of arts funding for queer sonic artists.

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Ryan, Kathryn (Rin), and Antoaneta Tileva. "Taking the past out of the pastoral: TikTok’s queer ‘cottagecore’ culture and performative placemaking." Queer Studies in Media & Popular Culture 7, no. 3 (September 1, 2022): 165–76. http://dx.doi.org/10.1386/qsmpc_00077_1.

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TikTok’s ‘cottagecore’ subculture has been fertile ground for the growth of a new queer rural imaginary. Through performative elements such as food, dress, imagery and Sapphic sentiments, queer women on TikTok curate an idyllic and idealized vision of rural queer life and lay claim to it. Cottagecore as a performative practice allows queer people to revel in a fictional frontier lifestyle for their own enjoyment, without concern for its actualization. This article outlines the way in which queer TikTokers play/pretend the pioneering landscape, which previously has been dominated by hetero voices. By populating these virtual spaces and queer-coding forms of dress and performance, they claim their right to belong in frontier and pioneering narratives and figuratively, if not literally, stake claim to the rural terrain.

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Martínez-Expósito, Alfredo. "Spanish queer cinema / Crossing through Chueca: lesbian literary culture in queer Madrid." Journal of Spanish Cultural Studies 18, no. 1 (January 2, 2017): 125–30. http://dx.doi.org/10.1080/14636204.2016.1274497.

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28

Belmont, Cynthia. "Organic Transitioning and Queer Topophilia in Paul Takes the Form of a Mortal Girl." Feminist Formations 35, no. 2 (June 2023): 154–73. http://dx.doi.org/10.1353/ff.2023.a907925.

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Abstract: Andrea Lawlor's (2017) historical picaresque novel Paul Takes the Form of a Mortal Girl tracks the ephemeral embodiments and identifications of Paul Polydoris, a gender-fluid, shape-shifting anti-hero who adapts to queer environments across the United States during 1993–1995, a time when gay hedonism, lesbian feminism, punk anti-homonormativity, and LGBTQ responses to AIDS combined to make a complex heyday of queer culture. Paul exemplifies "organic" transitioning in that his gender processes complicate the culture/nature binary, resist anthropocentrism, emphasize empathetic interrelation with other organisms, and privilege understanding of the complex involvement of biology, culture, and individual will in transition. Paul's body is an enchanted site of meaning that is created in situ and in which he is then positioned to participate in local culture, moving the concept "sense of place" from green trope to queer fantasy of limitless engendering. Approaching the novel from a queer ecological/ecofeminist perspective, this paper argues that as a magical, marginal bricoleur who assembles performative selves from biological forms and cultural references via passionate liminal engagement with queer spaces, Paul inhabits a self-directed transness that challenges conventional understandings of the "natural" and the "human," modeling a dynamic, queer topophilia.

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Denzel, Valentina. "Ah!Nana’s Fairytale Punk-Comics: From the Comtesse de Ségur’s “Histoire de Blondine, Bonne-Biche et Beau-Minon” to Nicole Claveloux’s “Histoire de Blondasse, de Belle-Biche et Gros Chachat”." Open Cultural Studies 5, no. 1 (January 1, 2021): 235–47. http://dx.doi.org/10.1515/culture-2020-0136.

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Abstract During its brief existence from 1976 to 1978 the French underground feminist magazine Ah!Nana represented a powerful medium to discuss various topics related to women, sexuality, and discrimination. One of its main goals was to challenge traditional (literary) female role models, including housewives, submissive mothers, and “damsels in distress.” Through the adaptation of fairy tales, a genre particularly suited through its imaginative worlds to challenge preconceptions and norms, Ah!Nana deconstructed and questioned binary gender roles and heteronormativity. This article analyzes cartoon artist Nicole Claveloux’s queer adaptation of the nineteenth-century fairy tale “Histoire de Blondine, Bonne-Biche et Beau-Minon” (Blondine, the Good Doe, and the Gallant Cat) by the Comtesse de Ségur. Claveloux addresses her queer parody to an adult audience, and conveys a new perspective on gender, sexuality, and humanness that is in line with Ah!Nana’s promotion of second-wave feminist standpoints and punk culture. She advocates the exploration of new sexual pleasures, and the disruption of bourgeoisie values, including binary gender roles.

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Ryan, Jamie. "Skating on Thin White Ice: Imagining a Queer Futurity in Hockey." TOPIA: Canadian Journal of Cultural Studies 42 (May 2021): 132–52. http://dx.doi.org/10.3138/topia-42-010.

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(Queer) women’s hockey and (men’s) hockey culture often exist in a recursive relationship whereby (queer) women’s hockey is complicit with the problematic associations of hockey and its culture in the present, while also producing an alternate vision of hockey that is feminist, communal, loving, and egalitarian, and extends into a future that is becoming. In this article, the term hockeynormativity communicates how hockey normalizes a white, heterosexual nationalism, and I also posit that Judith Alguire’s overlooked 1995 women’s hockey novel, Iced, is a work of queer futurity that envisions queer women’s hockey as a potentiality that reaches beyond the here and now (of hockey and nationhood) and towards utopia. This article ultimately proposes that thinking through queer (women’s) hockey as a utopian process, rather than simply a variation of men’s hockey, could allow for queerness rather than hockey culture to construct new possibilities for the (women’s) game in the here and now that extend into potential futures.

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Kean, Jessica. "Coming to terms: Race, class and intimacy in Australian public culture." Sexualities 22, no. 7-8 (October 23, 2018): 1182–96. http://dx.doi.org/10.1177/1363460718770452.

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In queer theory ‘heteronormativity’ has become a central tool for understanding the social conditions of our sexual and intimate lives. The term is most often used to shed light on how those lives are patterned in a way that shapes and privileges binary genders and heterosexual identities, lifestyles and practices. Frequently, however, ‘heteronormativity’ is stretched beyond its capacity when called upon to explain other normative patterns of intimacy. Drawing on Cathy Cohen’s (1997) ground breaking essay ‘Punks, bulldaggers and welfare queens: The radical potential of queer?’, this article argues that analysing the political landscape of our intimate lives in terms of heteronormativity alone fails to adequately account for the way some familial and sexual cultures are stigmatised along class and race lines. This article gestures towards examples of those whose intimacies are unquestionably marginalised and yet non-queer, or at least not-necessarily-queer, placing Cohen’s ‘welfare queens’ alongside examples from contemporary Australia public culture to argue for the critical efficacy of the concept ‘mononormativity’ for intersectional analysis.

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32

Crowley, Vicki. "Review: Culture on Display: Mobile Cultures: New Media in Queer Asia." Media International Australia 112, no. 1 (August 2004): 221–23. http://dx.doi.org/10.1177/1329878x0411200117.

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33

Hoogestraat, Jane, and Hillery Glasby. "A Dialogue on the Constructions of GLBT and Queer Ethos: “I Belong to a Culture That Includes …”." Humanities 8, no. 2 (May 16, 2019): 97. http://dx.doi.org/10.3390/h8020097.

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Invoking a dialogue between two scholars, authors Jane Hoogestraat and Hillery Glasby discuss the exigence for, construction of, and differentiation between LGBT and queer ethos. Drawing from Larry Kramer’s The Normal Heart and the construction of a gay identity, the text explores connections between queer theory, LGBT(Q) ethos, and queer futurity, ultimately arguing for a more nuanced and critical understanding of the undecidability and performativity of LGBT and queer ethos. In framing LGBT and queer ethos as being at the same time a self and socially constructed and mediated—legitimate and illegitimate—ethos can be understood not only as a site for rhetorical agency, but also as an orientation and a form of activism. Finally, the text offers a case study of Adrienne Rich’s “Yom Kippur,” which is a poem that offers a queer (and) Jewish perspective on identity—from an individual and community level—exhibiting both an LGBT and queer ethos.

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Atay, Ahmet. "Defining transnational queer media and popular culture." Queer Studies in Media & Popular Culture 4, no. 3 (September 1, 2019): 233–39. http://dx.doi.org/10.1386/qsmpc_00009_2.

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35

Hart, Kylo-Patrick R. "Queer nostalgia in cinema and pop culture,." Journal of LGBT Youth 15, no. 1 (November 17, 2017): 85–87. http://dx.doi.org/10.1080/19361653.2017.1392919.

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36

Davis, W. "Queer Family Romance in Collecting Visual Culture." GLQ: A Journal of Lesbian and Gay Studies 17, no. 2-3 (January 1, 2011): 309–29. http://dx.doi.org/10.1215/10642684-1163418.

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37

Stenson, Annis Elizabeth. "Queer Positionality and Researching University Lad Culture." Social Sciences 11, no. 12 (November 30, 2022): 562. http://dx.doi.org/10.3390/socsci11120562.

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This paper reflects on my experiences as a queer researcher investigating the relationship between university lad culture and gender-related violence. Gender-related violence is analysed as a useful conceptual tool for considering lad culture, owing to the relationship between lad culture and sexual violence, LGBT-phobia and the privileging of white, young, heterosexual men within lad culture. Using reflections from my doctoral case study research, in which I collected data from self-identified ‘lads’ (5 in-depth interviews), I will consider the challenges and benefits of my researcher position in relation the research methodology. Then, using a re-analysis of interviews, I will argue that my researcher position led to certain presentations of lad culture from my participants. Self-Identified Lad (SIL) participants presented themselves as distant from lad culture, showed queerness/hid homophobia within lad culture and were willing to discuss sexual violence. While the case study yielded only a small sample of SILs, a benefit of my researcher position is that this project was the first to conduct interviews with LGB lads and one female lad. My queer feminist position has therefore produced a unique insight into lads who identify with lad culture but discursively position themselves as fringe members. This contributes to theorisations of a laddish continuum, and allows us to consider why some self-identified lads are on the fringes, and what this tells us about lad culture.

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Teman, Eric D. "Stifled [Queer] Voices." Cultural Studies ↔ Critical Methodologies 18, no. 2 (June 23, 2016): 133–39. http://dx.doi.org/10.1177/1532708616655819.

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Issues of bullying, suicide, self-expression, self-acceptance, self-harm, among others, within the gay, lesbian, bisexual, transgender, queer, questioning, ally, and others (GLBTQQA+) culture are explored through ethnodrama. I show the suffering, the silenced voices, and the pain endured by GLBTQQA+ college students in rural Wyoming. I act as a story- reteller, where I creatively and strategically edit the interview transcripts to maintain the narrative. The result is an ethnodrama.

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Trento, Francisco. "Queering the Ghosts of Typicality: The Disruptive Potential of Fabian Ludueña’s Philosophy." Open Cultural Studies 4, no. 1 (May 20, 2020): 74–83. http://dx.doi.org/10.1515/culture-2020-0007.

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AbstractAccording to the philosopher Fabián Ludueña, before biopolitics, Rome and Greece put in motion the zoopolitics of an Anthropotechnical machine. The practice of expositio is the foundational zoopolitical human gesture. It consisted of leaving new-born children exposed at street markets to be sold as slaves, or in nature, left to survive (or die). The spectres of those body-minds still haunt our onto-epistemologies: by creatively fabulating with Ludueña’s work, I suggest looking back to the broken chains of the production of able bodies instead of perpetuating the reproductive futurity. Ludueña’s work investigates how and why the figure of the spectre gradually disappeared from the discursive milieu, and why it needs to be brought back into the spotlight. Its potential resides in its existence between binary categories like God and human, man and animal, male and female. It queers, defying epistemological boundaries, what it means to be dead or alive. Melanie Yergeau employs the term “neuroqueer” to talk about the non-neurotypical and queer subjectivities that are a continuum of indiscernibility and are violently dislodged into binary categories. In the conclusion, I argue for operationalising the concept of the spectre to help to short-circuit the able-neurotypical and heteronormative futurism, looking back to the ghosts of the exposed children.

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Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies, no. 14 (October 15, 2017): 123. http://dx.doi.org/10.25038/am.v0i14.211.

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Starting from the general theory of identity, gender theory, queer theory and theory of bio/necropolitics, as theoretical platforms, in a few case studies I will analyze the Pride Parade as a form of manifestation of gender body and queer body representations in visual arts, and gender and queer body representations in mass media. My hypothesis is that the key for understanding the chosen case studies is in understanding the relation between their aesthetics, political and social interventions. This will consider political involvement, social injustice, alienation, stereotypes on which ideological manipulations are based etc., as well as the creative strategies used for moving the borders of visual art in searching for authentically-performed creative expressions and engagements. In the time we live it is necessary for the politicization of art to use queer tactics, which work as political strategies of subversion of every stable structure of power. Queer tactics, in my opinion, are weapons in disturbance of the stable social mechanisms, which every power tries to establish and perform over any ‘mass’, in order to transform it to race, gender, tribe, nation or class. Article received: June 6, 2017; Article accepted: June 20, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Kesić, Saša. "Theory of Queer Identities: Representation in Contemporary East-European Art and Culture." AM Journal of Art and Media Studies 14 (2017): 123-131. doi: 10.25038/am.v0i14.211

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Eklund, Tof. "Uncanny, abject, mutant monster: From Frankenstein to Genderpunk." Australasian Journal of Popular Culture 10, no. 1 (December 1, 2021): 79–101. http://dx.doi.org/10.1386/ajpc_00040_1.

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This article starts with the key figure of Frankenstein’s monster and traces it from its tragic Gothic origins to its use in transphobic scholarship and on to its reclamation both by queer scholars and a growing trend in queer culture towards claiming monsters and monstrosity as their own. Gothic and psychoanalytic understandings of monstrosity, the uncanny and the abject are explored in relationship to queer theory about performativity, failure and ‘anarchitectural’ identity formation. The social media phenomenon ‘the Babadook is Gay’ and the figure of the mutant in popular culture bridge to the new Gothic and the formulation of the ‘genderpunk gayme’ as an aesthetic and political form with a commitment to queer acceptance and intersectional solidarity.

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Loureiro, Gabriela Silva. "To be Black, Queer and Radical: Centring the epistemology of Marielle Franco." Open Cultural Studies 4, no. 1 (May 8, 2020): 50–58. http://dx.doi.org/10.1515/culture-2020-0005.

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AbstractThe aim of this article is to pay tribute to Marielle Franco, a Brazilian LGBTQ+ Black activist from the favela who was brutally executed in March 14, 2018. Taking Marielle’s life and death as a case study, I will demonstrate how she embodied Black feminist theory and practice and how her execution can be better addressed by situating it within the context of spatialities of race and the necropolitical governance of Rio de Janeiro.

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Formato, Giuseppe. "The Shift to a Queer Pedagogy in the Italian-Language Classroom." Journal of Language and Cultural Education 9, no. 1 (March 1, 2021): 1–11. http://dx.doi.org/10.2478/jolace-2021-0001.

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Abstract Instructors of Italian are tasked with teaching not only the language, but also the culture. However, critical matters such as sexual identity are frequently not addressed in the Italian-language classroom. Current Italian-language pedagogy solely focuses on language-acquisition proficiency via heteronormative discourses, ignoring the more-diverse reality of Italian culture. This article aims to showcase how using a queer pedagogy based on queer theory can affect learners’ language acquisition and understanding of Italian culture. I used memoing and personal experiences as an Italian instructor to analyse the related literature. I propose that current pedagogy and curricula silence the lesbian-gay-bisexual-transgenderquestioning/queer-intersex-asexual (LGBTQIA+) community, causing exclusion, anxiety and sometimes harassment from others. Open discussion through queer pedagogy would create critical conversations, allowing for the inclusion of all learners and topics. Italian instructors should promote these conversations, question the standard Italian-language pedagogy and use materials that are inclusive of LGBTQIA+ members.

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Ivanchikova, Alla. "On Henri Lefebvre, Queer Temporality and Rhythm." Identities: Journal for Politics, Gender and Culture 5, no. 1 (January 1, 2006): 151–70. http://dx.doi.org/10.51151/identities.v5i1.175.

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Author(s): Alla Ivanchikova | Ала Иванчикова Title (English): On Henri Lefebvre, Queer Temporality and Rhythm Title (Macedonian): За Анри Лефевр, Queer врееменост и ритам Translated by (English to Macedonian): no record Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 5, No 1 (Winter 2006) Publisher: Research Center in Gender Studies - Skopje and Euro-Balkan Institute Page Range: 151-170 Page Count: 20 Citation (English): Alla Ivanchikova, “On Henri Lefebvre, Queer Temporality and Rhythm,” Identities: Journal for Politics, Gender and Culture, Vol. 5, No 1 (Winter 2006): 151-170. Citation (Macedonian): Ала Иванчикова, „За Анри Лефевр, Queer врееменост и ритам“, Идентитети: списание за политика, род и култура, т. 5, бр. 1 (зима 2006): 151-170.

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Gingras-Olivier, Marie-Claude. "Les pratiques artistiques queers et féministes au Québec." Articles 27, no. 2 (January 5, 2015): 153–69. http://dx.doi.org/10.7202/1027923ar.

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L’art et le politique entretiennent un dialogue prolifique qui nous renseigne, notamment, sur divers enjeux féministes de l’actualité québécoise. À partir d’oeuvres choisies, l’auteure observe certains effets de cette conjoncture, s’activant dans le milieu artistique comme dans la rue. En analysant le travail des artistes Virginie Jourdain, Florence S. Larose, Coco Riot et Elisha Lim, elle aborde différentes thématiques comme la justice reproductive, les politiques du genre, le rapport entre « culture populaire » et « sous-culture », de même que la pertinence de décentrer la critique féministe et la critique queer, comme l’ont proposé les queers of color, par exemple.

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Marconi, Dieison, and Gabriela Machado Ramos de Almeida. "In search of a queer pathos: Connections between Aby Warburg and Queer Studies." Acta Poética 44, no. 2 (June 20, 2023): 149–69. http://dx.doi.org/10.19130/iifl.ap.2023.2/100x26s477.

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The paper investigates connections between queer studies and the contributions of Aby Warburg to image theories, specifically the notion of time as a fundamental conceptual operator in the work of Warburg and his main exegete, Georges Didi-Huberman, from whom we sought help in the endeavor of envisioning a queer pathos that would survive in visual culture. Time is also at the core of a certain criticism by some authors of queer studies to the notion of chrononormativity as biopolitical regulation. This paper attempts to understand how Warburgian notions of Nachleben and Pathosformel help to investigate how abject and anachronistic gestures which keep reappearing as a queer symptom in culture, disorganizing a “natural model” of history of art and breaking with the history of progress that organizes relations between gender, body and sexuality according to disciplinary temporal schema.

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Ria Lestari, Ummu Fatimah. "PERFORMATIVITAS QUEER DALAM NOVEL CALABAI KARYA PEPI AL-BAYQUNIE (KEBERAGAMAN GENDER MASYARAKAT BUGIS DALAM KARYA SASTRA)." Kibas Cenderawasih 17, no. 2 (October 1, 2020): 103–14. http://dx.doi.org/10.26499/kc.v17i2.290.

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Karya sastra sebagai tiruan realitas kehidupan manusia terepresentasi dalam novel Calabai karya Pepi Al-Bayqunie. Novel ini berlatar belakang kehidupan masyarakat Bugis di Sulawesi Selatan. Penelitian ini membahas tentang performativitas queer dalam novel Calabai melalui queer theory Judith Butler.Menurut Butler, performativitas adalah kondisi alamiah bagi manusia dalam menampilkan tubuhnya (fisik). Bahasan mengenai jenis kelamin (sex), gender, dan orientasi seksual adalah konstruksi sosial yang dapat bersifat cair, tidak alamiah, dan labil.Performativitas queer dalam narasi pengarang novel Calabai ditandai sebagai penampilan yang alamiah dan ditampilkan berulang-ulang oleh tokoh-tokoh cerita yang dianggap queer, yaitu calabai dan bissu. Bissu dikonstruksi oleh budaya sebagai gender ”bukan gender”dalam lingkungan sosialnya. Melalui narasi novel ini, masyarakat Bugis memiliki dan mengakui adanya gender kelima (bissu) dalam kebudayaan mereka. Narasi dalam novel Calabai mengungkapkan penampilan alamiah bissu yang terus diulang melalui diskursif masyarakat sekian lama, sehingga bissu terkonstruksi dalam kebudayaan Bugis sebagai gender queer. Literary works is an imitation of the reality of human life is represented in Calabai by Pepi Al-Bayqunie. This novel takes the setting of Buginese community lifein South Sulawesi. This research discusses the queer performativity in novel Calabai through queer theory from Judith Butler. According to Butler, performativity is a natural condition for man in displaying his (physical) body. Discussion about sex, gender, and sexual orientation is a social construct that can be fluid, unnatural, and unstable. Performativity queer in Calabai's narratives is characterized as a natural appearance and repeatedly displayed by the characters of the story considered queer, calabai and bissu. Bissu was constructed by culture as gender "not gender" in its social environment. Through its narratives, Buginese society owns and recognizes the existence bissu as the fifth genderin their culture. Its narratives reveal the natural appearance of bissu which has been repeated over the discursive society for so long that bissu was constructed in Buginese culture as a gender queer.

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Loji, A. C. "Let’s dance: Diversified depictions of queerness in ensemble dance music videos." Queer Studies in Media & Popular Culture 6, no. 1 (March 1, 2021): 35–54. http://dx.doi.org/10.1386/qsmpc_00043_1.

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As delineations of queer and LGBT culture continue to be complicated in academic and community settings, queer musicians are pushing the boundaries of their own gestural expression within their music videos and utilizing the medium of dance to further broaden their self-definitions. Using choreographed group dance, a common convention in mainstream music videos, Sam Smith, Janelle Monáe and Christine and the Queens (and their production teams) make particular creative choices that allow them to expand expressions of identity and solidarity within both the queer community and society at large. In this article, I employ detailed analysis of the aesthetic qualities of three music videos and synthesis of scholarly perspectives as they relate to queer expression to argue that the creative freedom and collaboration inherent to the ensemble dance form provide a rich platform through which these artists can experiment with fluid conceptions of their identities and bring to popular culture the kinds of non-determinative outlooks explored in conceptualizations of queer theory.

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Crookston, Cameron. "Can I Be Frank with You?" GLQ: A Journal of Lesbian and Gay Studies 27, no. 2 (April 1, 2021): 233–52. http://dx.doi.org/10.1215/10642684-8871677.

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When Fox 21 Television Studios announced that Laverne Cox would play the role of Frank N. Furter in their 2016 The Rocky Horror Picture Show: Let’s Do the Time Warp Again, most public response circled around how Cox’s visible political identity as a trans woman spoke to the problematic nature of Rocky Horror’s language and dated identity politics. Released in 1975, Richard O’Brien and Jim Sharman’s The Rocky Horror Picture Show has been a touchstone of queer popular culture for more than forty years. Rocky Horror is constructed as a self- conscious pastiche of multiple cultural moments and queer coded pieces of popular culture; Gothic literature, classic Hollywood film, science fiction B movies, Glam Rock, and drag all mingle in the queer cultural collage that makes up the show’s dramaturgy. As such, the scope of Rocky Horror serves as a kind of performative queer archive, collecting and performing generations of queer culture. However, in addition to offering a dense collection of queer cultural artifacts, Rocky Horror has also inherited many of the complicated representational aspects of its sources, such as the racist coding and simultaneous racial erasure of Gothic and horror conventions as well as rapidly changing and often conflicted trans identity politics of the mid- twentieth century. These problematic appropriations and omissions become all the more salient in light of Cox’s 2016 performance. In this article, Crookston examines how Rocky Horror has functioned as a performative queer cultural archive and how Danny Ortega’s remake, starring Cox, challenges, complicates, and excavates O’Brien’s original historiographic dramaturgy.

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Ben Daniel, Tallie, and Hilary Berwick. "Queer In/Security." GLQ: A Journal of Lesbian and Gay Studies 26, no. 1 (January 1, 2020): 129–40. http://dx.doi.org/10.1215/10642684-7929157.

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This dossier names “queer security studies” as a new field that investigates what security and safety means to queer and feminist studies, critical military studies, and broad progressive movements. What counts as safety, and for whom? What kinds of material practices can scholars and activists engage with to make the world more secure for the most vulnerable? What are the repercussions of those practices? The dossier takes on these questions through discussions of rape culture, risk management and health in the contemporary US American family, the impact of neoliberalism on sexual citizenship in the United States and abroad, and narratives of safety in authoritarian systems like the state and the prison.

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