Dissertations / Theses: 'Queer writing'

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Cummings, Ronald Bancroft. "Queer marronage and Caribbean writing." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3385/.

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This thesis focuses on the writings of Michelle Cliff, Dionne Brand, Patricia Powell and Shani Mootoo and their representations of queer marronage. In the texts discussed, I examine how these writers draw on the trope of marronage to call attention to ongoing neo-colonial, power structures, sexual hegemonies and the various strategies of social negation which curtail and regulate queer Caribbean lives. In my readings of these texts, I pay particular attention to their narration of queer experience in relation to the time of prohibition, crisis and social death which gave rise to New World Maroon communities in the context of slavery. In bringing these two moments into conversation, these texts not only map the operations of parallel and persisting structures of power, they also narrate and acknowledge shared responses across time. In doing so they open up a critical space into which this work intervenes. This thesis seeks to outline the shared practices of resistance by queers and maroons, their strategies of community, their conditions and politics of belonging and their practices of survival.

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Cheung, Yuk-ting, and 張旭廷. "The glocal queer in Singaporean gay writing." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46701114.

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Robinson, Sophie. "Queer time & space in contemporary experimental writing." Thesis, Royal Holloway, University of London, 2012. http://repository.royalholloway.ac.uk/items/cc29c04e-ae44-3cba-70c2-94844bfa694b/1/.

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The aim of this practice-based PhD is to develop the theory and practice of a queer poetics. In this thesis I will be looking at the work of four contemporary experimental writers: Abigail Child, Dodie Bellamy, Caroline Bergvall and kari edwards. Specifically, I will be addressing representations of time and space in contemporary queer poetic practice. Chapter One draws on recent, queer revisionings of temporality in order to examine representations of time in the work of Abigail Child and Dodie Bellamy. I will particularly be focusing on the relationship between acts of temporal disruption and queer history, arguing that modes of experimental poetic practice might lend themselves well to representations of queer temporality. In Chapter Two, I turn to the relationship between queer theory, phenomenology and experimental writing. Through close readings of Caroline Bergvall and kari edwards alongside these theoretical texts, I will propose that forms of queer space are generated by these writers. I will argue that this is achieved through an innovative approach to book and page space, and through the introduction of queer bodies into public and private hegemonic spaces. Alongside my close readings of these four writers, I will be discussing my development of a queer poetic practice in SHE!, the manuscript which accompanies this thesis. In Chapter One, I will discuss my use of collage, genre and repetition to create anachronistic and looping forms of queer time. In Chapter Two, I will discuss my use of collage to queer both the material site of the book and the textual representations of domesticity that occur in the text. Finally, I will propose that these queer tactics of writing might be linked to a wider political project of subcultural political action; that the queer ‘other' can be seen as a model for resisting hegemonic control, and that queer subcultures can suggest alternative ways of being in the world, outside of the realms of patriarchal, capitalist and heterosexual hegemony.

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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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Gunn, Maja. "Body Acts Queer." Licentiate thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-123.

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Body Acts Queer is an exploration of the performative and ideological functions of clothes with regard to gender, feminism and queer. It is an artistic, practice-based thesis in the field of fashion and design. The thesis includes three projects: On & Off, If you were a girl I would love you even more and The Club Scene. In these projects I, using text and bodies, work with acts in which clothes have a fundamental role. By exploring bodily experiences of clothes, I investigate the clothes’ performative and ideological functions, with a focus on cultural, social and heteronormative structures. Working with clothing and fashion design from a queer feminist perspective, I transform queer and feminist theory into a creative process. The projects presented in this thesis, together with the discussion, suggest a change in the ways in which bodies act, are perceived and are produced within the fashion field, giving examples of how a queer design practice can be performed. In this thesis, queer design is explored as an inclusive term, containing ideas about clothes and language, the meeting point between fiction and reality and the ability to interpretation and bodily transformations – where desire, bodily experiences and interaction create a change.

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Morelli, Maria. "Queer(ing) gender in contemporary Italian women's writing : Maraini, Sapienza, Morante." Thesis, University of Leicester, 2017. http://hdl.handle.net/2381/40306.

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In this thesis I propose a queer reading of the works of three contemporary Italian women writers, Dacia Maraini (1936—), Goliarda Sapienza (1924-1996) and Elsa Morante (1912- 1985), published between the 1970s and 1980s. This timeframe coincides with the height of the Italian pensiero della differenza sessuale, emphasising the socially constructed nature of ‘woman’ and advocating a new symbolic order, with a focus on the redefinition of female identity. Yet, the texts that I examine for my study are not, or not just, feminist manifestoes. Despite sharing many feminist concerns, they also go beyond the dominant theoretical paradigms of the day and venture a step further into the exploration of alternative discourses that challenge taken-for-granted relations between biological sex, gender and sexual desire as fixed patterns for identity formation, thereby problematising the notion of ‘identity’ itself. As such, they appear in tune with more recent formulations arising from a new field of critical theory first elaborated in the North-American context in the early 1990s and now referred to as ‘queer theory’. Used as a framework for my analysis, queer theory will help us understand the critical attitude that Maraini, Sapienza and Morante upheld towards the cultural and philosophical positions of their time, while also suggesting new ways of (re)reading their works nowadays. My thesis will demonstrate that, despite not always sharing the same ideological agendas, these authors manifest a marked unease towards the binary logic implicit to the categories of ‘man’ and ‘woman’, positing these as cultural performances and espousing a queer distrust towards identitarian anchorings.

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Lau, Teresa W. (Teresa Wei-Wei). "Asian Pacific queer reflections in writing : on identity, discourse, and politics." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/10611.

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Glasby, Hillery. "Politics and Pedagogies of Queer Doing and Being in the Writing Classroom: Rhetoric and Composition's LGBTQ Student-Writers." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1470906834.

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LaFollette-Samson, Kristin. "The Queer Art of Writing: (Re)Imagining Scholarship and Pedagogy Through Transgenre Composing." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1551796504076097.

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Gagnesjö, Sara. "A Countryside Perspective of Queer : - queering the city/countryside divide." Thesis, Linköpings universitet, Tema Genus, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-110749.

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This thesis contributes with a countryside perspective to queer research by highlighting the countryside as a context where queer lives are lived. In the thesis I problematize the city/countryside divide with a view of the concept of queer as dependent on space and time. The empirical materials are generated through a workshop on queerness, gathering people living within a countryside context; the materials consist of a discussion and written responses to questions on queerness and the city/countryside binary. Theoretically and methodologically, the thesis is inspired by the notion of agential realism (Barad 2007) and situated knowledge, (Haraway 1988); the use of creative writing, inspired by Richardson (1994 and 2000), has also been central to the development of the thesis. The analysis is carried out within themes focusing on conditions for queerness within city/countryside experienced by people situated in the countryside. The analysis shows how space, time, contexts and intersections are entangled and queering the city/countryside divide.

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Strobel, Wesley/Kaileigh. "(TRANS)FORM: Spoken Word as Queer and Transgender Testimony." Otterbein University Distinction Theses / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=otbndist1620462465460833.

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Waidner, Isabel. "Experimental fiction, transliteracy & 'Gaudy Bauble' : towards a queer avant-garde poetics." Thesis, University of Roehampton, 2016. https://pure.roehampton.ac.uk/portal/en/studentthesis/experimental-fiction-transliteracy--gaudy-bauble(ea7f0b2a-8230-41e8-81fc-b23f8e5cbbd6).html.

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This practice-led thesis situates the experimental novella Gaudy Bauble within the context of interdisciplinary approaches to experimentation which cross the arts, humanities, literature and sciences. The novella and thesis develop a queer avant-garde poetics and writing methodology that I have called transliteracy. Transliteracy builds on my situated and embodied writing practice as a queer identified novelist and nonnative English speaker. I have mobilised the perceived 'otherness' of English to produce narratively and linguistically experimental prose fictions (Waidner, 2010, 2011). Transliteracy develops this practice by sharing agency (the capacity to influence the narrative) across assemblages of human and nonhuman, fictional and real, material and semiotic 'actors', to use the philosopher of science Bruno Latour's (1987, 1999) term for participants in action and process. Transliteracy has allowed me to subvert normative versions of authorship, intentionality, causality, and process in Gaudy Bauble, and to produce a radically subverted version of a plot that is intelligible and captivating to the reader. Gaudy Bauble inaugurates a genre I have called agential realist fiction, which is original in its genre-bending, gender-bending, interdisciplinary and queer avant-garde orientation. The practice was further shaped according to a generative constraint, which dictated that the most marginal actors on and beyond the page were made relevant for the plot. This conceptual apparatus is also reflected in the novella's narrative as a 'not quite' detective story: Gaudy Bauble stages what happens if previously inconsequential actors are allowed to become effectual, rather than actions located within a conventional protagonist. Enacting an "insurrection of subjugated knowledges" (Foucault, 1980, p. 81) in fiction, Gaudy Bauble stages a landscape of reversed power relations, a locally subverted surface of emergence in fiction, where radically nonnormative phenomena and imaginaries can come into being. The thesis connects transliteracy to a wider political LGBTQI+ project and agenda.

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Shamsavari, Sina. "Gay comics and queer male comics in America : history, conventions and challenges." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/gay-comics-and-queer-male-alternative-comics-in-america(710bfb57-7e92-4806-9a9c-c13f51a2cdcc).html.

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This thesis is focused on American gay male comics and queer alternative comics. I argue that the field of gay male comics production is dominated by two key genres: gay porno comics and gay ghetto comics. The conventions and characteristics of these genres help to construct and reinforce a dominant gay male habitus that is both sexual and social. Drawing on interviews as well as close readings of a number of case studies, I discuss the ways in which alternative queer cartoonists respond to the conventions of these genres, and create alternative representations of gay identity, community, and sex. I argue ultimately that the field of gay male comics production is not entirely homogenous, and that the queer male alternative comics that appear from roughly 1990 onwards are distinctive. The gay male comics of the First Wave (from the 1970s to 1990) are concerned with constructing and consolidating a sense of gay identity and community as relatively unified and stable. While sometimes critical of gay culture, as a whole they ultimately affirm the ideal of a unified gay community. In contrast, the queer male alternative comics that emerged as part of the Second Wave (starting around 1990) are far more concerned with questioning the normative, dominant values of mainstream gay culture, and challenging the identities, tastes and practices associated with the dominant gay habitus. Nevertheless because the gay ghetto and gay porno genres have been so dominant, queer alternative cartoonists position themselves in various different relationships to one or other genre. While some do abandon the genre conventions of gay porno and gay ghetto comics, more often queer alternative cartoonists take up some of these genre conventions and adapt, challenge, or subvert them in subtle ways.

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Baylis-Green, Caroline. "Queer subjectivities, closeting and non-normative desire in nineteenth-century women's poetry and life writing." Thesis, Manchester Metropolitan University, 2015. http://e-space.mmu.ac.uk/617012/.

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This thesis aims to elucidate previously obscured aspects of nineteenth-century women’s writing, through the development of original approaches to the reading of gender ambiguity, queer subjectivities and non-normative desire. It challenges the removal of the closet from feminist, historicist scholarship and constructions of female sexuality based on an adherence to romantic friendship and lesbian continuum models. This research proposes original work, which breaks the links between Michel Foucault’s dating of the disciplinary coding of homosexuality and the assumed relationship with the closet. New readings are proposed which acknowledge, define and foreground multi-functional closets, inside and outside of texts. In refusing this removal this study also aims to open up a space for the consideration of closets as protective and supportive spaces as well as symptoms of oppression. Underexplored links between literary form, the repelling of social restriction and the relationship between literary conventions and non-binary positions are also highlighted to emphasise the radical potential of performative subjects in women’s writing. This project proposes the recovery of queer selves and subjective forms of identification in the work of seven/eight women writers Anne Lister, Emily Brontë, Anne Brontë, Christina Rossetti, Adelaide Anne Procter, Michael Field and Amy Levy, spanning the long nineteenth century. It also offers new approaches by combining cross-genre analysis of poetry and life writing. Using activist language largely in advance of academic discourse, it asks questions about the changing significance of queerness as language and metaphor. This thesis uses diverse social, religious and literary bodies to illustrate the strength of same-sex communities and their role in providing safe spaces for queer, desiring interactions in the nineteenth century.

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Jansen, Zero. "What We Know: Queer Displacement and Reimagining Notions of Home." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556115428029259.

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Rylander, Jonathan J. "Rearticulating the Mission of the Writing Center: Making Room for LGBTQ Perspectives." Miami University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=miami1310142899.

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Trahan, Heather Anne. "Relationship Literacy and Polyamory: A Queer Approach." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1387460786.

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Angles, Jeffrey Matthew. "Writing the love of boys: representations of male-male desire in the literature of Murayama Kaita and Edogawa Ranpo." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1071535574.

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Rheams, Genevieve A. "We Will Plant Birds of Paradise." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2703.

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Anderson, Jay Lachlin. "Life Writing and Rural Queer Studies: Queerying the Spatialisation of Modern Sexual Identities in Australia and Six Hundred Something Kilometres." Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/83185.

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This research thesis explores significant criticisms levelled by academics of rural queer studies— the spacialisation of modern LGBTIQ+ identity, politics and academia and a metronormative narrative that (re)produces it. Through the practice-led research methodology of Dallas Baker’s “queer life writing,” I argue that creative writing can resist the demands of metronormativity by employing what Scott Herring refers to as a “rural stylistics” and attempt to provide examples of contemporary Australian writers who have done so.

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Wiltrout, Sophia M. "Tundra (Novel Excerpt)." VCU Scholars Compass, 2019. https://scholarscompass.vcu.edu/etd/5934.

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Tundra is a murder mystery/coming-of-age novel about a fifteen-year-old boy named Ethan and his high school biology teacher, Pam, who come together over a mysterious text-based video game and unwittingly use it to resolve an unsolved murder from 1994. The novel is largely interested in bodies—their perplexities, pleasures, and limitations—as well as what it means to “come of age” as a queer person in a time and place where queer folks are denied so many markers of adulthood—marriage, families, oftentimes job and housing security. This is also a book about the myriad of ways in which technology enables us to pursue modes of connection and intimacy outside of the limitations of both our bodies and repressive social strictures. This thesis contains the first seven chapters of the novel, constituting Part One.

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Anson, Tylyn S. "If Not Now: An Account of the Challenges and Experiences of Writing, Directing, and Editing a Graduate Thesis Film." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/1958.

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In this paper, I will catalog and describe my process involved in the creation of my thesis film If Not Now. In the main body of the paper I will cover the topics of Writing, Casting, Directing, Production Design, Cinematography, Editing, and Sound, as well as Technology and Workflow. Special emphasis will be placed on Writing, Directing, Editing, and Sound. The Analysis section will discuss the overall effectiveness of my goals to communicate a story about self-identity and community, as well as the film's artistic merit and quality.

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Grujić, Ana. "Her Impenetrable Prose: Disobedient Poetics and New Erotic Collectivities in Experimental Women's Writing." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1282106991.

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Kinniburgh, Jax M. "Helping the Hurt: A (Queer) Mixed Methods Study of Dispositions and Accumulative Affect." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564617492715938.

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Rylander, Jonathan James. "COMPLICATED CONVERSATIONS AND CURRICULAR TRANSGRESSIONS:ENGAGING WRITING CENTERS, STUDIOS, AND CURRICULUM THEORY." Miami University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=miami1491659752447516.

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Pratt, Omaria Sanchez. "ALL THAT YOU SAY IS BEAUTIFUL: STORIES." UKnowledge, 2019. https://uknowledge.uky.edu/english_etds/92.

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From the city of High Point to New York City, this collection portrays a certain black experience. Through a sociological lens, the stories in All That You Say is Beautiful study intersections of class, race, family, and sexuality by bending forms, expectations, and seeks to understand what it means to be human when your experience is not that of mainstream American culture.

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Vaschel, Tessa. "Happy Problems: Performativity of Consensual Nonmonogamous Relationships." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1510941420190496.

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Loeppky-Kolesnik, Jordan. "The Pond." VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5416.

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A collection of creative texts written concurrently with the creation of the artist’s thesis exhibition. A range of written forms coexist - poetry, prose, and dialogue - to open up the narrative and emotional space of the visual work. The text emerges from the point-of-view of different voices, describing experiences and body states that hinge upon the physical and conceptual space of the pond. Amphibiousness offers a gateway to a state of becoming and transformation. Some of the following texts appear in video works by the artist.

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Murray, Peta. "Things that fall over : Women's playwriting, poetics and the (anti-)musical." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53579/1/Peta_Murray_Thesis.pdf.

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Abstract: This study explores the contradictions and ambivalences experienced by a working artist at a time when her age, her gender, and broader cultural shifts are all potential obstacles or liabilities to creative flourishing. It is the product of practice-led research into the creative process from the perspective of the female "late bloomer". In this phrase, I have in mind the mature-aged woman who is, in mid-life, suddenly seized with inspiration and fired with creative energy. At its heart is the question: If an Elizabeth Jolley were in our midst today, would we hear from her? The result is a full-length libretto and accompanying exegetical binoculars in the form of a Preface and an Afterword. The creative work, Things That Fall Over (TTFO) is conceived in two parts: a libretto and oratorio for performance. It begins as a play, but over three acts and into a coda, the work becomes something entirely other - an (anti-) musical. The work grew from a personal interest in the nexus between women, ageing and creative practice, via investigation into the oeuvre of two Australian artists, Elizabeth Jolley, author, first published at age 53, and Rosalie Gascoigne, sculptor, first exhibited at 58. A second strand of the research grew from a fascination for the stage musical, especially in its more alternative modes as in the hands of Stephen Sondheim, or in more provocative manifestations as witnessed in recent Tony Award winners Avenue Q and The Book of Mormon. Contextually, this research is conducted at a time when anecdotal evidence suggests that women’s work in the performing arts and in literature is being pushed to the margins after a late twentieth century Golden Age on page and stage. Using hybrid practice-led methodologies - bricolage, log-keeping - and working within queer and feminist paradigms, this study seeks to counter that push with a new work that is all-female, part-pantomime, part monstrous allegory. In illuminating the creative process of a mature-aged playwright it concludes that hybrid and interstitial forms still offer an inclusive and democratic space in which voices that may otherwise be muted will continue to be heard.

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Painter, Holly. "Wanderlust : a poetry collection : a thesis submitted to the University of Canterbury in partial fulfilment of the requirements for the degree of Master of Fine Arts in Creating Writing /." Thesis, University of Canterbury. School of Humanities, 2009. http://hdl.handle.net/10092/2743.

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Santiago, Mia B. "Risk Factors." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619120045259618.

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Solander, Tove. ""Creating the Senses" : Sensation in the work of Shelley Jackson." Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-65968.

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This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors. Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship. Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political radicalism go hand in hand. Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces. Her work is also described as object writing: a literary equivalent to surrealist object art. A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.

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Mahaffey, Cynthia Jo. "Wearing the Rainbow Triangle: The Effect of Out Lesbian Teachers and Lesbian Teacher Subjectivities on Student Choice of Topics, Student Writing, and Student Subject Positions in the First-Year Composition Classroom." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1100110069.

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Burroughs, Brady. "Architectural Flirtations : A Love Storey." Doctoral thesis, KTH, Kritiska studier i arkitektur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-194216.

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Formulated as a feminist project, written as a pulp fiction, Architectural Flirtations: A Love Storey begins with our claim that the architectural discipline is centered around a culture of critique, which is based in what bell hooks calls “a system of imperialist, white supremacist, heterosexist, capitalist, patriarchy,” and that the values instilled by this culture not only begin with, but are reinforced and reproduced by, the education of young architects. Sounds serious. Right? In a move toward a more vulnerable, ethical and empowering culture of architecture, the project aims to displace the culture of critique, by questioning and undermining relationships of power and privilege through practices that are explicitly critical, queer feminist, and Campy. In other words, it takes seriously, in an uncertain, improper and playful way, what is usually deemed unserious within the architectural discipline, in order to undermine the usual order of things. All of the (love) storeys take place on March 21st, the spring equinox, in and around a 1977 collaborative row house project called Case Unifamiliari in Mozzo, Italy, designed by Aldo Rossi and Attilio Pizzigoni. Beda Ring, PhD researcher, constructs a Campy renovation of one of these row houses, full of theatricality, humor, and significant otherness; while architectural pedagogue, Brady Burroughs, guides a student group from KTH in an Architecture and Gender course; and Henri T. Beall, practicing architect, attends to the details upstairs.

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Flynn, Eugene E. "Reading our way: An Indigenous-centred model for engaging with Australian Indigenous literature." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/227811/1/Eugene_Flynn_Thesis.pdf.

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This thesis proposes an Indigenous-centred approach to reading Australian Indigenous literature that extends beyond traditional western literary norms. It uses Indigenous ways of being, knowing and doing as a framework for reading five texts written by Australian Indigenous women and non-binary people, generating new understandings of the works and synthesising an expanded model for reading. This thesis makes a critical intervention within the Australian literary sector and especially the academy, arguing for a shift of power from the majority non-Indigenous Australian literary sector to Indigenous writers and their communities.

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Szabo, Bobbie. "Love is a Cunning Weaver: Myths, Sexuality, and the Modern World." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1493247491671522.

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Bigley, James C. II. "As Tall As Monsters." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396875288.

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Johnson, Leigh. "Melting Beeswax Bodies: The Queen Bee, the Hive, and Identity in Women's Writing." TopSCHOLAR®, 2005. http://digitalcommons.wku.edu/theses/503.

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The works examined are poetry by Emily Dickinson, Sylvia Plath, and Audre Lorede, novels by Starhawk, The Fifth Sacred Thing, and Sue Monk Kidd, The Secret Life of Bees, and a drama by Elizabeth Bussey Fentress, The Honey Harvest. In looking at how the women writers construct identity using bee imagery, I propose that they actually subvert the societal devaluation of women. The beeswax bodies represent gendered constructions of how women should behave. The characters "melt" these bodies by refusing to fit the mold and by redesigning the mold to fit themselves.

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Bechtel, Abigail A. "Unruly: Essays from a Woman Evolving." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1491347435570709.

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Noah, Agnese. "A/Wakening, Healing and Caring in the Pandemic borderland(s): theorizing an Emancipating, Pleasurable and Restful Black Femme Form in Gender Studies." Thesis, Uppsala universitet, Centrum för genusvetenskap, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-450206.

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In this study on form within the field of Gender and Fem(me)inist Studies I build on, and work with, works created by black women and femmes, as well as femmes and women of color to explore their ways of theorizing through form, as well as finding my own, with roots from all the beautiful experiments lived and written about by these folks. As I sketch out these theories and texts and bring them to the Swedish context in which I write I am breaking new ground for research on blackness, femme-inist theory and form as well as methodologies here. Using an approach of mixed methodologies – formulated in the concepts of femmebodimotive writing and other pleasurable methodologies – I use my body and its emotions oozing from it as a tool for theorizing in the intersections of gender, sexuality, blackness, care and its connections to water, kinship, language, pleasure and rest. I tend to various intersections of these to find new ways of swAfrican (Swedish and African Tanzanian) Black, femme, borderland(s) being in the world. The first chapter sketches out these borderlands as they connect in my body and its surroundings. It is highly inspired by Alexis Pauline Gumbs’ Spill in its form and will invite you to think care with me as I wrap my hair in queer kangas (colorfully sketched out in a KangaProject) over which we wander to the Kiswahili coast and take a plunge in black waters. This is where the second chapter starts, in the biomythographical waters, waves and currents carried inside us, and by us, as well as the waters and currents connecting the worlds corners. All water carries the currents of histories of genders, sexualities, kinship and languages and this, as well as the un/realness of the black bodies in focus, is intimately explored with the help of Omise’ekeNatasha Tinsley, Christina Sharpe, Sara Ahmed, a few other theorists, dictionaries and me. And as the waters runs up and down, from side to side, the waves and wakes travel further in time. These waves travel all the way into sleep, and into the third chapter. Upon entering this final chapter, you find a small visual constellation of these sleep waves. Here, rest and pleasure are in focus and I think with and through Navild Acosta and Fannie Sosa’s installation of Black Power Naps as a way to think blackness and femme-inity and their movements as theory, joy and as connected to pleasurable methodologies. My explorations lead me to the importance of form and texture for knowledge production as it may show other dimensions of theoretical thoughts and problems. In highlighting this I also show how the master (thesis) form may be approached differently by Black femmes of color and thus illuminating what issues these bodies have in white academic spaces.

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Floerke, Jennifer Jodelle. "A queer look at feminist science fiction: Examing Sally Miller Gearhart's The Kanshou." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2889.

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This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.

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Järverot, Eira. ""Writing for your mother is more important than writing for the queen of England" : En undersökning av samtida ugandisk litteratur och desssamhälleliga roll." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-31796.

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This thesis aims to investigate the role of literature in the Ugandan society. It uses Bourdieus field theory and the book The Rules of Art to analyze a handful of interviewes with people on different positions on the literary field in Kampala, the capital of Uganda. The interviews were collected by the author of this thesis in the beginning of 2015. The thesis examines the overall conditions on the literature market, the hierarchies and the character of the literature. In addition to field theory, it uses post-colonial theory, and Ngûgî Wa Thiong'os' Decolonising the mind to investigate the languages and styles of the literature. To investigate the literature outside of the educated circles and intellectual spheres, the concept of the literature as merely printed and publicated needs to be questioned, since there is also an existing body of oral literature in the country. Amongst the actors on the literature field there is an ambition for the literature to be a progressive force in the society. However the study shows that hierarchies on the literature field pushes the written and publicated literature further away from the general person. This also due to the limitations of the written literature, since the possibilities to access the literature is highly dependant on the income, literacy and educational level of the receiver.

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Santos, Claudiana Gois dos. "A Bruta Flor do Querer: amor, performance e heteronormatividade na representação das personagens lésbicas." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-27092018-121402/.

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A literatura, instrumento de representação e questionamento dos comportamentos sociais, tanto pode induzir a discussão de papéis de gênero e sociais, como sugerir a adoção de ideias e condutas. A representação da afetividade de personagens lésbicas, em sua relativamente recente e modesta emergência na história da literatura, recebe o peso das delimitações femininas em face de um cânone falogocêntrico. As características comportamentais impostas às subjetividades das mulheres, de tão largamente utilizadas, são naturalizadas nos e pelos discursos da cultura ocidental, tornando-se assim uma espécie de manual de regulação da performance amorosa. Tal normatização incide inclusive na representação de casais homoafetivos, o que muitas vezes reforça estereótipos num viés hierarquizante e heteronormativo de diferenciação e valoração sexista. Assim, o objetivo do presente trabalho é, por meio da Crítica Literária Feminista e dos Estudos de Gênero, sobretudo com base nas obras de Judith Butler, Michel Foucault, Adrienne Rich e Monique Wittig, estabelecer a comparação entre as personagens das obras O Corpo, de Clarice Lispector (1974), Eu sou uma Lésbica, de Cassandra Rios (1982) e Azul é a Cor mais Quente, de Julie Maroh (2013), para analisar a representação da afetividade lésbica e a incidência da heteronormatividade nestas personagens em ascensão na literatura das últimas décadas do século XX e início do século XXI. Para isso se faz necessário considerar as diferenças entre os três gêneros literários do corpus (conto, romance e novela gráfica) e seus respectivos suportes que apontam para uma popularização deste tipo de protagonismo, bem como sua recepção pela crítica e pelo público.
The literature, instrument of representation and inquiry to social behaviors, can induce the discussion about gender and social roles and also suggest the adoption of ideas and attitudes. The representation of lesbian characters affectivity, in its relatively recent and modest occurance in the story of Literature, receives the importance of the feminine delimitations against the falogocentric canon. The behavioral characteristics imposed to the womens subjectivities are so widely applied that are also natural in the occidental culture speeches, becoming a kind of regulation guide of the loving performance. Such normativity still focuses on the representation of homoaffective relations, what many times reinforces stereotypes in a hierarchical and heteronormative tendency of sexist differentiation and valuation. So, the objective of this dissertation is to establish the differences among the characters from the texts O Corpo, by Clarice Lispector (1974), Eu sou uma Lésbica, by Cassandra Rios (1982) and Azul é a Cor mais Quente, by Julie Maroh (2013) to analyze the lesbian affectivity representation and the heteronormativity incidence in these rising characters in the literature of the last decades of the XX century and the beginning of the XXI century using as an theorical apparatus the Feminist Literary Criticism and the Genre Studies above all based on Judith Butler, Michel Foucault, Adrienne Rich and Monique Wittigs works,. For this, it is necessary to take into consideration the differences among the three literary genres from the corpus and their respective supports which indicate a popularization of this type of protagonism, as well as its reception by critics and the public.

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Iamamoto, Elisangela Nascimento. "Sujeito e sentido nas produções textuais das séries iniciais do Ensino Fundamental: o que quer, o que pode essa escrita?" Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-19082009-165445/.

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Filiados às construções teóricas da Análise do Discurso de filiação francesa, pretendemos investigar as possibilidades de movimento do sujeito-aluno na produção e leitura dos textos, a saber, as posições de autor e leitor, assumidas, ou não, por alunos do Ensino Fundamental, de uma escola particular de Jaboticabal-SP. Entendemos que, ao ler e interpretar o sujeito assume determinados lugares discursivos, denominados por Pacífico (2002) como fôrma-leitor (repetição do sentido do texto) ou como função-leitor (historicização dos sentidos). Muitas vezes, constatamos, na prática, que estes conceitos não são conhecidos pelos professores, os quais trabalham a linguagem sem perceber se a criança assume uma determinada posição discursiva ou outra, ao ler e escrever. Nesse sentido, a Análise do Discurso fornece um dispositivo teórico que permite ao analista, mesmo sendo interpelado pela ideologia, duvidar dos sentidos legitimados e buscar os indícios presentes nos textos e a inscrição do sujeito em determinado espaço sócio-ideológico, a fim de compreender a singularidade da existência do enunciado produzido. Com base nessas considerações, este trabalho propõe-se a analisar redações de alunos das séries iniciais do Ensino Fundamental, observando, por meio das marcas linguísticas presentes nos textos, quais posições discursivas eles podem ocupar ao construir sentidos, se eles repetem os sentidos dos textos lidos (fôrma-leitor) ou se eles podem disputar os sentidos postos em jogo, questionar, historicizar o dizer (função-leitor). As análises que realizamos nos mostram que as possibilidades de o sujeito movimentar-se ao produzir ou interpretar um texto estão relacionadas às formações discursivas dominantes que circulam no contexto escolar. Há uma tentativa de naturalização de determinados sentidos e o silenciamento de outros, o que leva o sujeito, pelo efeito ideológico de evidência, a não questionar o sentido legitimado pelas instituições sociais. O resultado da nossa pesquisa mostra-nos que, a maioria dos sujeitos-alunos ficou na posição discursiva de fôrma-leitor e isso, a nosso ver, está relacionado a uma prática pedagógica pautada na interdição do sujeito ao arquivo (Pêcheux, 1997), ao interdiscurso, ao discurso polêmico (Orlandi, 1996). A partir desta pesquisa, entendemos que, trabalhar o interdiscurso no intradiscurso coloca em jogo o funcionamento da linguagem, as condições de produção discursivas, as quais nos levaram à interpretação de que, mesmo inseridos num contexto autoritário como o escolar, sujeitos e sentidos movimentam-se na construção do discurso e as posições discursivas fôrma-leitor/função-leitor ou função-leitor/fôrma-leitor são possíveis para o sujeito, desde que o discurso autoritário abra espaço para o discurso polêmico, permitindo ao sujeito estar em contato com uma multiplicidade de sentidos acerca de determinado tema.
Adopted by the theoretical constructions of French Analysis of Discourse, we intend to research possibilities of movement subject-student in production and reading of texts, more specifically the position reader-writer, taken or not by fundamental school students, in a private school in Jaboticabal- SP/Brazil. We understand that, while reading and interpreting the subject determinates discursive places, denominates by Pacífico (2002) as pattern-reader (repeating of text meaning) or like function-reader (historical view of the meanings). Many times, we realize in practice that these concepts are not known by teachers, the ones whom use the languages not noticing if the children hold on determinate discursive position or other, while reading or writing. In these sense, the Analysis of Discourse provides one theoretical device that allows the analyst, even been interpolate by ideology, to doubt the legitimated meanings and look for traces presents in the text and the subscription of the subject in determinate socio-ideological space, aiming to comprehend the singularity of existence of the produced enunciation. Based on these considerations, this work aim to analyze fundamental first grades students redaction, observing trough linguistics labels present in the text, which discursive positions they could occupy when building meaning, if they repeat the meaning from the read text (pattern-reader) or if they could quarrel the meanings presented, questioning them, putting the speech in a historical way (function-reader). Our analysis show that the possibilities of the subject to make moves while producing or interpreting a text are related to the discursive forms dominating that circulate on the school context. There is a tempting to naturalize determinate meanings and silence others that lead the subject, by the ideological evidence, to do not question the social institutional legitimated meaning. The results of our research show us that mostly students-subject stays on the discursive position of pattern-reader and that, to our sight, it is related to one pedagogical praxis guided by the closure of the subject to the file (Pêcheux, 1997), to the interspeech, to the polemical discourse (Orlandi, 1996). From this research we understand that to work with interspeech on the intraspeech put in risk the language function, the discursive production condition, that has leaded us to interpret that, even inserted in a authoritarian context, such as the school one, subject and meanings interact in the construction of the discourse and the discursive positions pattern-reader/function-reader are possible to the subject, since the authoritative speech open space to the polemical discourse, allowing the subject to be in contact with the multiplicity of meanings around determinate subject.

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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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Wheeler, Lorna Raven. "From righteous to roguish: Queer desire in black women's writings, 1850--1940 (Angelina Weld Grimke, Mae Virginia Cowdery, Ethel Caution Davis, Gladys Casely Hayford, Lucille Bogan)." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3219203.

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de, Waal Shaun André. "Queer reading,queer writing." Thesis, 2006. http://hdl.handle.net/10539/180.

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Master of Arts - Arts
This MA dissertation uses “queer theory” to read existing literary texts and to inform the riting of new fictional works. In the opening literary-critical essay, which functions as an ntroduction to queer theory, I give an overview of its development and conceptual formation, then go on to demonstrate how it may provide useful and fruitful readings of a writer such as William Burroughs. The central and longest section of this dissertation is a group of short fictions that engage with queer theory, using some of its insights to generate investigations of sexuality, power, social relations, and to inspire formal experiments in keeping with the spirit of queer theory. In conclusion, I look back upon this group of short fictional texts and link them to the issues raised in the essay on Burroughs and queer theory.

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Mitchell, Gretta Jade. "Illegible narratives: towards a queer violation of life story." Thesis, 2015. http://hdl.handle.net/2440/106451.

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‘The Women Who Hit Me’ is an exercise in queer writing. Via strategic (mis)uses of the aesthetics of creative writing, it attempts a Genetesque seduction of its readers in order to crescendo the force of its (im)potential disturbances. A novella of sorts — imagined from within the structures, the strictures, of heteronormative language — ‘The Women Who Hit Me’ engages in a self-conscious fictional game that it nonetheless plays dead serious. The focus is Jimi: a protagonist at a queer disjunction with the language that inscribes her. ‘The Women Who Hit Me’ is the coming-of-age story of Jimi’s illegibility as the textual non-binary demarcations of erotica/pornographica, supplication/confession, fiction/thesis battle like MCs until ultimately there is no victor. — Corrosive even to that which it loves, part suicide note part love letter. As well as addressing the concepts and strategies mentioned above, the exegesis is an idiosyncratic response to the metacritical problem of in/appropriate theoretical speculation. Informed by the night vision pedagogy of Williams S. Burroughs’s My Education: A Book of Dreams and the implications of reading the unconscious as a nonsymbolic and nonfigurative social force in schizoanalysis, it aims for a critico-philosophical phantasmagoria, a post-surrealist “look-behind-the-scenes” at the thinkers and poets who claim antecedence to ‘The Women Who Hit Me.’ Like the creative work, the exegesis is a queer text, working against the fulfilment of meaning and toward the disturbance of the poetics it nevertheless desires.
Thesis (M.Phil.) -- University of Adelaide, School of Humanities, 2015.

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Hsiao, Yu-Tan, and 蕭幼丹. "A Study of Fen-Ling Zhou’s Queer Writing." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/12722869524953811987.

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碩士
國立臺北教育大學
台灣文化研究所
98
Fen-Ling Zhou emerged as an essayist in the literary arena. The theme and content of her works convey Zhou’s strong feminism characteristics. Under the pressure of social ethic and gender differences, mainstream paternal authority deflects female essayists to write with the impression of positive female virtues. Her early works were innocent and unique, and were categorized as literature of Chinese maiden, which also conformed social expectations on literature forms. Zhou got married but went through paternal authority. She was divorced however social exclusion made her helpless. She knew very well how it felt like to be excluded from the society such as queers and psychotic patients. With that life experience, Zhou started her feminist writing. Facing mainstream paternal authority and heterosexual marriage system, she decided to defend with her writing, which led her to compose in a very different style. Zhou’s writing illustrated her life experience and presented different aspects of women’s life in her true or make up stories. This thesis began from the point view of queers, which well interpreted Zhou’s thought on queers. It studied Zhou’s writing styles, which were essayistic and novelistic interlaced. She created the possibilities of flowing gender and sexual orientation change. This thesis also discovered how Zhou expressed her ideas by writing topics such as self, social exclusion, and queers. She used her works to propagate her thoughts and constructed her Utopia of gender equality.

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Munro, Brenna Moremi. "Queer constitutions : postcolonial sexualities in modern South African writing /." 2005. http://wwwlib.umi.com/dissertations/fullcit/3149207.

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Dissertations / Theses on the topic 'Queer writing'

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