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Статті в журналах з теми "Queer writing"

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Автор: Grafiati

Опубліковано: 10 грудня 2022

Оновлено: 28 січня 2023

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1

Taavetti, Riikka. "”Jotta meidät muistettaisiin sellaisina kuin elimme”." SQS – Suomen Queer-tutkimuksen Seuran lehti 15, no. 1-2 (December 1, 2021): 37–53. http://dx.doi.org/10.23980/sqs.112513.

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Artikkeli käsittelee queer-elämän ja erityisesti homoseksuaalisuuden tai samansukupuolisen halun muistoja ympäröiviä hiljaisuuksia suomalaisissa muistitietoarkistoissa. Artikkeli käyttää esimerkkinä Sateenkaarinuorena nyt ja ennen -kirjoituskeruuta (2014) ja sijoittaa sen suomalaisen muistitietotutkimuksen kehyksiin. Artikkeli analysoi hiljaisuutta neljällä eri tasolla: kirjoitusten kuvaamana hiljaisuutena, puuttuvien kertomusten hiljaisuutena, muistitietokeruiden hiljaisuuksina sekä arkistojen käytäntöjen hiljaisuuksina. Artikkeli osoittaa, miten muistitietokokoelmia analysoimalla voi tutkia sekä queer-elämän muistoja että näistä muistoista kertomisen mahdollisuuksia eri aikoina.Avainsanat: muistitieto, queer, homoseksuaalisuus, hiljaisuusSilencies and Queer Voices in Finnish Oral History and Life Writing ArchivesThis article addresses the silences around the memories of queer lives and, in particular, same-sex desires in Finnish oral history and life writing collections. By analyzing the collection campaign Rainbow youth present and past (2014) in the context of Finnish oral history research, the article examines four levels of silence – silences that the writings describe, silences of the missing reminiscences, silences in the collection campaigns, and silences in the archival practices. The article demonstrates how the reminiscence writing and oral history collections can be utilized to analyze both the memories of queer lives and the opportunities open at different times to address these memories.Keywords: oral history, life writing, queer, homosexuality, silence

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2

Dinshaw, Carolyn, and Garth Greenwell. "Creative Writing and Critical Thought I Queer Theory/Queer Fiction." New Literary History 53, no. 2 (March 2022): 265–83. http://dx.doi.org/10.1353/nlh.2022.0012.

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3

Blain, Virginia. "Queer Empathy: or, Reading/Writing the Queer in Victorian Poetry." Literature Compass 1, no. 1 (January 2004): **. http://dx.doi.org/10.1111/j.1741-4113.2004.00059.x.

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4

Stamm, Laura. "Delphinium’s portrait of queer history." Alphaville: Journal of Film and Screen Media, no. 16 (January 30, 2019): 38–52. http://dx.doi.org/10.33178/alpha.16.03.

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Delphinium: A Childhood Portrait of Derek Jarman (2009) portrays filmmaker Matthew Mishory’s interpretation of the childhood of Derek Jarman described in interviews and autobiographical writing such as At Your Own Risk. The portrait of Jarman honours his memory with a Super 8 inscription that repeats the queer sensibility of Jarman’s cinematic and painterly work. Mishory’s film positions Jarman as his filmmaking predecessor; even more so, it positions Jarman as a sort of queer ancestor. Delphinium’s sense of ancestry demands a reappraisal of Jarman’s work that foregrounds its creation of queer lineage. This article does just that, looking at Jarman’s Caravaggio (1986) and Edward II (1991) as both searches for queer origins and formations of queer futures. Through their explorations of queer continuity, Jarman’s films inscribe the process by which one learns to become queer and navigate a world that is so often hostile to queer existence. Their preservation of individual figures of the past provides a queer family history and a tool for education, a means for queers to understand their origins, as well as how to make sense of their own place in the world

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5

Botticelli, Steven. "Writing As Queer Practice And Pleasure." Journal of the American Psychoanalytic Association 70, no. 3 (June 2022): 603–6. http://dx.doi.org/10.1177/00030651221109924.

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6

Baker, Dallas John. "Creative Writing Praxis as Queer Becoming." New Writing 10, no. 3 (November 2013): 359–77. http://dx.doi.org/10.1080/14790726.2013.811265.

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7

Jen, Sarah, and Rebecca Jones. "IMAGINING QUEER FUTURES BEYOND BOUNDARIES: A NARRATIVE ANALYSIS OF CREATIVE WRITING." Innovation in Aging 6, Supplement_1 (November 1, 2022): 136. http://dx.doi.org/10.1093/geroni/igac059.540.

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Abstract Scholars have called for “queering aging futures” beyond normative assumptions or scripts (Sandberg & Marshall, 2019), which is well-aligned with queer theory’s Cruising Utopia which suggests “cruising ahead” toward a queer utopian future that is not yet possible (Muñoz, 2009). Due to emphasis on form rather than content, narrative analyses enable the reimagining of queer futures not bound by material realities. This study presents a narrative analysis of 40 pieces of creative writing in Bi Women Quarterly (BWQ) that examine aging. Authors used writing to queer stories of relationships, activism, and aging. Many used incoherent, non-linear, and dreamlike or omnipotent storytelling to queer narratives, allowing them to “cruise” across time and versions of themselves, imagining futures that were new and unscripted. Narrative analysis allowed researchers to examine choices authors made in taking agency through storytelling. Findings indicate that queer people are well positioned to queer expectations of successful old age.

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8

Murphy, Naoise. "The Queer Transnational in Kate O’Brien and Elizabeth Bowen." Review of Irish Studies in Europe 5, no. 1 (May 25, 2022): 8–27. http://dx.doi.org/10.32803/rise.v5i1.2962.

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Transnational modes of thought play a constitutive role in the imaginary of Irish queerness. The novels of Elizabeth Bowen and Kate O'Brien offer a dualistic contestation of hegemonic sex/gender conventions that can be theorised as ‘the queer transnational.’ Based on sustained engagement with the thematics of abjection, their writing highlights how the transnational is deeply embedded in the structure of queer imaginaries in Irish writing. Through readings of O’Brien’s novels Mary Lavelle (1936) and The Land of Spices (1942), and Bowen’s The Last September (1929) and Eva Trout (1968), this article proposes ‘the queer transnational’ as a new way of thinking about queer literary histories in the formative years of the modern Irish State. Keywords: Queer; Transnational; Irish Literature; Elizabeth Bowen; Kate O’Brien; Abjection; Twentieth Century

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9

Amin, K. "Queer Writing: Homoeroticism in Jean Genet's Fiction." French Studies 64, no. 4 (September 29, 2010): 507–8. http://dx.doi.org/10.1093/fs/knq132.

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10

Gillett, Robert. "Writing queer performance: Hubert Fichte's inimitable Imitations." Sexualities 15, no. 1 (January 2012): 42–52. http://dx.doi.org/10.1177/1363460711432100.

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11

Green. "Screenwriting Representation: Teaching Approaches to Writing Queer Characters." Journal of Film and Video 65, no. 1-2 (2013): 30. http://dx.doi.org/10.5406/jfilmvideo.65.1-2.0030.

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12

Muzart, Thomas, and Maxime Blanchard. "Displacing Political Horizons: Queer Writing and Transnational Activism." Contemporary French and Francophone Studies 26, no. 1 (January 1, 2022): 23–31. http://dx.doi.org/10.1080/17409292.2022.2026080.

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13

Rooney, Alan, and Mary Katherine Nieponski. "Book Review: Dangerous Families: Queer Writing on Surviving." Family Journal 14, no. 2 (April 2006): 198–99. http://dx.doi.org/10.1177/1066480705285746.

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14

Stern, Danielle M. "Becoming Unburdened: Writing and Revealing the Debt of Heteronormativity." Cultural Studies ↔ Critical Methodologies 20, no. 2 (September 22, 2019): 104–12. http://dx.doi.org/10.1177/1532708619878764.

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In this essay, I use embodied, autoethnography to transform my fiscal self and disentangle my queer body from my heteronormative body. I position autoethnography and auto/archeology as a privileged orientation/method that must be viewed, practiced, and critiqued as such, even for those of us with some circumscription of marginal identities. I write my “radically specific” narrative not only to improve my own relationship, but also to contribute to feminist, queer bodies of knowing and relating that disrupt heteronormative, middle-class, White domesticity. My goal is to inspire others to simultaneously shed the stigma of financial burdens and challenge heteronormative privilege.

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15

Kurnick, David. "Embarrassment and the Forms of Redemption." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 398–403. http://dx.doi.org/10.1632/pmla.2010.125.2.398.

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Homosexuality is the truth of love.—Gilles Deleuze, Proust and SignsNo one wants to be called a homosexual.—Leo Bersani, HomosThe Tension Between My Epigraphs' Formulations Might be Taken as The Animating Energy of Queer Theory. If the first provides queers with a vision of our sexuality as flatteringly significant, the second insists with punishing concision that this significance resists translation into social equality. More precisely, the two statements could be seen as mutually constitutive: it is the social abjection of the sexually deviant that makes our sexuality interesting, as it is the excessive symbolic interest of our difference that has made us socially volatile. Or at least this has been one guiding assumption of queer theory, which has leveraged some of its most imaginative work by arrogating to queerness a symbolic centrality out of all proportion to queers' acknowledged numbers or to our social power. It is no accident that Leo Bersani articulates the unpleasant reality principle in this little epigraphic debate. His writing is justly famous for its suspicion of the rhetoric of identitarian dignity and for its refusal of conceptual consolations of all kinds; Bersani's habit of accentuating the negative made his work the inevitable reference point for PMLA's May 2006 Forum on the “antisocial thesis” in queer theory (Caserio et al.). And yet for all Bersani's insistence on exposing the fantasies of transcendence undergirding our culture and our criticism, his writing is perhaps even more remarkable for the way it has managed to combine that scouring sensibility with a sense of ethical and political promise. Refusing the culture of redemption won't, of course, quite save you. But Bersani's work has always suggested that it could be beneficent (a favorite word of his).

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16

Keeton, Sarah. "Writing While Black." Writers: Craft & Context 2, no. 2 (September 29, 2021): 30–35. http://dx.doi.org/10.15763/issn.2688-9595.2021.2.2.30-35.

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In this critical personal narrative Keeton explores how identity is negotiated at the site of their Black, queer body. They use autoethnography as a method to record their lived experiences in the context of the social, cultural, and political world. This writing explores their experiences with the education system and how their identities and experiences have influenced how they interact with the world, their perception of self, and their relationship with writing. Throughcritical reflection, Keeton describes how embodying an ethic of love and experiencing supportive role models within the education system allowed them to resist racist indoctrination and find their way to embodying healing and black self-love.

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17

Moreland, Sean. "Corinthian Echoes: Gaiman, Kiernan, and The Dreaming as Sadomodernist Gothic Memoir." Humanities 9, no. 2 (April 4, 2020): 29. http://dx.doi.org/10.3390/h9020029.

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This article examines Caitlín R. Kiernan’s writing for the DC/Vertigo comic series The Dreaming, a spin-off of Neil Gaiman’s Sandman. It places Kiernan’s writing for the series in the wider context of both her prose fictional writings and representations of LGBTQI+ characters in American comics. It uses Moira Weigel’s concept of “sadomodernism” to characterize Kiernan’s writings, demonstrating how Kiernan’s use of this mode in The Dreaming anticipated signature characteristics of her later fictions. Close reading of selected excerpts from the published comics, as well as Kiernan’s scripts, emails, and editorial remarks alongside the work of queer and trans theorists, including Judith Butler and Jack Halberstam, reveal how groundbreaking Kiernan’s unsettling work with the series was and remains.

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18

Price, Matthew Burroughs. "A Genealogy of Queer Detachment." PMLA/Publications of the Modern Language Association of America 130, no. 3 (May 2015): 648–65. http://dx.doi.org/10.1632/pmla.2015.130.3.648.

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Despite their widespread attention to the conluence of queer sexualities and “decadence” in in- de- siècle writing, queer theorists have yet to overcome the two concepts' persistently destructive conlation. his essay explores the latent positive ainities of queerness and decadence in Walter Pater's Renaissance, which links them through what I call queer detachment. A balance of engagement with and withdrawal from history, this critical perspective anticipates queer theory's methodologies as well as other queer modernist productions. Examining Goodbye to Berlin, Christopher Isherwood's chronicle of decadent Weimar Germany, I demonstrate how queer detachment becomes an increasingly politicized method of literary and social world making, a means of reengaging the politics and aesthetics of queer history. hese works, and others like them, encourage scholars to realize decadence's positivity, to conceptualize a queer theory that refuses to acquiesce to residual historical narratives and philosophical systems—without, for all that, refusing their value entirely.

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19

King, Samantha. "What’s Queer about (Queer) Sport Sociology Now? A Review Essay." Sociology of Sport Journal 25, no. 4 (December 2008): 419–42. http://dx.doi.org/10.1123/ssj.25.4.419.

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This article offers a review of the sociology of sport research on lesbian, gay, bisexual, transgender, and queer (LGBTQ) subjects with the aim of analyzing the extent to which this work is participating in the mainstreaming of LGBTQ sexual politics. In identifying points of convergence between “homonormativity” (Duggan, 2003) and research in the sociology of sport, the essay highlights the limitations of scholarship that equates visibility and identity with power and legitimacy; argues for studies that critically interrogate, rather than reproduce, White bourgeois normativity; and advocates for writing that is not nationally bound and insular, but rather intimately engaged with the geopolitical urgencies of our time. Based on an overview of five key features of queer theory, the author argues that a more robust queer approach to research on sexuality is required if sociologists of sport are to avoid colluding with the exclusionary discourses that characterize homonormativity.

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20

Newman, Eric H. "A Queer Romance." English Language Notes 59, no. 1 (April 1, 2021): 58–72. http://dx.doi.org/10.1215/00138282-8814983.

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Abstract This essay argues that the queer romances at the margins of Claude McKay’s Romance in Marseille operate as sites of possibility for a happy, egalitarian social relation that is longed for but not otherwise accessible in the novel. The essay contends that this novel, read against Home to Harlem (1928) and Banjo (1929), offers one of the most sustained, nuanced representations of queer life in McKay’s archive and in early twentieth-century LGBT literature more generally, one in which same-sex-oriented characters are rendered as normal, integral figures in urban life rather than as outré characters whose primary function is to add spice to the narrative. As the novel demonstrates the continuing appeal of queerness as a site for imagining a more liberated, loving form of social organization—one that relishes the pleasure-in-difference that is a hallmark of McKay’s writing—it also anticipates formations within the queer liberationist politics of the decades that followed.

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21

Kilian, Eveline. "Alternative Temporalities: Queer Time in Marcel Proust's A la recherche du temps perdu and Dorothy Richardson's Pilgrimage." Modernist Cultures 10, no. 3 (November 2015): 336–56. http://dx.doi.org/10.3366/mod.2015.0118.

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This paper uses the concept of queer time to examine the functions of the alternative temporalities created in Proust's Recherche and Richardson's Pilgrimage. It argues that despite obvious similarities between the two works in the relevance they attribute to those privileged moments in which linear time can be transcended, there are also marked differences which are at least partly related to the question of gender. Despite its being triggered by experiences of ex-temporality, the writing project of Proust's narrator is clearly embedded in conceptions of generational time, and his calculated management of the homosexual closet requires an absolute control over his material and a heterosexual framing. Thus in the Recherche queer time only surfaces in isolated moments and does not unfold a sustained impact on the novel, whereas in Pilgrimage the female protagonist's moments of being produce a life-sustaining queer energy that permeates the whole text and helps her to withstand the pressure of heteronormativity and explore queer time as a way of being and living and, ultimately, as a mode of writing and reading.

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22

McKenna, Emma. "“Everything Being Tangled Up in Every Other Thing”: Class, Desire, and Shame in Michelle Tea'sThe Passionate Mistakes and Intricate Corruption of One Girl in America." Hypatia 33, no. 3 (2018): 469–84. http://dx.doi.org/10.1111/hypa.12411.

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This article explores the relationship of shame to class and to desire in Michelle Tea's memoirThe Passionate Mistakes and Intricate Corruption of One Girl in America. Through applying a class analytic to the framework of shame recently advanced by feminist, queer, postcolonial, and affect theorists, I foreground shame as central to the experience of being poor and queer, and examine shame as not only negative and positive, but as productive. I operationalize an “oppositional reading strategy” to insist on attention to the materiality of embodied desire and labor, in particular queer desire and sex work, that is made available in poor and working‐class women's life‐writing. Tea's memoir demonstrates how writing about an ambivalent relation to shame is an act of resistance, an opportunity to transform private, individual experiences into public, and therefore collective, articulations.

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23

Paiz, Joshua M., Anthony Comeau, Junhan Zhu, Jingyi Zhang, and Agnes Santiano. "Queer Bodies, Queer Lives in China English Contact Literature." Open Linguistics 4, no. 1 (January 1, 2018): 147–62. http://dx.doi.org/10.1515/opli-2018-0008.

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Abstract Ha Jin and his works have contributed significantly to world Englishes knowledge, both through direct scholarly engagement with contact literatures and through the linguistic creativity exhibited in his works of fiction (Jin 2010). His fiction writing also acts as a site of scholarly inquiry (e.g., Zhang 2002). Underexplored, however, are how local varieties of English as used to create queer identities. This paper will seek to address this gap by exploring how Ha Jin created queer spaces in his short story “The Bridegroom.” This investigation will utilize a Kachruvian world Englishes approach to analyzing contact literatures (B. Kachru 1985, 1990, Y. Kachru & Nelson 2006, Thumboo 2006). This analysis will be supported by interfacing it with perspectives from the fields of queer theory and queer linguistics (Jagose 1996, Leap & Motschenbacher 2012), which will allow for a contextually sensitive understanding of queer experiences in China. This approach will enable us to examine how Ha Jin utilized the rhetorical and linguistic markers of China English to explore historical attitudes towards queerness during the post-Cultural Revolution period. These markers include the use of local idioms and culturally-localized rhetorical moves to render a uniquely Chinese queer identity.

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24

Özbay, Cenk, and Kerem Öktem. "Turkey’s Queer Times." New Perspectives on Turkey 64 (March 9, 2021): 117–30. http://dx.doi.org/10.1017/npt.2021.4.

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Today Turkey is one of the few Muslim-majority countries in which same-sex sexual acts, counternormative sexual identities, and expressions of gender nonconformism are not illegal, yet are heavily constrained and controlled by state institutions, police forces, and public prosecutors. For more than a decade Turkey has been experiencing a “queer turn”—an unprecedented push in the visibility and empowerment of queerness, the proliferation of sexual rights organizations and forms of sociabilities, and the dissemination of elements of queer culture—that has engendered both scholarly and public attention for sexual dissidents and gender non-conforming individuals and their lifeworlds, while it has also created new spaces and venues for their self-organization and mobilization. At the point of knowledge production and writing, this visibility and the possible avenues of empowerment that it might provide have been in jeopardy: not only do they appear far from challenging the dominant norms of the body, gender, and sexuality, but queerness, in all its dimensions, has become a preferred target for Islamist politics, conservative revanchism, and populist politicians.

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25

Braham, Persephone, and David William Foster. "Sexual Textualities: Essays on Queer/ing Latin-American Writing." Hispanic Review 69, no. 1 (2001): 119. http://dx.doi.org/10.2307/3247285.

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Malagreca, Miguel A. "Writing Queer across the Borders of Geography and Desire." Policy Futures in Education 7, no. 2 (January 1, 2009): 244–55. http://dx.doi.org/10.2304/pfie.2009.7.2.244.

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In this article, the author merges biographical notes, autoethnography and experimental writing to situate his migrant self as a self that performs through writing, i.e. planned, experimental writing that subverts the centrality of the monolingual heterosexual identity. He explores the intersections of time, desire, and power across time and space, crossing national and linguistic borders and changing legal, ‘marital’ and work status in Argentina, the United States and Italy. In particular, in addressing the exclusion of immigrants from the current Italian Civil Union law project (written and presented to parliament by gay, lesbian, bisexual and transgender [GLBT] political representatives), his presentation criticizes any romanticized version of a homogeneous queer community. This is a piece that questions the existence of regular, pre-existing identities that are distributed within the space of the nation. An interpretive perspective like this one criticizes the reification of the nation as an object or essence, inhabited by groups of people whose nationality defines their cultural identities (e.g., the Italians) or groups of people whose sexual choices define who they are (e.g. the homosexuals). Against this view, the author explores personal and political contexts where the self performs a critique of national, sexual and ethnic boundaries. This writing choice is a political one, for it makes audible subjectivities that escape the historic or current distribution of roles and identities imposed by multicultural politics or academic impositions.

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27

Edelstein. "Not Feeling Right: Queer Encounters with American Women's Writing." Legacy 37, no. 1 (2020): 145. http://dx.doi.org/10.5250/legacy.37.1.0145.

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28

Norris, Trevor. "Queer Defamiliarisation: Writing, Mattering, Making Strange by Helen Palmer." philoSOPHIA 12, no. 1-2 (2022): 217–23. http://dx.doi.org/10.1353/phi.2022.0006.

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29

Fraiman, Susan. "Shelter Writing: Desperate Housekeeping from Crusoe to Queer Eye." New Literary History 37, no. 2 (2006): 341–59. http://dx.doi.org/10.1353/nlh.2006.0034.

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30

Choe, Hyonhui. "Queer Experimental Writing in Korean Literature of the 2010s." Seoul Journal of Korean Studies 31, no. 2 (2018): 235–58. http://dx.doi.org/10.1353/seo.2018.0014.

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31

Osinubi, Taiwo Adetunji. "Hostile Witnesses and Queer Life in Kenyan Prison Writing." Eastern African Literary and Cultural Studies 1, no. 3-4 (October 2, 2014): 152–66. http://dx.doi.org/10.1080/23277408.2015.1065463.

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32

Cefai, Sarah. "Getting Emotional After Sex: Tendencies in Queer Studies Browne, Kath and Nash, Catherine (eds) (2010), Queer Methods and Methodologies: Intersecting Queer Theories and Social Science Research, Ashgate, Farnham and Burlington, 2010. ISBN: 978-0-7546-7843-4, 316 pp., £65.00. Halley, Janet and Parker, Andrew (eds), After Sex? On Writing Since Queer Theory, Duke University Press, Durham and London, 2011. ISBN: 978-0-8223-4909-9, 336 pp., US$24.95.Heckert, Jamie and Cleminson, Richard (eds), Anarchism & Sexuality: Ethics, Relationships and Power, Routledge, Oxon and New York, 2011. ISBN: 978-0415-65818-8, 238 pp., US$42.99." Somatechnics 3, no. 1 (March 2013): 190–206. http://dx.doi.org/10.3366/soma.2013.0085.

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Анотація:

This article reviews three recent queer studies anthologies: Queer Methods and Methodology: Intersecting Queer Theories and Social Science Research, by Kath Browne and Catherine J. Nash (2010), Anarchism & Sexuality: Ethics, Relationships and Power by Jamie Heckert and Richard Cleminson (2011) , and After Sex? On Writing Since Queer Theory, by Janet Halley and Andrew Parker (2011) . A brief synopsis of the books is followed by discussion on three key observations. First, I discuss the specificity of the queer ‘body’, particularly with regard to the scholarly subjectivity articulated by contributors to these anthologies. Second, I discuss the distillation of queer identity from the field of queer corporeality as a specific move to embrace anti-identitarianism through conceiving identity as fluid. Lastly, questions of queer and identity are reconsidered as methodologically specific and, as such, as entailing sensitivity to the movement of concepts between the different epistemological fields of knowledge called the social sciences and the arts and humanities. Through discussion of these observations, this review aims to stimulate thought and reflection on these texts as responding to and participating in the highly contested institutionalisation of queer studies in the academy.

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33

Van Giessen, Eric. "Reflexive Poetry." New Sociology: Journal of Critical Praxis 1, no. 1 (June 26, 2020): 73–81. http://dx.doi.org/10.25071/2563-3694.9.

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These four poems are excerpts from a multifaceted project entitled Queerly Faithful: A Queer-Poet Community Autoethnography on Identity and Belonging in Faith Communities. This project attempts to bolster and critique contemporary studies of queer and faith identities as they manifest in the lives of queer people of faith by approaching the subject with a queer sensibility (Holman Jones & Adams 2010: 204). One facet of this approach involved my use of poetry as a personal reflexive medium on the research process itself. The poems invite the reader into my experience as I wrestle with articulating methodology, theory framing, data presentation, and the questions and challenges of producing a fixed document to present the findings of a queer project that resists fixedness. By blurring the lines between poetry/narrative/storytelling and social science writing, I invite the readers “to become coparticipants, engaging the storyline morally, emotionally, aesthetically, and intellectually” (Ellis & Bochner 2000: 745). The poems, which are scattered throughout the research paper, nuance the traditional academic language and prose analysis in the paper and serve to challenge conceptions of ‘proper’ social science writing and position the writing itself as a method of inquiry (Prendergast, Leggo & Sameshima 2009; Richardson & St. Pierre 2005; Richardson 1993). The poems in isolation, as presented here, invite the reader to consider the strengths and challenges of social science research and articulate my struggle to honour the sacred stories of my participants through fixed language. The poems play with the questions: what does it mean to be a social justice researcher and how might our work, methodologically as well as topically, critique and undermine oppressive epistemologies that elevate and prioritize certain voices over others?

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34

Gogats, Jake. "Mapping Queer Space(s) of Praxis and Pedagogy." Radical Teacher 115 (November 26, 2019): 77–80. http://dx.doi.org/10.5195/rt.2019.653.

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In this re-view of Mapping Queer Space(s) of Praxis and Pedagogy, I eschew standards of book reviewing and instead aim to provide a pedagogical model for reading the text in question. By writing in a "scattered" format inspired by one of the text's chapters, I both show and tell the reader the effect the text has had on me. Rather than focusing on summary and evaluation, then, I write primarily about the different uses of "queer" in different chapters as a way of introducing the reader to queer studies and exemplifying a genuine response to the experience of reading the book.

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35

Dean, Tim. "Sex and the Aesthetics of Existence." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 387–92. http://dx.doi.org/10.1632/pmla.2010.125.2.387.

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Leo Bersani's contributions to Queer Theory have been essentially traumatic. Ever since “Is the Rectum a Grave?,” with its startling opening sentence (“There is a big secret about sex: most people don't like it” [197]), Bersani's writing on sexuality has disrupted the conceptual coordinates of queer theory, a field that officially welcomes the disruptive. What has made Bersani hard to assimilate is less his psychoanalytic emphasis on the ineluctable masochism of sexuality (a principal reason for the aversion to sex) than his insistent conceptualization of sexuality in aesthetic terms. Although his work has never shied from the rebarbative aspects of erotic life, it is, in fact, Bersani's speculations about relationality as irreducibly aesthetic that have proved tougher for the field of queer theory to countenance. (Queer theorists take sexual variance in stride; we have a harder time dealing with art.) It is not merely that Bersani draws examples from literature, painting, sculpture, and cinema when discussing erotic relationality. More fundamentally, his earlier work claimed that art has effects on the human subject akin to those of sexuality, while his later writing proposes a specifically aesthetic subjectivity—rather than the sexual kind—as the preferred basis for relating to the world beyond the self.

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36

McLachlan, Fiona. "Swimming History after Deconstruction: A Queer Engagement." Journal of Sport History 39, no. 3 (October 1, 2012): 431–44. http://dx.doi.org/10.5406/jsporthistory.39.3.431.

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Abstract In this paper I make a case for history that is both deconstructive and creative. I begin from my position of “deconstructionism” and move towards queer engagement, which I argue, is a productive term that enables me to embrace deconstruction and subjective approaches to history making, without falling into the trap of writing a coherent “self ” into the text. I create an example of a fragmented swimming history to illustrate what queer engagement might look like in practice.

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37

Gautreau, Justin. "Staging Hollywood Scandal." Pacific Coast Philology 56, no. 1 (April 1, 2021): 41–59. http://dx.doi.org/10.5325/pacicoasphil.56.1.0041.

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This essay recovers Carroll and Garrett Graham's forgotten Hollywood novel Queer People (1930). I argue that the Graham brothers conceived of their novel not as a literary masterpiece but as a backdoor entrance into studio writing departments. Rather than assuming an audience of outsiders, as the Hollywood novel had tended to do, the Grahams wrote Queer People primarily to catch the attention of industry insiders. Like their protagonist's unconventional route to fame, they hoped their bold novel would lead to more respect and opportunity around town. Although Queer People was nearly adapted into a Hollywood film, it ultimately fell into obscurity as the industry kept it from ever reaching the screen.

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38

Gargaillo, Florian. "Queer Allusion: Wilde, Housman, Cullen." Modern Language Quarterly 83, no. 1 (March 1, 2022): 57–80. http://dx.doi.org/10.1215/00267929-9475030.

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Abstract This essay argues for the distinctive role of allusion in queer poetry of the pre-Stonewall era, using the work of Oscar Wilde, A. E. Housman, and Countee Cullen as case studies. Most allusions depend on implicit verbal echoes that can be identified by readers able and willing to recognize them. That mix of secrecy and openness was especially attractive to gay poets, since it enabled them to express their desires obliquely by writing through authors who hinted at similar experiences. Queer allusion thus offers an alternative to long-standing theories of influence that describe poetry’s relationship to the past in terms of debt or competition. Unlike these models, queer allusion allowed poets to foster connections on the page and find relief from the loneliness that was endemic to gay life.

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39

Foster and Griffiths. "Introduction: American Women's Writing and the Genealogies of Queer Thought." Legacy 37, no. 1 (2020): 1. http://dx.doi.org/10.5250/legacy.37.1.0001.

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40

Barrios, Barclay. "Of flags: Online queer identities, writing classrooms, and action horizons." Computers and Composition 21, no. 3 (September 2004): 341–61. http://dx.doi.org/10.1016/j.compcom.2004.05.003.

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41

Jolly, Margaretta. "Coming Out of the Coming Out Story: Writing Queer Lives." Sexualities 4, no. 4 (November 2001): 474–96. http://dx.doi.org/10.1177/136346001004004005.

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42

Myerson, Marilyn, Sara L. Crawley, Erica Hesch Anstey, Justine Kessler, and Cara Okopny. "Who's Zoomin’ Who? A Feminist, Queer Content Analysis of “Interdisciplinary” Human Sexuality Textbooks." Hypatia 22, no. 1 (2007): 92–113. http://dx.doi.org/10.1111/j.1527-2001.2007.tb01151.x.

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Hundreds of thousands of students in introductory human sexuality classes read textbooks whose covert ideology reinforces dominant heteronormative narratives of sexual dimorphism, male hegemony, and heteronormativity. As such, the process of scientific discovery that proposes to provide description of existing sexual practices, identities, and physiohgies instead succeeds in cultural prescription. This essay provides a feminist, queer content analysis of such textbooks to illuminate their implicit narratives and provide suggestions for writing more feminist, queer-friendly texts.

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43

Silveira, Andy. "Pursuing the Sacred: Discovering the Profane." Journal of Autoethnography 3, no. 4 (2022): 445–58. http://dx.doi.org/10.1525/joae.2022.3.4.445.

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Through self-reflexive, queer autoethnography, this article depicts the author’s transition from a religious scholastic to a queer-embracing person over four years at university. While enfolding the individual and the collective self, the author unearths new forms of existing that allow for authenticity with none of the complicity associated with double consciousness. This article examines how writing leads to meaning-making, visibility, and self-affirmation and becomes an exercise in letting go of shame, loss, and love.

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44

Stepanović, Natalija Iva. ""Iz ormara na police": O odrastanju i izlasku iz ormara u hrvatskoj queer književnosti." Umjetnost riječi: časopis za znanost o književnosti, izvedbenoj umjetnosti i filmu 64, no. 1-2 (December 16, 2020): 51–71. http://dx.doi.org/10.22210/ur.2020.064.1_2/03.

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“OUT OF THE CLOSET, ONTO THE BOOKSHELF”: ON GROWING UP AND COMING OUT IN CROATIAN QUEER LITERATURE In the contemporary Croatian queer prose, growing up is represented as a process with uncertain outcomes. Contemporary writers do not describe gay and lesbian identities as already shaped, finalized, and unquestionably different from heterosexuality. Their poetics have many predecessors, Bildungsroman, the 19th-century genre that, despite conventional epilogues, depicts youth as a period of the adventure and overturn, being the oldest one. The second important influence are foreign coming out novels (texts that describe the articulation of gay and lesbian identities in the family and community) or narratives of affirmation, and the third Yugoslav young adult prose. The publication of the Croatian queer prose has increased dramatically since the first Gay Pride in Zagreb (2002) and the Queer Zagreb festival the following year. In the short story collection Poqureene priče [The queered stories] (2004) growing up is one of the prevailing topics with eventually popularized motifs such as coming out, moving away / traveling, cultural signifiers of gay identity, and crossings of sexual orientation with gender and class. Writing in the first person is also very popular. Vladimir Stojsavljević’s oeuvre is important because the author depicts growing up in three contexts, during Yugoslavia, in the war-time, and in post-transition, and texts by Nora Verde are a novelty because she writes about queer women as belonging to lesbian community. Young authors Mirta Maslać and Viktorija Božina reveal an interesting autobiographical discourse and share a tendency towards using diverse cultural references. This paper aims to show how the encounter of local gay and lesbian culture, foreign fiction, and already present genres has shaped the current texts about queer identity that manage to avoid writing about sexuality within simplistic, binary oppositions.

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45

Clintberg, Mark. "Sticky: The Vazaleen Posters." Papers of The Bibliographical Society of Canada 57 (May 21, 2020): 67–84. http://dx.doi.org/10.33137/pbsc.v57i0.32901.

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Vazaleen was a monthly serial queer party in Toronto founded by artist and promoter Will Munro (1975-2010) in 2000. Munro commissioned Toronto-based artist Michael Comeau (1975-) to create many silkscreen poster advertisements for these parties. His designs include an array of typographic treatments, references to popular culture and queer icons, and vibrant colour schemes. This article discusses these posters in relationship to Michel Foucault’s theory of the heterotopia, Roland Barthes’ semiotic analysis of advertising, and Eve Kosofsky Sedgwick’s writing on camp.

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46

Churchill, David S. "Paul Goodman and the Biography of Sexual Modernity." Journal of the Canadian Historical Association 21, no. 2 (May 10, 2011): 47–60. http://dx.doi.org/10.7202/1003087ar.

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This article is a preliminary exploration of the relationship between the auto-biographical writings of radical US intellectual Paul Goodman and his theorizing of sexuality’s links to the project of political liberation. Goodman’s life writing was integrated into his social and political critique of mid-twentieth century society, as well as his more scholarly pursuits of psychology and sociology. In this way, Goodman’s work needs to be seen as generative of the dialectic of sexually modernity, which integrated intimate queer sexual experiences with conceptual, intellectual, and elite discourses on sexuality.

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47

Tarapata, Olga. "Writing Disability | Disabling Writing: E.T. Russian and the Fragmentation of Texts and Textures." Zeitschrift für Anglistik und Amerikanistik 67, no. 1 (March 26, 2019): 37–51. http://dx.doi.org/10.1515/zaa-2019-0004.

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Abstract This paper focuses on the US-American queer disability artist E.T. Russian and the question of how the experience of disability can be translated into artistic experience and practice. Russian’s The Ring of Fire Anthology (2014) draws attention to the insufficiency of words and language and deploys a form of literary collage that presents an empowering testimony to her life as an amputee. While the author’s account of the pitfalls entailed in prosthetics as well as gender and class struggles is captivating in itself, the force of her work resides elsewhere: the reader cannot escape the ecstasy of fragmentation and intertextuality provoked by the arrangement, or derangement, of image and text. It is Russian’s palimpsest of essays, comics, interviews, dictionary entries, erotica, lonely hearts ads, poems, and technical drawings that offers an entryway into the multiplicity and fluidity of disability experience.

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48

Kindig, Patrick. "Perverse Attention(s): Djuna Barnes, John Rechy, and the Queer Modernist Aesthetics of Entrancement." Twentieth-Century Literature 68, no. 3 (September 1, 2022): 273–94. http://dx.doi.org/10.1215/0041462x-10028070.

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This article examines the representational slippage between queerness and entranceability in two queer modernist novels, Djuna Barnes’s Nightwood and John Rechy’s City of Night. Highlighting the historical and conceptual overlap between early sexological work on inversion and early psychological work on trance, it argues that, in the late nineteenth and early twentieth centuries, queer desire was in part understood as a function of compulsively misdirected and pathologically fixed attention. Embracing rather than refuting this model of queerness, writers such as Barnes and Rechy drew on the language and imagery of homoerotic entrancement to cultivate a mesmerizing—and distinctly queer—aesthetic, incorporating entrancement into their writing at the levels of both form and content. The article thus suggests that sexology provided writers such as Barnes and Rechy with an unexpected method for capturing and holding the attention of their readers, shaping queer modernist aesthetics in an oft-overlooked way.

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49

Balestrini, Nassim, and Silvia Schultermandl. "Life Writing and American Studies." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (August 31, 2020): 137–39. http://dx.doi.org/10.47060/jaaas.v1i1.74.

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This forum seeks to outline a variety of research prospects at the intersection of American studies and life-writing studies. The common thread that interrelates the individual contributions is spun and twisted out of various filaments of life writing theory which productively dialogue with current trajectories in American studies. The contributors to this special forum highlight what they consider particularly significant developments of the interdisciplinary field of life-writing studies. Taken together, they raise issues about representations of the self in film, literature, and popular culture from the vantage points of transnational American studies, feminist studies, intermediality studies, oceanic studies, affect theory, critical race theory, and queer theory. The result is a rich, multi-layered conversation about the future of American studies within the interdisciplinary and decidedly transnational context of life-writing studies.

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50

Little, James. "Quare Memory in Brendan Behan's Borstal Boy." Irish University Review 50, no. 2 (November 2020): 289–303. http://dx.doi.org/10.3366/iur.2020.0471.

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This essay adapts David Cregan's concept of ‘queer memory’ – a form of memory defined ‘by exclusion rather than inclusion’ – to the author of The Quare Fellow, analysing narrative gaps in Brendan Behan's Borstal Boy in order to better understand its construction of cultural memory. Situating Borstal Boy within a growing canon of Irish writing on coercive confinement, the essay contends that draft versions act as an important component of textual memory, as can be seen by the more explicit portrayal of queer sexuality in Behan's drafts. Both in its transgressive portrayal of queer masculinity, and in the ‘quare’ narrative strategies used to incorporate this material into the published text, Borstal Boy presents an author whose ‘quareness’ is a key part of his literary aesthetic.

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