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Книги з теми "Queerne"

Автор: Grafiati

Опубліковано: 11 березня 2023

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1

Deuber-Mankowsky, Astrid, and Philipp Hanke, eds. Queeres Kino / Queere Ästhetiken als Dokumentationen des Prekären. Berlin: ICI Berlin Press, 2021. http://dx.doi.org/10.37050/ci-22.

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Wenn queeres Kino und queere Ästhetiken das Prekäre dokumentieren, dann intendiert dies auch eine Revolution im Symbolischen. Oder anders formuliert: ihr ästhetisches Unterfangen, Rahmungen zum Vorschein zu bringen, ohne sie zu wiederholen, erweist sich, wie die hier versammelten Beiträge namhafter Film-, Medien- und Queertheoretiker*innen zeigen, als prekäre Form der Dokumentation. Die Beiträge bieten dabei zugleich einen Einblick in den gegenwärtigen Stand des queeren Kinos – seiner Filme, Videos und visuellen Installationen.

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2

A, Yep Gust, Lovaas Karen, and Elia John P, eds. Queer theory and communication: From disciplining queers to queering the discipline(s). New York: Harrington Park Press, 2003.

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3

Hanke, Philipp. Queeres Kino / queere Ästhetiken als Dokumentationen des Prekären. Berlin: ICI Berlin Press, 2021.

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4

The new Cunard Queens: Queen Mary 2, Queen Victoria, Queen Elizabeth 2. Annapolis, Md: Naval Institute Press, 2008.

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5

Bierschenk, Iris. Kreuz und Queer: Queere Erzählstrukturen in der schwedischen Jugendliteratur. Hamburg: Verlag Dr. Kovač, 2010.

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6

Perko, Gudrun. Queer-Theorien: Ethische, politische und logische Dimensionen plural-queeren Denkens. Köln: PapyRossa, 2005.

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7

The amazing queen: Winning with your queens. New York: HNB Publishing, 2012.

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8

Hagen, Darrin. Queering the way: The Loud and Queer anthology. [Victoria, B.C.]: Brindle & Glass, 2011.

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9

Warrior Queens: The Queen Mary and Queen Elizabeth in World War II. Mechanicsburg, PA: Stackpole Books, 2002.

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10

Khubchandani, Kareem. Aunty Fever. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0012.

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This essay attends to origin stories of queerness and dance from the author’s younger years, to suggest that his contemporary manifestations of queer dance emerge from contexts that may not traditionally be labeled as “queer” or “dance.” He describes dance pedagogies offered by his Indian aunties in Ghana, to explain how they inform his queer choreographies and politics as a drag queen performing in the multicultural US nightclub and online. Specifically, he considers how he creates his drag persona, LaWhore Vagistan, blending Bollywood vocabulary and music with drag queen performance in a way that exceeds a colonizing, patriarchal, femme-phobic gaze.

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11

Yep, Gust. Queer Theory and Communication: From Disciplining Queers to Queering the Discipline. Taylor & Francis Group, 2014.

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12

Queer Theory and Communication: From Disciplining Queers to Queering the Discipline. Routledge, 2014.

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13

Yep, Gust. Queer Theory and Communication: From Disciplining Queers to Queering the Discipline. Taylor & Francis Group, 2014.

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14

Yep, Gust. Queer Theory and Communication: From Disciplining Queers to Queering the Discipline. Taylor & Francis Group, 2014.

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15

Yep, Gust. Queer Theory and Communication: From Disciplining Queers to Queering the Discipline. Taylor & Francis Group, 2014.

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16

Chao, Shih-chen. Cosplay, Cuteness, and Weiniang. Hong Kong University Press, 2018. http://dx.doi.org/10.5790/hongkong/9789888390809.003.0003.

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This paper analyzes gender performativity in the form of cross-dressing cuteness through cosplaying by a popular male-cosplaying-female fan group “Ailisi Weiniang Tuan (Alice Cos Group)” based in China. Drawing from cute studies, gender/queer studies, and fan studies, this paper examines the phenomenon of fake girls as a venue of redefining the boundaries of identity and gender using cosplaying and the notion of cuteness to achieve queerness to address the issue of gender performativity through queered cuteness in today’s China.

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17

Queering Religion, Religious Queers. Taylor & Francis, 2014. http://dx.doi.org/10.4324/9780203753040.

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18

Taylor, Yvette, and Ria Snowdon. Queering Religion, Religious Queers. Taylor & Francis Group, 2014.

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19

Taylor, Yvette, and Ria Snowdon. Queering Religion, Religious Queers. Taylor & Francis Group, 2018.

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20

Queering Religion Religious Queers. Taylor & Francis Ltd, 2014.

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21

Taylor, Yvette, and Ria Snowdon. Queering Religion, Religious Queers. Taylor & Francis Group, 2014.

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22

Queering Religion, Religious Queers. Routledge, 2014.

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23

Taylor, Yvette, and Ria Snowdon. Queering Religion, Religious Queers. Taylor & Francis Group, 2014.

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24

Taylor, Yvette, and Ria Snowdon. Queering Religion, Religious Queers. Taylor & Francis Group, 2014.

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25

Croft, Clare, ed. Queer Dance. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.001.0001.

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Анотація:

Queer Dance argues that dance has a particular charge in the larger field of queer activism and study because it emphasizes and offers language for how public, physical action can be a force of social change. It considers how queer dance has political potential and how it could productively challenge more conservative dance forms, both in terms of making meaning and in terms of institutional practices. Queer Dance brings together artists and scholars in a multi-platformed project—book, website, and live performance series—to ask: “What does dancing queerly challenge us toward?” The artists and scholars whose writing appears in the book and whose performances and filmed interviews appear online, stage a wide range of genders and sexualities as a way to challenge and destabilize social norms. Queer dance is a coalitional project, a gathering that works across LGBTQ identities and in concert with feminist, anti-racist, and anti-colonial artmaking, activism, and scholarship. The book engages with dance-making, dance scholarship, queer studies, and a host of other fields, always asking how identities, communities, and artmaking and scholarly practices might consider what queer work the body does and can do. Might the slide of a hand across a hipbone be just as much an act of coming out as an announcement offered in words? How does queerness exist in the realm of affect and touch, and what then might be revealed about queerness through these pleasurable and complex bodily ways of knowing?

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26

(Editor), Gust A. Yep, Karen Lovaas (Editor), and John P., Ph.D. Elia (Editor), eds. Queer Theory and Communication: From Disciplining Queers to Queering the Discipline(S. Harrington Park Press, 2004.

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27

Hines, Alan. Queen of Queens. Trafford Publishing, 2015.

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28

Queen of Queens. Bordighera Incorporated, 2022.

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29

Hines, Alan. Queen of Queens. Trafford Publishing, 2015.

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30

Hines, Alan. Queen of Queens. Trafford Publishing, 2015.

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31

Luna, Jimmie. Queen Of Queens. Winlock Publishing Company, 2004.

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32

Fraser, Vikki. Queer Sexualities: Diversifying Queer, Queering Diversity. Inter-Disciplinary Press, 2013.

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33

Kramer, Paul Gordon. Queer Politics in Contemporary Turkey. Policy Press, 2022. http://dx.doi.org/10.1332/policypress/9781529214840.001.0001.

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Анотація:

Queerness is an index of the things people say about us, our personal traumas, sexual experiences, the institutions that help us and harm us, the movies that make no effort to represent us, the politicians that inspire majorities to assault us. How do we talk about queer politics if the power relations we find ourselves in are so diverse, so dramatically different across the board? It is not simply that the state confines us. It’s everyday life, public encounters, banal objects, subjective and physical experiences that result in unique power relationships between queers and institutions. What’s more, we shape these politics as much as we are shaped by them. In this work, I demonstrate the diverging, fluctuating ways queer and trans people are governed in contemporary Turkey.

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34

(Editor), Gust A. Yep, Karen Lovaas (Editor), and John P., Ph.D. Elia (Editor), eds. Queer Theory and Communication: From Disciplining Queers to Queering the Discipline(S) (S). Harrington Park Press, 2004.

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35

Farfan, Penny. “I think very few people are completely normal really, deep down in their private lives”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190679699.003.0005.

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This chapter focuses on Noël Coward’s 1930 comedy Private Lives to illustrate how queer modernist performance might pass as light entertainment in the theatrical mainstream. Written shortly after Coward read Virginia Woolf’s Orlando, Private Lives engages with classical and early twentieth-century ideas about androgyny and in doing so subverts interlinked sexual and aesthetic norms. The play’s main characters, Amanda and Elyot, are ambiguously gendered, yet together form a heterosexual couple that recalls the separated halves of the lost androgyne or third sex of Aristophanes’s myth of love in Plato’s Symposium. This queering of heterosexuality through androgynous male and female “other halves” combines with the play’s emphasis on fleeting moments of present happiness to derail comedy’s traditional movement toward marriage, reproduction, and social continuity, anticipating more recent queer resistance to what Lee Edelman has called “reproductive futurism.” While achieving enduring popular success, Private Lives thus queered comic form and fostered queer spectatorship.

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36

Ahlgren, Angela K. Butch Bodies, Big Drums. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199374014.003.0005.

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The chapter contends that performances by the all-women’s taiko group Jodaiko highlight the intersectional nature of identity for the queer Asian, Asian American, and Asian Canadian women who make up the group. Jodaiko performs annually at two events in Vancouver, BC: the Powell Street Festival and a queer performance series connected to LGBTQ Pride. This chapter argues that Jodaiko queers North American taiko and demonstrates this in three ways: through an exploration of group members’ everyday gender performances of female masculinity; by analyzing the group’s “homo-geneity,” or uniformly Asian American queerness in a performance of Tiffany Tamaribuchi’s song “Kokorozashi,”; and through a close performance analysis of Tamaribuchi’s queer re-working of traditional Japanese masculinity in her solo performances on the o-daiko. Such readings are enabled by the erotic valences of taiko, which spectators experience kinesthetically when they watch live taiko performances.

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37

Stephens, Vincent L. Rocking the Closet. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042805.001.0001.

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Rocking the Closet: How Little Richard, Johnnie Ray, Liberace, and Johnny Mathias Queered Pop Music examines the way four popular male musicians who emerged in the 1950s, Johnnie Ray, Little Richard, Johnny Mathis, and Liberace challenged post-World War II masculine conventions. Rocking is a critical close reading that fuses queer literary theory, musicology, and popular music studies frameworks to develop its argument. Recent scholarship in queer theory and literary history constitutes a key strand of the book’s discussion of queer ambivalence regarding identity. Notably, the book explores how the four artists challenged male gender and sexual conventions without overtly identifying their respective sexual orientations or necessarily affiliating with gay activism, identity politics, or community tropes. The book outlines the emergence of postwar social expectations of male figures and employs these expectations to define a unique a set of five “queering” tools the four musicians employed in various combinations, to develop their public personae and build audiences. These tools include self-neutering, self-domesticating, spectacularizing, playing the “freak,” and playing the race card. Despite the prevalence of postwar gender norms, their deft use of these tools enabled each artist to develop sexually ambiguous personae and capitalize on the postwar audiences’ attraction to novelty and difference. These “queering” tools endure among contemporary musicians who challenge masculine conventions in popular music.

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38

Wood, Richard. Queen Victoria (Kings & Queens). Hodder Wayland, 1998.

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39

Queen Victoria (Kings & Queens). Hodder Wayland, 1995.

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40

Kaindl, Klaus, and Brian James Baer. Queering Translation Translating the Queer. Taylor & Francis Group, 2020.

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41

Queen Victoria (Our Kings & Queens). Hodder Wayland, 1998.

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42

Sonnemann, W. K. Greta, Queen of the Queens. Independently Published, 2020.

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43

Henríquez, Daniela. Queens (Drag Queen Playing Cards). King Publishing, Laurence, 2020.

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44

Gareiss, Nicholas. An Buachaillín Bán. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0011.

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Helen O’Shea asserts that ‘Irish’ and ‘queer’ are mutually exclusive identifications in the discourse of Irish nationalism and Irish traditional arts. If indigenous Irish cultural practices are indeed devoid of queerness, how can queer dancers working within these forms make sense of their role as both cultural exponents and sexual and gender outsiders? Embodying alterity within idioms historically touted as the representation of essentialized Irishness, how do queer Irish step dancers negotiate their queerness through a dance form historically cast so close to the heteronormative heart of rural Ireland? This chapter queries the experience of the author to excavate nascent queerness within Irish traditional dance practice. Drawing upon his fifteen years of performance and ethnography with many of the luminaries of traditional Irish music and dance, the essay offers a queer reimagining of contemporary performance conventions of Irish step dance, revealing insights into the form’s ethnology and proposing new possibilities for Irish dance as a polysemic means of cultural and personal expression.

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45

Queer Business: Queering Sexualities of Organization. Taylor & Francis Group, 2017.

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46

Tierney, Tom. Queen Elizabeth the Queen Mother Paper Dolls (Empresses & Queens). Tandem Library, 2001.

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47

Minto, David. Queering Law’s Empire. Edited by Markus D. Dubber and Christopher Tomlins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780198794356.013.34.

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This chapter suggests two broad and distinctive directions that could benefit the field of queer legal history. The first direction relates to the historical circumstances in which queerness presented a ‘hard case’ for those charged with making or enforcing law, sometimes strengthening their existing understandings of law and the legal system, but in other instances provoking a crisis of administration and adjudication or even a jurisprudential paradigm shift. This first direction, in other words, probes the ways in which queerness challenged the law of police officers, politicians, advocates, judges, and legal theorists, beyond law simply disciplining queerness. The second direction points to the profound gaps in queer legal history when it comes to thinking comparatively between different jurisdictions or transnationally across their bounds. It highlights how queerness in legal history might usefully be taken, and take us, beyond jurisdictional domains.

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48

Kosstrin, Hannah. Queer Spaces in Anna Sokolow’s Rooms. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199377329.003.0008.

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Celebrated for its themes of postwar alienation, Anna Sokolow’s Rooms (1954) also subverts 1950s expectations for gendered and sexualized bodies onstage. Rooms’ vignettes reveal queerness through dancers’ feelings of isolation and expressions of normative and queer desire, panic, unrequited love, absent lovers, and contemplations of suicide. These queer spaces include moments of homosexual longing and moments of non-conforming heterosexuality that undermine normalcy and lead to a reconsideration of Rooms’ function within early Cold War politics. This essay posits that the tension between queer and universal representation in Rooms invokes the 1950s climate of fear that caused gay people to live closeted lives under the threat of persecution. Through reading Rooms as a queer text within the context of the Lavender Scare, this essay shows how queer lives were central to the general marginalized experience Sokolow presented in this dance, and how through presentations like Rooms queerness defined the 1950s mainstream.

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49

The New Cunard Queens Queen Mary 2 Queen Victoria Queen Elizabeth 2. Pen & Sword Books, 2011.

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50

Boyer, David. Kings and Queens: Queers at the Prom. Soft Skull Press, 2004.

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