This dissertation examines how the human bodymind has been seen as malleable by science, technology, and policy practitioners from the Eugenic era in the United States in the first half of the 20th century, to the future imaginaries of Transhumanists and technology innovators. I critique the main goal of these practitioners – to perfect the human bodymind and through that perfection, perfecting human society – as utopic, impossible, and amoral. I argue instead, that we are intra-dependent – dependent on and through each other and our ecological contexts. I ground this argument both in the lived experience of those whose bodymind arrangements go against our normative expectations – folks like disabled people, queer and transgender people, body modders, and more – and in the philosophical metaphysics of Karen Barad's Agential Realism. I argue that we can only produce a future where bodymind alteration is acceptable if we first value different bodymind arrangements. I argue both that we cannot consider ourselves individuals, separate from the world or each other, and that multiplicity of bodyminds is a generative, heterotopic (neither utopic nor dystopic), force toward which we ought strive through engaging intentionally with each other in care relations. / Doctor of Philosophy / An interdisciplinary examination of how science and technology has made possible bodymind alteration from the eugenics in the early 20th century until today. Particular focus is given to how futures were imagined by different groups (eugenics educators, regenerative medicine scientists, and transhumanists in particular), the practices used to realize these futures, and the ethics around the practices and beliefs that are often taken for granted. I also describe several communities (disabled people, body modders, otherkin, and more) whose bodyminds are decidedly non-normative in order to reveal practices of community, kinship, and resistance to power that illuminate the lived realities of having a different morphology. I argue that these communities reveal ways to value and include morphological difference that might bring about a Morphological Freedom in which we might all thrive.

This essay explores drag as an artform, guided by the lens of queer theory, offering insights into the nuanced expressions of drag. Exploring three theatrical productions across genres like modern dance, opera and musical theatre, the study focuses on character portrayal and design, seeking to understand the essence of drag and why certain cross- dressings are more closely associated with drag than others. By combining performance analyses with existing research on drag, this paper reveals the complex and dynamic nature of drag culture. With a particular emphasis on the exploration and subversion of gender norms, the study sheds light on how drag is portrayed and understood within the Swedish theatrical context through Matilda the Musical, Askungen and Everlasting Event. Through this investigation, the essay offers valuable insights into the evolving role of drag as a form of artistic expression and social commentary.

[EN] CURATORIAL FEMINIST PRACTICES IN THE SPANISH STATE (1993-2013). CULTURAL MANAGEMENT AS A PRODUCER OF GENDER IDENTITIES DISCOURSE This PhD thesis discuss on artistic practices and theoretical discourses of feminist art developed within the Spanish State since the late eighties to the present, focusing on how the exhibitions on gender issues have been building and structuring the feminist theoretical and visual discourse. This research comes with the intention to deepen in the specific context of the Spanish feminist art, which present certain differences with the European and North American ambit. We are interested in assessing how the theory and practice of foreign feminist art has greatly influenced its development and implementation, and in its turn, identify which have been the contributions of the Spanish feminist cultural production. In this purpose we have used the methodology of art history, cultural studies and feminist theory. Based on the peculiarities of the socio-political Spanish context where the essentialist trend, which revalues the female identity from the difference, coexists with the constructionist which understands gender as a socio-cultural construction, interspersed with the queer perspective, which claims other bodies and other non-regulatory sexualities, while reviewing the performing masquerade of femininity and masculinity. The first part treats the artistic strategies of international feminism and the main exhibitions abroad are reviewed. On the other hand an approach to the social, political and cultural context in the Spanish State in relation to gender issues, at the same time included a review of the evolution of the Spanish Feminist Movement. The second part focuses on exhibitions with gender issues within the Spanish state since the nineties, when they begin to arise from feminist positions. However, so-called 'women's exhibitions' proliferate at this time, developing with better or worse curatorial approach issues related to female artists. Therefore, we are also interested in assessing the potential relevance and impact of this type emerged as a tool of cultural policy in institutional feminism exhibitions. Finally, the third part reflects on the characteristics of the feminist cultural management, based on material previously analyzed, but also as a study case on my own feminist curatorial experience. All this subtracts that feminist cultural management is about visualizing artistic proposals that shows other ways of understanding gender identities and sexualities, besides the problems arising from the mechanisms of patriarchal oppression. This curatorial practice seeks to be plural and multidisciplinary, and on the other hand generating channels open for discussion to enrich the practice and thought from the feminisms. / [ES] RESUMEN TESIS EN CASTELLANO LAS PRÁCTICAS CURATORIALES FEMINISTAS EN EL ESTADO ESPAÑOL (1993-2013). LA GESTIÓN CULTURAL COMO PRODUCTORA DEL DISCURSO DE LAS IDENTIDADES DE GÉNERO Esta Tesis Doctoral surge de la intención de profundizar en el contexto específico del arte feminista español, que presenta ciertas diferencias con el ámbito europeo y estadounidense. Esta investigación se ocupa del arte y la teoría del arte feminista desarrollados en el ámbito del Estado Español desde finales de los ochenta hasta la actualidad, centrándose en cómo las exposiciones en torno a las cuestiones de género han ido construyendo y estructurando el discurso teórico y visual feminista. Se ha valorado cómo una exposición legitima un discurso artístico, tanto visual como teóricamente, e incluso cómo éste llega a institucionalizarse. Nos interesaba valorar cómo la teoría y práctica del arte feminista foráneo ha influido notablemente en su desarrollo e implantación, y a su vez, identificar cuáles han sido las aportaciones de la producción cultural feminista española al debate internacional. Es por ello que el objetivo fundamental de este estudio es contribuir a la (re)construcción de una genealogía feminista propia en relación a las artes visuales. Por lo tanto, en este análisis se han expuesto las diversas tendencias teóricas, críticas, historiográficas y estéticas de la producción cultural feminista realizada en el Estado Español. Debido a las singularidades socio-políticas de este contexto, conviven la tendencia esencialista, que revaloriza la identidad femenina -como si de un continuum cultural se tratase- junto con una línea construccionista, que entiende el género como una construcción socio-cultural, entreverada con la perspectiva queer, que revisa la sexualidad y las mascaradas performativas de la feminidad y de la masculinidad. La primera parte se ocupa de las estrategias artísticas de los feminismos a nivel internacional a modo de introducción al tema, así como se reseñan las principales exposiciones realizadas en el extranjero. Por otro lado se realiza una aproximación al contexto social, político y cultural del Estado Español en relación al arte vinculado a cuestiones de género, así como un recorrido por la evolución del movimiento feminista español. La segunda parte se centra en las exposiciones realizadas con temática de género en el Estado Español desde 1993, cuando comienzan a plantearse exposiciones verdaderamente feministas. No obstante, desde los noventa las denominadas 'exposiciones de mujeres' proliferan, desarrollando con mejor o peor criterio curatorial cuestiones relativas a mujeres artistas. Por lo tanto, también nos interesaba evaluar el posible interés y la repercusión de este tipo de exposiciones surgidas como una herramienta de la política cultural del feminismo institucional. Finalmente, en la tercera parte se ha reflexionado acerca de las particularidades propias de la gestión cultural feminista, en base al material previamente analizado, y también tomando como caso de estudio mi propia experiencia curatorial feminista. De todo ello se substrae que la gestión cultural feminista trata de visibilizar propuestas artísticas que muestran otros modos de entender las identidades de género y las sexualidades, así como las problemática derivadas de los mecanismos de opresión patriarcal. Esta práctica curatorial busca ser plural y multidisciplinar, además de generar canales abiertos de debate para el enriquecimiento de la práctica y del pensamiento feminista. / [CA] LES PRÀCTIQUES CURATORIALS FEMINISTES A L'ESTAT ESPANYOL (1993-2013). LA GESTIÓ CULTURAL COM PRODUCTORA DEL DISCURS DE LES IDENTITATS DE GÈNERE. Aquesta Tesi Doctoral sorgeix de la intenció d'aprofundir en el context específic de l'art feminista espanyol, que presenta certes diferències amb l'àmbit europeu i nord-americà. Aquesta investigació s'ocupa de les pràctiques artístiques i dels discursos teòrics de l'art feminista desenrotllats en l'àmbit de l'Estat Espanyol des dels finals dels huitanta fins a l'actualitat, centrant-se en com les exposicions entorn de les qüestions de gènere han anat construint i estructurant el discurs teòric i visual feminista. S'ha valorat com una exposició legitima un discurs artístic, tant visualment com teòricament, i fins i tot com este arriba a institucionalitzar-se. Ens interessava valorar com la teoria i pràctica de l'art feminista fora d'Espanya ha influït notablement en el seu desenrotllament i implantació, i al mateix temps, identificar quins han sigut les aportacions de la producció cultural feminista espanyola al debat internacional. És per això que l'objectiu fonamental d'este estudi és contribuir a la reconstrucció d'una genealogia feminista pròpia en relació a les arts visuals. Per tant, per a realitzar aquesta tasca s'ha emprat la metodologia de la Història de l'Art, els Estudis Culturals i la Teoria Feminista. A causa de les singularitats sociopolítiques del context espanyol conviuen la tendència essencialista, que revalora la identitat femenina des de la diferència, junt amb una línia construccionista, que entén el gènere com una construcció sociocultural, lligada amb la perspectiva queer, que reivindica altres cossos i altres sexualitats no normatius, mentres revisa les mascarades performatives de la feminitat i de la masculinitat. La primera part s'ocupa de les estratègies artístiques dels feminismes a nivell internacional, a manera d'introducció al tema, i es ressenyen les principals exposicions realitzades en l'estranger, d'altra banda es realitza una aproximació al context social, polític i cultural de l'Estat Espanyol en relació a l'art vinculat a qüestions de gènere, al mateix temps que s'inclou un recorregut per l'evolució del moviment feminista espanyol. La segona part es basa en les exposicions realitzades amb temàtica de gènere en l'Estat Espanyol des de 1993, quan comencen a plantejar-se des de posicionaments verdaderament feministes. No obstant això, des dels noranta les denominades 'exposicions de dones' proliferen, desenrotllant amb millor o pitjor criteri curadorial qüestions relatives a les dones artistes. Per tant, també ens interessava avaluar el possible interès i la repercussió d'este tipus d'exposicions sorgides com una eina de la política cultural del feminisme institucional. Per concloure, en la tercera part s'ha reflexionat sobre les particularitats pròpies de la gestió cultural feminista, basant-se en el material prèviament analitzat, però també prenent com a cas d'estudi la meua pròpia experiència curadorial feminista. De tot això se sostrau que la gestió cultural feminista tracta de visibilitzar propostes artístiques que mostren altres maneres d'entendre les identitats de gènere i les sexualitats, així com les problemàtiques derivades dels mecanismes d'opressió patriarcal. Esta pràctica curadorial busca ser plural i multidisciplinar, a més de generar canals oberts de debat per a l'enriquiment de la praxi i el pensament des dels feminismes. / Caramés Sales, Á. (2016). Las prácticas curatoriales feministas en el Estado Español (1993-2013). La gestión cultural como productora del discurso de las identidades de género [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62863

This thesis proves that there was queerness in visual representation in Spain Transition, revealing that the death drive was highly connected to the nothingness of queer being/existence which queer theory has attempted to avoid and, demonstrating concrete examples of queer desire and pleasure which discover an alternative non-identitarian position. / Esta tesis prueba que hubo queerness (manifestaciones transmaricabollo) en la representación visual del periodo de la Transición española, revelando que la nada del ser/existencia queer estaba fuertemente conectada al impulso de muerte que la teoría queer ha intentado evitar, y demostrando ejemplos concretos del deseo y el placer queer que descubren posiciones no-identitarias alternativas. / Aquesta tesis prova que hi va haver queerness (manifestaciones transmarieteslèsbiques) en la representació visual del període de la transició espanyola, revelant que el nores de l'ésser/existència queer estava fortament connectat a l'impuls de la mort que la teoria queer ha intentat evitar, i demostrant exemples concrets del desig i el plaer queer que descobreixen posicions no-identitàries alternatives. / Hino, Y. (2017). Visual Representations of Queerness in Spanish Transition (70's-80's) - Was there queerness before queer theory arrived? [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/90439

A growing number of gay and lesbian children attend Catholic schools throughout the United States; and an untold number of gay and lesbian children in Catholic schools are experiencing harassment, violence, and prejudice because of their sexual orientation or gender non-conformity. Whether due to their size, strong sense of community, or making special considerations for vulnerable students, Catholic schools seem to be the best equipped to address these issues, but all of the research points to such schools enacting policies of silence and suppression. This study specifically explores why Catholic teachings on sexuality and social justice have may have been unable to compel Catholic schools to do more to understand and support gay and lesbian children. In addition to looking at traditional Catholic teaching, this project also engages non-traditional approaches to scholarship and theology, with an eye towards creating a new theoretical framework that can serve as the basis of a new pedagogical space within Catholic schools in which gay and lesbian children can affirm both their sexual identity and their Catholic identity.

This dissertation explores verbal and visual representations of the abject body in Federico García Lorca’s Poeta en Nueva York (published 1940), Viaje a la luna (1929), El público (1930-1931), and his drawings from 1929-1930. Grounded in queer theory, transgender studies, and Blackness studies, I explore how Lorca’s images of somatic abjection challenge hegemonic ideas of gender, sexuality, and race in the depiction of queer and otherwise marginalized identities. The dissertation focuses on abjection in three major poems from Poeta en Nueva York, beginning with “Oda a Walt Whitman.” In Chapter 1, I identify an Apollonian-Dionysian dichotomy between the figure of Whitman and the urban maricas, and explore how the abject effeminacy of the latter, and their excessively feminine performances, challenge the heterosexual reproductive order. Chapter 2 examines the abject fluids of vomit and blood in “Paisaje de la multitud que vomita” and “El Rey de Harlem.” I analyze the correlation between the mujer gorda’s physical size and her abject, Dionysian “vomiting multitude.” The second part of the chapter reads “El Rey de Harlem” in the light of Frantz Fanon’s racial phenomenology in order to explore Lorca’s representations of Blackness and masculinity. I argue that the primitivist motifs of blood, music, and nature associated here with erotic representations of the Black masculine body create an ambivalent poem that is at once empowering and exoticizing. Chapter 3 analyzes the uncompleted film scenario Viaje a la luna, which I contend portrays queer anxieties about gender and sexuality through the “nervous gestures” and exposed body of the protagonist. Discussion of the scenario leads to discussion of abjection in the drawing Muerte de Santa Rodegunda. I argue that in Lorca’s drawings of mutilated and plant-like bodies, we see a transformative vision of what a body can be, one that pushes at the boundaries of the human. Finally, in Chapter 4, I argue for a genderqueer reading of the transgressive play El público. Performance theory, queer theory of sadomasochism and anality, transgender theory, and explorations of X-ray technology in the twentieth century help me dissect what has been called Lorca’s “impossible play.”

Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / There is a psychosexual health crisis in the African American community, with disproportionate rates of HIV/AIDS infections and poorer medical treatment outcomes for Black men and women (Fullilove, 2006; CDC, 201 0). In contrast to the homophobic responses of most Black Churches, some Black Churches are offering an affirmative ministry for lesbian, gay, bisexual, and transgendered (LGBT) individuals. This dissertation examines how these ministries developed and what strategies they employ in response to the HIV/AIDS health crisis. Building on Stigmatization theory, Queer theory, and previous research on Black Churches, I construct a conceptual framework for interpreting this phenomenon. Using the Heuristic methodology, I explore the historical, theological, and practical dimensions of four LGBT -affirming African American ministries. During a period of four to six weeks with each church, I conducted two narrative mterviews with the pastors, 15 to 20 hours of observation of ministry activities, and a review of church documents regarding relationships with the LGBT community. Using narrative analysis and grounded theory, I analyzed the interviews, documents and observational field notes for evidence of the LGBT affirmative ministry. I constructed holistic profiles of each church and a composite profile of the four. All four pastors credited formal theological education and personal experiences with the LGBT community as sources of their theologies. Two of the pastors self-identified as members of the LGBT community; LGBT inclusion was the central focus of their ministries. The other two pastors integrated LGBT inclusion into a broad based social justice ministry that focused on multiple oppressions, including racism and sexism. All four pastors seek to avoid the psychological, spiritual, and physical harm that homophobic Black churches inflict on LGBT Black folk, and seek thereby to discourage behaviors that contribute to the proliferation of HIV/AIDS. Each pastor offered LGBT affirmative strategies for decreasing LGBT stigmatization and HIV infections in the Black community. / 2999-01-01

Hungers and Desires: Excavating and Creating Queer Food Histories on the Borderlands creates a conversation between queer studies and food studies. It is divided into two parts, (I) Excavating and (II) Creating, each representing an engagement with historical methods. First, it offers a framework for reading food practices in the field of LGBTQ history, and queer studies, more broadly. Then, it excavates past food practices hidden within the LGBTQ archives in El Paso, Texas and applies the framework. By centering food practices in an analysis of LGBTQ documentary sources, hidden histories of care, labor, community building, and agency become visible. Then, this dissertation shares queer food history sources created through oral history methods. The interviews document how some gay men and lesbians in El Paso, Texas think about and relate to food. Taken together, the two parts illustrate how queer studies and food studies can engage with one another more deeply.

This autotheoretical dissertation delves into the complex and often invisible dynamics of cisheteronormativity within the landscape of American public schools. Drawing from personal narrative, feminist, queer, and trans theories, and educational research, this meditative study offers a nuanced examination of the ways in which cisheteronormativity not only shapes the educational experiences of students, educators, and administrators alike, but also shapes the system of schooling itself. Through introspective reflection and critical analysis, the researcher navigates their own lived experiences within the educational system as a queer and trans student and teacher, illuminating the pervasive influence of cisheteronormative ideologies on identity formation, social interactions, and institutional policies. By centering the researcher's personal narrative as a lens through which to explore broader sociocultural phenomena, this dissertation challenges traditional academic conventions and offers a more intimate and embodied theorizing of queerness and transness in American schools. Through an autotheoretical framework, this study seeks to disrupt dominant narratives and interrogate power structures within educational spaces, including those that dictate what constitutes “research” and “theory.” By amplifying marginalized voices and offering alternative ways of knowing and being, this dissertation aims to contribute to ongoing efforts to create more equitable and affirming educational environments for all students, regardless of their gender identity or sexual orientation.

A divorced dad returns home to reconnect with his estranged teenage daughter, but there’s one problem: she’s a serial killer who feeds tourists to the local lake monster.