A heterossexualidade não é natural, ela é uma condição culturalmente construída que precisa ser constantemente reiterada de modo a ‘normalizar’ os sujeitos. Esta pesquisa assume tal premissa como seu fundamento. No que se refere à perspectiva analítica, alinho-me aos Estudos Culturais em sua vertente pós-estruturalista e recorro a formulações dos Estudos Feministas e da Teoria Queer. Entendo que, no processo contínuo de reiteração da heterossexualidade como norma, inúmeras estratégias e artefatos culturais são utilizados. Nesta tese, analiso os mecanismos postos em ação pelos filmes infantis de animação da Disney, quais sejam: A Pequena Sereia, Mulan, A Bela e a Fera e O Rei Leão. Esses artefatos culturais têm grande importância não apenas no cotidiano das crianças, como também no funcionamento da economia global, movimentando milhões de dólares. Eles certamente constituem-se em importante recurso pedagógico contemporâneo. Interessam-me, aqui, especialmente os enunciados performativos que são repetidos nos filmes infantis, de modo a produzir identidades de gênero e sexuais e garantir a heterossexualidade como norma Acredito que a identidade hegemônica não é perseguida apenas e tão somente através da constante apresentação do Mesmo, mas também (e, talvez, principalmente) é reafirmada através da produção do estranho, do monstro, do abjeto, que funcionam, nesse contexto, como parâmetros de normalidade, como modos de garantir o cumprimento das normas regulatórias. Para desenvolver esta análise, utilizo como ferramentas analíticas fundamentalmente os conceitos de identidade, performatividade, abjeção e normalização.

Submitted by Programa de Pós-Graduação em Mídia e Cotidiano (ppgmc@vm.uff.br) on 2017-05-02T18:58:12Z No. of bitstreams: 1 Sexualidades e gêneros cambiantes.pdf: 1748959 bytes, checksum: 968838d5e796389c98f3f0ac23fad987 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-06-26T18:06:19Z (GMT) No. of bitstreams: 1 Sexualidades e gêneros cambiantes.pdf: 1748959 bytes, checksum: 968838d5e796389c98f3f0ac23fad987 (MD5) / Made available in DSpace on 2017-06-26T18:06:19Z (GMT). No. of bitstreams: 1 Sexualidades e gêneros cambiantes.pdf: 1748959 bytes, checksum: 968838d5e796389c98f3f0ac23fad987 (MD5) / Esta dissertação analisa dois documentários - "Generonautas, jornada por identidades mutantes" (Monika Treut, 1999) e "De gravata e unha vermelha" (Miriam Chnaiderman, 2014) - tendo o objetivo de discutir como a identidade de gênero e a sexualidade são expressas nessas obras. Balizam este estudo a concepção de identidade como em contínua transformação e, gênero, como construção histórica, cultural e política. Sustentam, especialmente, tal olhar, os estudos feministas e a teoria queer, que defende a superação da padronização binária heterossexual/homossexual. O trabalho avalia os diferentes pontos de vista dos documentários, considerando os momentos históricos de suas produções. No filme de Treut, destacamos o aspecto militante da obra ao abordar o cotidiano de uma comunidade de trasgêneros residentes em São Francisco (EUA), tendo a cidade um papel importante na causa em defesa dos corpos abjetos. Já no filme de Chnaiderman, buscamos entender como se apresenta a sexualidade e o gênero em sua multiplicidade, tendo a vestimenta como principal elemento de transgressão. Isto posto, enumeramos algumas indagações que atravessam esta pesquisa: como se constroem os diferentes ativismos nas duas produções, mantendo-se a perspectiva de uma militância desenhada pelas organizações LGBT (Lésbica, gay, bissexual e trans) e tendo em vista a construção e consolidação de direitos sociais para este grupo ao longo dos quinze anos, tempo de espaço entre as produções? Qual a articulação - seja em maior ou menor grau - com o cotidiano, no sentido de se reconhecer neste "espaço de vivência e convivência", uma trilha para a consolidação dos propósitos do ativismo? Quais as marcas temporais específicas dos filmes que dialogam com a teoria queer? Por fim, que questões éticas suscitam tais obras quando expõem indivíduos historicamente discriminados? Buscar responder a estas e outras questões próximas, significa, para esta pesquisa, apontar para a necessidade do rompimento da invisibilidade que ainda marca quem optou pela transexualidade e/ou outras formas de identidade sexual e de gênero e, ao mesmo tempo, reconhecer na mídia, mais especificamente no audiovisual de não-ficção, um locus potente e significativo no cenário da comunicação contemporânea / This dissertation analyses two documentaries - "Gendernauts, a march towards changing identities" (Monika Treut, 1999) and "Wearing necktie and red nail" (Miriam Chnaiderman, 2014) - within the scope of discussing how identity of gender and sexuality are uttered in these works. This study is delimited on a conception of identity as a continuing change as well as the gender as a historical, cultural and political construction. Such view is supported particularly by both the feminist studies and the queer theory which stands up for the overcoming of the binary heterosexual/homosexual standardization. The work considers the different points of view of the documentaries, taking into consideration historical moments of their production. In Treut´s movie we highlight the militant aspect of the work when dealing with everyday life of a community of transgenders who live in San Francisco (USA), having this city an important role in the cause that stands up for the abject bodies. However in Chnaiderman movie, we sought to understand how sexuality and gender present themselves in their multiplicity, showing attire as the main element of transgression. Therefore, we numbered some inquiries which go through this research: how these different activisms are built in the two productions, keeping the perspective of a militancy designed by the LGBT (Lesbian, gay, bisexual and transgender) organizations, having in vieview the construction and consolidation of social rights for this group over fifteen years, the gap between the two productions? Which articulation - be it to a greater or lesser degree - with everyday life, towards recognizing in this "space of experience and contact" a path for the consolidation of the purposes of the activism? What are the particular time marks of the movies that express the queer theory in dialogue? Eventually, what ethical issues raise such works when they expose individuals historically prejudiced? Seeking to answer to these and other close questions means for this research to lead to the need of breaking out the invisibility which still leaves marks on those who have opted for transsexualism and/or other forms of sexual and gender identity and, at the same time, recognize through the media, most particularly through the nonfiction audiovisual, a powerful and significant locus in the scenery of the contemporaneous communication

Syftet med denna uppsats är att undersöka normer kring tvåsamhet i den norska internetserien Skam. Jag har tittat efter representationer av tvåsamhet i ett antal scener från första säsongen och undersökt om och hur queerteori samt Anthony Giddens teorier om kärlek och intimitet kan hjälpa oss att förstå och även ifrågasätta tvåsamhetsnormen. Metoden som används är en kvalitativ textanalys med en tematisk analys som ram. Undersökningen har utförts med hjälp av hermeneutik och reläteori, där tolkningarna har tagit hänsyn till bland annat underkommunikation och förhållandet mellan text och kontext. De teoretiska utgångspunkterna är heteronormativitet, tvåsamhetsnormen, Giddens teorier om kärlek och intimitet samt queerteori. Analysen visar att det i Skam förekommer representationer av en normativ tvåsamhet men att det även förekommer ett utmanande och ifrågasättande av tvåsamheten som norm. Utmanandet och ifrågasättandet består dels i att vänskapsrelationer får ta mycket plats och konkurrerar med tvåsamma kärleksrelationer och dels av queera läckage som görs tillgängliga med hjälp av queera läsningar.

Some people might regard the language of hip-hop as being crude, sexist and inappropriate. Nevertheless, hip-hop culture can also be considered as one of the underground sources of word-formation and language change in mainstream English. Young people have always been a source of language variation and lexical innovation whether we like it or not. This essay is focusing on three words frequently used in hip-hop lyrics, namely pimp, queer and chick. The aim of the study is to analyse the semantic change on these words as they are used in hip-hop music and find out whether hip-hop culture has had an influence on the mainstream usage of these words. The method used was to study the usage and frequency of these words in hip-hop lyrics and analyse whether there was a similar use in a large diachronic newspaper corpus of American English. The material was predominately found in The Original Hip-hop Lyrics Archive (ohhla.com) and The TIME Magazine Corpus (corpus.byu.edu). The results of this study show examples of semantic change in both hip-hop lyrics and mainstream American English and it is concluded that hip-hop culture has an influence on mainstream language above all among the youth.

This study consists of an analysis of the novel Tipping the Velvet by Sarah Waters, in terms of cross-dressing as self-representation. The study aims to emphasise how cross-dressing can be significant when expressing one’s gender identity, by examining the gender identity and sexual orientation of the male impersonator Nancy Astley/Nan King and how she reacts to her own queerness. With the use of queer literary theory, Judith Butler’s theories on gender performativity, and ideas of gender as social constructs, this study argues that the novel is a powerful representation of the fluidity and inconsistency of gender and the non-existence of the gender binary. Throughout the novel, the main character disrupts the expected gender roles of the British Victorian era, and through the use of cross-dressing, uses masculinity and masculine femininity to discover and express her gender identity.

Syftet har varit att synliggöra och analysera inkludering och exkludering inom den svenska hbtq-rörelsen, samt att fördjupa förståelsen för konflikterna inom rörelsen. Genom diskursteoretisk analys av massmedias beskrivning av aktioner under 2012 har följande resultat uppnåtts; inom rörelsen framkommer två diskurser, med olika syn på vilka politiska frågor rörelsen ska fokusera på. Dessa kallas i uppsatsen den endimensionella och den flerdimensionella diskursen. Den endimensionella vill återgå till en mer "klassisk" homokamp, medan den flerdimensionella har ett mer intersektionellt synsätt och vill bredda det politiska spektrumet. Diskurserna har även olika syn på vilka politiska metoder som är mest effektiva samt skiljer sig åt i sitt förhållningssätt till queerbegreppet. Enligt min analys diskuterades vad som beskrevs som en splittring inom rörelsen under denna tidsperiod på ett väldigt specifikt sätt, där begreppet extremism var centralt.

This thesis investigates representations of masculinities and the father figure in the Swedish painter Carl Larsson’s (1864-1919) self-portraits from 1895. The paintings are analysed through the concepts authority, a term closely connected to the father figure, and idyll, a term often used to describe Larsson’s art. Sara Ahmed’s theory to see beyond what is taken for granted, in Queer Phenomenology, is theoretical starting point for the thesis. The analytical method is adopted from Tamar Garb’s Bodies of Modernity. Figures and Flesh in Fin-de-Siécle France. The conclusion is that the masculinities in Larssons’s father figure are coherent with the paterfamilias in the late 1900s, consisting of the provider, the authority figure, and the husband/lover. Furthermore, that the idyll is constructed by those with the authority to construct it, and that the authority thereby is defined by the idyll it constructs. / Uppsatsen undersöker maskuliniteter genom bildanalyser av två självporträtt av Carl Larsson där han framställer sig som både far och konstnär. Bilderna har analyserats med hjälp av begreppen auktoritet, som traditionellt har varit sammankopplat med fadern, och idyll, som har blivit i det närmaste synonymt med Larssons konst. Sara Ahmeds queera fenomenologi har använts som teoretisk utgångspunkt för att undersöka det som kan ses som det förgivettaga, här formulerat som idyllen. Bildanalyserna har gjorts med utgångspunkt i Tamar Garbs metod för bildanalys i Bodies of Modernity. Figures and Flesh in Fin-de-Siécle France. Undersökningen visar att det i Larssons fadersgestalt går att utläsa samtliga aspekter av 1800-talets paterfamiliaskonstruktion, såsom den formuleras av Joseph A Kestner; familjeförsörjaren, auktoritetsfiguren och maken/älskaren. Undersökningen visar också att den idyllen konstrueras av den som har auktoritet att göra det och att auktoriteten därmed definieras av den idyll den konstruerar. Carl Larssons idyllkonstruktion är därigenom resultatet av ett utövande av den auktoritet han har i egenskap av man, make, far och konstnär.

Winterson’s Written on the Body is an experimental and provocative novel that challenges the reader’s mindset as well as society’s heteronormativity by implicitly questioning societal norms and fundamental values. With an unusual protagonist as a point of departure, upper secondary school students in the English as a Foreign Language (EFL) classroom can discuss important political and social issues and giving them the chance to become more open-minded and inclusive towards all people regardless of one’s sex, gender, and, or sexuality. This essay shows that Written on the Body with its unusual, queer protagonist challenges the heteronormativity in modern Western societies and instead of solely focusing on students’ language development during their English education, they are invited to interrupt and question set attitudes, behaviours, and traditions in modern Western societies.

This thesis examines a queer fan community for the television show Once Upon a Time (OUAT) that utilizes the social networking site Tumblr as their primary base of fan activity. The Swan Queen fan community is comprised of individuals that collectively support and celebrate a non-canon romantic relationship between two of the female lead characters of the show rather than the canonic, heterocentric relationships that occur between the two women and their respective male love interests. I answer two research questions in this study: First, how are members of the Swan Queen fan community developing counter narratives of love by engaging in meaning-making processes and interpretations of OUAT? And secondly, how do they talk about the purpose and importance of their narratives for themselves or the Swan Queen fan community? In order to answer my research questions, I consider how the Swan Queen fandom developed and how they convey their meaning-making strategies online. To do this, I have analyzed the Tumblr blog of one Swan Queen fan and have used their blog as a nexus between other Swan Queen fans that use the website for their fan activities. Swan Queen fans argue that the show runners of OUAT use subtextual codes within canonical storylines in an effort to queerbait the show’s queer audience members. Moreover, the show runners refute the notion that they are queerbating queer fans at all by arguing that the fans’ perceptions are baseless and that any perceived queering of the characters Emma Swan and Regina Mills is purely “unintentional.” This response has only served to alienate the show’s queer fan base further as it led to increased complaints that the show runners were gaslighting the entire queer fandom. Additionally, Swan Queen fans maintain that the show’s introduction of canonical storylines featuring romantic relationships between Regina and Robin Hood and Emma and Captain Hook are heterosexist and dangerous. The storylines between Emma and Captain Hook, queer fans argue, often promote rape culture, thus perpetuating violence against both queer and non-queer audiences through storylines grounded in fairytale concepts of “True Love” and “Happily Ever After”. As such, Swan Queen fans push back against and reject this violence through their own interpretations and counter narratives of “True Love”. In accordance with previous research, I have found that historically marginalized groups such as the queer community continue to experience widespread and often aggressive attacks by queerphobic individuals and hate groups that are intent on preserving traditionally heterocentric institutions in our society, including (but not limited to) mainstream media broadcasting. Furthermore, fandom has become institutionalized in the same manner and typically operates within hegemonic, heterocentric standards. Conversely, queer fandoms such as the Swan Queen fandom operate outside of these standards, and fans respond to antagonistic efforts to silence them or cast them in an inaccurate manner by creating close-knit social communities to combat these actions and provide a space wherein individuals are able to counter dominant narratives that serve to further marginalize them. This study elucidates how this effort may occur and questions the effect this membership has on those who participate within a queer fandom. It is imperative that such research takes place, as there are very few accounts of how queer fans navigate the complex intersection between fandom and queerness.

Queer Transgressions: The choreographing of a male homosexual presence with reference to selected choreographers explores queer identity and in particular representations of a male homosexual presence in dance. Within the methodological framework of dance studies and queer theory I explore the ―self fashioning‖ of my male homosexual presence in dance. This is achieved by critically deconstructing my choreographic process when making choreography. Therefore this thesis is informed by both academic research and my self-reflexive experience of choreography and dance performance. The deconstruction of my autobiography and choreographic process is discussed with reference to both international and South African queer choreographers. This means that by accounting for my own experiences and approaches toward representing a male homosexual presence in dance, I explore the history and engagements of other queer choreographers also creating such representations. I therefore examine the works of selected choreographers and chart the development of the representation of a male homosexual presence in dance. By exploring the choreographic process of other queer choreographers I identify choreographic tactics that queer choreographers are using when making work. From this point of departure I shift the focus away from international queer choreographers and provide insight into the choreographic processes of South African queer choreographers. By accounting for the works and choreographic processes of South African choreographers, I provide a context in which my choreographic explorations on the subject matter can take place. This choreographic exploration manifests itself through a self-reflexive/autobiographic account on the research and practice of my choreographic process. During my choreographic exploration I set the challenge to both engage with and explore further, established ―queering tactics. This is done with the intention to reveal and create representations of a male homosexual presence in dance.