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The World Health Organization recommends feeding children human milk for the first six months after birth due to its known efficacy in ensuring their health and survival. The WHO’s research is intended to educate a broad audience of caregivers, whose identity must be understood in order for them to be reached. By analysing the WHO’s three factsheets published in English on the topic of ‘breastfeeding’, this research aims to answer two questions: In the WHO’s description of feeding infants and young children, to what extent does the language assign gender to the caregiver? And, if gender is assigned to the caregiver, which features of the written language and images make this visible? The study was carried out using a mixed methods approach, where the text was first searched for markers of gender and then analysed, modelling van Dijk’s discourse-cognition-society triangle. Lexicological and collocational findings suggest the presence of both an assumption of cis-femininity in caregivers who breastfeed and a paradigm of binary cis-heteronormativity that is representative of broader societal structures and their influences on cognition.

<p>This thesis examines sexual trauma in Lydia Kwa’s <em>This Place Called Absence</em> (2000), <em>Pulse</em> (2010), and <em>The Walking Boy</em> (2005), and establishes how the domain of sexuality becomes operative in post-trauma healing. This project engages not only the traditional, Post-Traumatic Stress Disorder model of trauma, but, using Laura Brown and Maria Root, expands the definition of trauma by drawing attention to the insidious, everyday trauma that affects minority groups and sexual minorities. Kwa’s novels reveal the dynamics and complexities of sexual trauma, which encompasses acts of sexual violence such as rape and abuse, but also what is rarely acknowledged – the trauma that queer individuals face in a heteronormative society. This thesis also investigates the possibility of healing sexual trauma and locates viable modes of therapy in the area of sexuality, including sexual intimacy, sexual practices such as erotic bondage, and the formation of queer communities. This project seeks to illuminate the connections between queerness and trauma, and, via Kwa’s fiction, considers alternative avenues of healing and therapy beyond the medical field.</p> / Master of Arts (MA)

This thesis examines the fissures and intersections between feminist digital media, queer theory, and Mad and disability studies. Moving across social media platforms, hashtag data, and digital gaming, this project argues for the subversive and creative potential within Mad/crip/queer digital identity performances. My theorizing of the avatar as an automedial figure in this project is attentive to the politics of the face as a site of encounter, to digital bodies and movement, to identification and community-building, and to embodiment and affects that move between on- and off-screen lives. This thesis follows the “bad avatar,” a collection of Mad digital identity practices that interrupt, disrupt, and transgress normalizing and normative digital spaces of North American settler capitalist culture. Claiming the bad avatar as a deliberate identity position is an act of claiming the label of “bad,” which here has multiple meanings: Mad queer bodies—physical and digital—are bad citizens because we break the heteronormative patriarchal rules. We’re troublemakers—we make trouble for power systems and those who embody power. We can be bad workers, unproductive and fatigued. We can be bad for capitalism and bad for nationalist morale. We also experience feelings that become pathologized and policed. As despair, panic, melancholy, and angst stick to our bodies our bodies themselves become framed as bad: sick, broken, wrong, a problem in need of fixing or eradication. Reclaiming “bad” is both a celebration of the willful subject (Ahmed 2014) and a challenge to the binary of “good/bad” that is used to oppress Mad and disabled bodies. / Thesis / Doctor of Philosophy (PhD) / This thesis theorizes the digital avatar as an automedial figure, a mode of virtual embodiment and a site of encounter. I use “avatar” to draw a connecting line between widely varied digital identity acts that occur across social media platforms and video games. This thesis examines the “bad avatar,” a collection of Mad/crip/disabled faces, bodies, and identity practices that interrupt, disrupt, and transgress the normalizing and normative digital spaces of North American settler capitalist culture. Mad/crip digital identity play offers avenues for enacting modes of resistance through the politics of representation and the processes of identity performance and community-building.

Using queer and Afrofuturist frameworks, this Black feminist qualitative study explored queer Black pre-and in-service teachers' cultural and intersectional practices as they navigated traditional heteronormative educational spaces. This research study relied on counternarratives and storytelling and drew from Afrofuturism to understand the use of their lived experiences to counter monolithic queer narratives. The queer Black teachers in this study examined and negotiated how their Blackness and queerness showed up in teacher preparation programs (TPP) and K-12 classrooms. Moreover, they eventually refused to hide or censure their authentic selves. An analysis of the narratives and counternarratives showed that queer Black teachers drew from ancestral traditions to create queer Afrofuturist spaces in TPPs and educational places. Furthermore, due to their queer Black intersectional approaches, their classrooms, assignments, curriculum, and pedagogy disrupted normative teaching practices. Implications, recommendations, and future research are discussed.

The trope of the queer cannibal recurs throughout fiction as well as film and television. While literature scholars such as David Bergman and Caleb Crain have written about this figure in American literature, the queer cannibal remains unstudied in the realm of media studies. This thesis analyzes six media texts that feature queer cannibals: Hannibal (2013-2015), Ravenous (1999), The Terror (2018), Yellowjackets (2021-), Raw (2016), and Bones and All (2022). Through these analyses, this thesis establishes a genre termed "queer cannibal texts." These texts function on two different levels: they include a cannibal character who is or can be read as queer, and they in some way cannibalize and queer an existing story or societal script. The presence of a queer cannibal character often signals that the work itself is a queer cannibal text. These texts are built on an awareness of existing power structures and narratives. By cannibalizing these narratives—whether they be a fictional narrative that is being adapted, or societal narratives of white supremacy, heteronormativity, and so on—and interrogating them from a queer perspective, queer cannibal texts create reparative narratives that speak from the margins. Queer cannibal characters act as a textual manifestation of this framework, providing a window through which the viewer is invited to examine and engage with these power structures in a new way.