Made available in DSpace on 2016-06-02T20:39:11Z (GMT). No. of bitstreams: 1 2626.pdf: 1072440 bytes, checksum: 235f8922b25836d972a9100e71d79420 (MD5) Previous issue date: 2009-03-10 / Universidade Federal de Minas Gerais / A productive dialogue marked the interaction among novelists and scientists adepts from deterministic theories in the late 19th century. We start with the contextualization of this fundamental period to history of sexuality in modern societies to realize analytical reading of Adolfo Caminha s novel, Bom-Crioulo (1895). The projects that based discourses in this period answered to the question of homoerotism like social and medical matter. In this work, we discuss like this biopolitical reading in Brazilian society was elaborated in Caminha s novel and from the jurist Francisco Viveiros de Castro, defining it in accordance with Brazilian racism. / Um diálogo produtivo marcou a interação entre os literatos e os cientistas adeptos das teorias deterministas no final do século XIX. Partimos da contextualização desse período fundamental para a história da sexualidade nas sociedades modernas para realizar uma leitura analítica do romance Bom-Crioulo (1895) de Adolfo Caminha. Os pressupostos que embasavam os discursos que se consolidaram nesse período respondiam à questão do homoerotismo como problema social e médico. Nesse trabalho investigamos como uma leitura biopolítica dessas questões na sociedade brasileira foi elaborada no romance de Caminha, como também pelo jurista Francisco José Viveiros de Castro, redefinindo-a de acordo com a especificidade do racismo em relação à população negra . A análise correlacionada do dispositivo de sexualidade em particular o micro-dispositivo de psiquiatrização das perversões e da oposição que ele estabeleceu em relação ao problema da amizade nos permitiu explorar as ambigüidades presentes na narrativa literária de Caminha e nas interpretações de Viveiros de Castro.

Using postmodern, feminist and queer notions of utopia/dystopia and narrative theory, this thesis contains an analysis of The Handmaid’s Tale (novel 1985; film 1990; TV series S01 2017) based on theoretical and methodological understandings of utopia/dystopia and narrative as deeply connected with notions of temporality and relationality, and of violence and resistance as the modes of expression of utopia and dystopia in the source texts. The analysis is carried out in an explorative manner (Czarniawska 2004) and utilises the notion of “disidentification” (Butler 1993; Muñoz 1999) and the concepts of “diffraction” (Haraway 1992, 1997; Barad 2007, 2010), and “entanglement” (Barad 2007). The conclusion becomes that utopia and dystopia in The Handmaid’s Tale are, to a great extent, imagined within the same system of understanding, but that utopian hope can be found in the relationality and temporality of resistance, and that the radically different utopian place is the queer horizon.

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Submitted by Rodrigo Dourado (rodrigodourado78@gmail.com) on 2014-10-27T18:32:11Z No. of bitstreams: 1 Tese PPGAC UFBA Rodrigo Carvalho Marques Dourado2014final.pdf: 2550279 bytes, checksum: c3adb0f37185471a9a2afadb1eafd5ad (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2014-10-30T12:44:49Z (GMT) No. of bitstreams: 1 Tese PPGAC UFBA Rodrigo Carvalho Marques Dourado2014final.pdf: 2550279 bytes, checksum: c3adb0f37185471a9a2afadb1eafd5ad (MD5) / Made available in DSpace on 2014-10-30T12:44:49Z (GMT). No. of bitstreams: 1 Tese PPGAC UFBA Rodrigo Carvalho Marques Dourado2014final.pdf: 2550279 bytes, checksum: c3adb0f37185471a9a2afadb1eafd5ad (MD5) / Capes / Esta pesquisa trata das relações entre o teatro contemporâneo e as identidades sexuais “desviantes”. Tendo como objetos de análise os espetáculos Carnes Tolendas: retrato escénico de un travesti (ARG), Luis Antonio-Gabriela (BR), Ópera (BR) e Paloma para matar (BR), seu objetivo é investigar como as formas assumidas pela cena na atualidade traduzem uma crise das categorias identitárias, que se reflete nas representações das experiências sexuais fora da norma. Para tal, procede-se a uma descrição dos espetáculos e, posteriormente, explora-se como as encenações em debate articulam os signos do palco, instaurando uma crise de sentidos. Nessa direção, sua moldura teórica dialoga com importantes elaborações sobre a cena da atualidade, como as noções de teatro performativo, teatro documentário, biodrama, autobiografia, teatralidade; e com ferramentais decisivos para a discussão sobre as identidades, como os conceitos de performatividade, (des)identificação, subalternidade e queer. Também não escapam ao debate categorias estéticas como grotesco, riso, ironia e camp. Tomando as identidades sexuais em seu caráter discursivo, este estudo considera que o palco contemporâneo, como máquina de produzir representações, questiona, mais que afirma, os saberes e significados estáveis sobre o “desviante” sexual, assumindo importante papel na desarticulação/exposição dos dispositivos de poder que operam sobre essa figura. / This research deals with the relations between contemporary theater and the “deviant” sexual identities. Taking as objects of analysis the plays Carnes Tolendas: retrato escénico de un travesti (ARG), Luis Antonio-Gabriela (BR), Ópera (BR) e Paloma para matar (BR), it’s goal is to investigate how the forms assumed by the scene in the present convey a crisis of identity categories wich is reflected in the representations of sexual experiences out of the norm. To this end, we present a description of the plays and then we explore how these works articulate the signs on the stage, establishing a crisis of meaning. The theoretical frame here used dialogues with important elaborations on the scene of the present such as the notions of performative theater, documentary theater, biodrama, autobiography, theatricality; and crucial tools to the discussion of identities, such as the concepts of performativity, (dis)identification, subalternity and queer. Also do not escape the debate aesthetic categories such as grotesque, laughter, irony and camp. Taking sexual identities in their discursive aspect, this study considers that the contemporary stage, as a machine in producing representations, questions rather than states, knowledges and stable meanings about the sexual “deviant”, assuming an important role in dismantling/displaying devices of power that operate over that figure.

In fantasy literature, representations of gender and sexuality outside of the heteronormative binary have historically been limited. Although queer fantasy is on the rise, depictions of non-conformational identities are still rare and far in-between. This thesis seeks to examine one of the earlier fantasy representations of a queer character, the non-binary Beloved in Robin Hobbs fantasy series The Realm of the Elderlings in terms of gender and sexuality. Throughout the series, Beloved assumes different identities of various genders and sexual orientations, and continuously claims that these are all equally true and valid representations of themselves, although these are distinctly separated by ways of, often gendered, physical attributes. Therefore, a central part of this thesis will be to examine how these shifts between genders and sexual identities are established performatively, something I will do with the support of Judith Butler’s theory of gender performativity as it is presented in Gender Trouble. While the text ultimately lends itself to a reading in Beloved’s favour, they are often othered and met with scorn from other characters of the series, something that is quite central to their characterization. Consequently, this thesis will also investigate these reactions and the often heteronormative and conservative stances they demonstrate, and, most notably, how these reactions mirror exterior societal attitudes and change in accordance with these.

Individuals who do not fit neatly into the expected genetic and phenotypic XX/XY binary have been misrepresented, ignored, operated on without consent, denied legal rights, and gaslighted by multiple spheres of dominant society including, but not limited to: medicine, popular culture, and the justice system. Using Michael Foucault’s conception of 'counter-discourse' in conversation with the work of Gayatri Spivak, I ask how online intersex communities (OICs) have participated in counter-discourse by examining forums, blogs, comments, organization websites, memoirs and social media pages. Major examples of phenomena OICs respond to, engage with, and critique include: surgery on intersex infants; the introduction of the term 'DSD'; intersexuality in popular television shows; chromosomal primacy; and legal standings of intersex individuals in different countries. I found that 'counter-discourse' within OICs include efforts to: redefine the 'truth' against common problematic appeals to medicine, morals, or nature; advocate acceptance of all bodies; and create of a sense of belonging where there is space for people to heal and organize on a foundation of affinity.

abstract: This dissertation analyzes three films from Mexico, Spain, and Argentina--Kilómetro 31, El orfanato, and Aparecidos (2007)--and their interplay with the historicism that has traditionally served as the default referent for "reality" in Western narrative. While grounding my approach in temporal critique, I borrow from deconstruction, psychoanalysis, and queer theory to explore ways in which ghosts and the rhetorical figure of the family are manipulated in each national imaginary as a strategy for negotiating volatility within symbolic order: a tactic that can either naturalize or challenge normative discourses. As a literary and cinematic trope, ghosts are particularly useful vehicles for the exploration of national imaginaries and the dominant or competing cultural attitudes towards a country's history, and thus, the articulation of a present political reality. The rhetorical figure of the family is also pivotal in this process as a mechanism for expressing national allegories, for articulating generational anxieties about a nation's relationship with its history, and for organizing societies and social subjects as such, interpellating them into or excluding them from national imaginaries according to its grammar/logic. The proposed trajectory through these films will help facilitate a study of the potential of these rhetorical figures to either reinscribe or question two of the most fundamental processes that go into the cartography of ideology: the imposition of (a) time and the negotiation of social subjectivity within it. Competing political narratives may use any number of rhetorical strategies to position themselves in time to promote their agendas while continuing to reinforce the overall framework that determines the parameters of what is visible, and thus debatable. As temporal anomalies who are defined by their (in)visibility, ghosts can be used to either reinforce this framework or they can be used to articulate alternative relationships to time, and consequently, other political possibilities. Ghosts, families, and children are especially volatile rhetorical figures because of their potential to expose the mechanisms of societal organization--the construction of social subjects through their relationship to the time and the families of which they are presumably products--as negotiable processes rather than self-evident truths. / Dissertation/Thesis / Ph.D. Spanish 2013

abstract: The purpose of my dissertation project is to understand how Same-Gender Loving (SGL) Black Christian men negotiate their sexuality and spirituality in spaces that are not always accepting of SGL people, by examining on how Black SGL men perform their sexual identities within hegemonic institutions that often deny their existence or outwardly seek to exclude them from their communities. I have identified three scripts that Black SGL men often follow within Black religious settings. The first script that SGL people often follow in the church is that of deliverance-- confessing their same-gender desires and maintaining that they have been delivered from those desires The second is "don't ask don't tell" performed by men who many believe and suspect of being SGL; so long as they do not publicly affirm these beliefs they are able to hold a variety of positions in their religious communities.. The last script involves accepting one's same-gender desires and also affirming one's Christian beliefs, proclaiming that the two are not at odds with one another. I examine how these scripts and/or others are performed by and on the bodies of Black SGL males in two distinct sites. The first is the career and music of former gospel star Anthony Charles Williams II (Tonex / B. Slade), who has utilized the three scripts at various times in his career. The next site is that of theatre, where I explore how these scripts have been employed in dramatic texts. By reading Christian Black SGL performance through its theological parameters, I aim to discern the avenues in which Black people in the United States are able to perform same-gender sexual identities in spaces that are constructed as "homophobic," and in so doing combat the narrative of hyper-homophobia in Black communities. / Dissertation/Thesis / Ph.D. Theatre 2013

The purpose of this thesis is to explore how categorisation of marginalised groups is done on Swedish Wikipedia. Taking its starting point in social constructionism and critical knowledge organisation research, classic knowledge organization is seen as inherently flawed. In its quest for universal knowledge organisation systems, the fact that knowledge is contingent (emerging and constructed), is obscured. This runs the risk of marginalising marginalised groups further. Instead it is claimed that knowledge organization systems ought to strive for transparency by inviting its users to witness and take part in the knowledge process. A discourse analysis was made on two source materials: an interview study with three editors of Swedish Wikipedia and openly available discussion threads from Swedish Wikipedia. The result of the discourse analysis shows that the wider to write at Wikipedia discourse contains two nodal points: neutrality and consensus. The neutrality nodal point is a floating signifier in the sense that two different discourses try to give it two different meanings. In one of the discourses neutrality is seen as possible to achieve when describing reality. Categorisation is uncomplicated, it is simply a case of reflecting the categories that already exist ”out there”. In another discourse neutrality is seen as something impossible to achieve when describing reality because it is ever-changing and many-faceted. Categorisation is hard and complicated. Between these two discourses there is a discursive struggle which is mitigated by the nodal point consensus. Through discussions leading to consensus a ”neutral enough” way of describing the world is achieved. Categorisation on Wikipedia can thus be seen to achieve the transparency that critical knowledge organization research requests: the categories are results of discussions that all reading users can access. But there is doubt as to how many of the reading users of Wikipedia actually find and read the discussion pages. If there are only a few who ever finds the discussions, the transparency remains low and the constructed nature of Wikipedias knowledge organization system remains obscured. This is a two years Master’s thesis in Library and Information Science.

En adaptionsanalys av hur verket Call Me by Your Name har överförts från roman till film. Uppsatsen fokuserar på hur kärlek och sexualitet mellan män kan adapteras, här genom en jämförelse mellan romanen Call Me by Your Name från 2007 och dess filmatisering från 2017. Adaptionsteoretiska faktorer, såsom berättarperspektiv och filmskaparens urval av scener, används för att belysa hur skildringen överförs mellan medierna. Undersökningen centreras främst till hur adaptionen behandlar homosexuell kärlek.