Work toward ecumenical liturgical convergence may be traced back to at least 1910; however, this project thesis expands upon the concept of full, active, and conscious participation in worship found in the 1963 Second Ecumenical Vatican Council’s Sacrosanctum Concilium to illumine how shaping the worship practices of the Church can make our communities of faith inclusive of all sexual orientations and gender expressions. This thesis presents the design of a curriculum for worship leaders to reflect upon the worship practices of these local context, and move from their current state to a place where all members of the beloved community are valued.

The present thesis analyses the work of four Lusophone Naturalist writers, two from Portugal (Abel Botelho and Eça de Queirós) and two from Brazil (Aluísio Azevedo and Adolfo Caminha) to argue that the pseudoscientific discourses of Naturalism, positivism and degeneration theory were adapted on the periphery of the Western world to critique the socio-economic order that produced that periphery. A central claim is that the authors in question disrupt the structure of the patriarchal family — characterised by exogamy and normative heterosexuality — to foster alternative notions of kinship that problematise the hegemonic mode of transmitting name, capital, bloodline and authority from father to son. It was this rapidly globalising form of patriarchal capitalism that saw Portugal and Brazil slip into positions of economic disadvantage and dependency, events that were then naturalised in centres of dominance as incidences of national, racial and sexual “degeneracy”. The thesis thus draws links between contemporaneous disquiet about the nation’s race and bloodline; the various “homosexual scandals” that rocked the period; the considerable prevalence of incest and non-normative desire in the literature concerned, and the supposed “inconsistencies” in the style of Lusophone Naturalism that have often been regarded as imperfections in the face of Zola’s model. I propose instead that such adaptations to the Naturalist model can be read as attempts to reassess its potentially marginalising discourse from the margins themselves, exposing something “queer” at the textual, discursive level. This is the process that I call writing “against nature”, relating non-normative kinship to the disruption of the Naturalist aesthetic more generally. Drawing on postcolonial theory, psychoanalysis and queer theory, I argue that the Lusophone Naturalist perspective presents the divided world of the period as anything but a “natural” state of affairs. In this sense, a second line of reasoning is developed: that its authors formed a tentative transatlantic movement that criticised Naturalism as conceived in centres of dominance, calling for a revision of the role that the “scientists” played in shaping and understanding the fin-de-siècle world.

The writer Marcelino Freire claims, in repeated interviews, being a "non-practitioner homosexual," when asked about his sexuality. The ironic declaration serves as an argument to guide the present Masters dissertation in order to verify how the concept of biographema can be associated with different Freire’s narratives and to analyze if - and in which way - this author's statement reverberates in the literary production of queer characters in his work. For reaching the proposed goals, it will be seen how the biographical space of a writer projects his image with the readers and how it is reflected in his writing. The research begins with the discussion about public vs. private and reality vs. fiction and about the importance of the interview as an autobiographical gesture, bringing to the reflection the concepts of biography, by Philippe Lejeune, and autofiction, by Serge Doubrovsky. From the biographical issue as a possible construction of reality, we turn to the concept of biographeme, by Roland Barthes, analyzing how such biographical traits, fragments, gain [new] life in Marcelino Freire’s fiction. The second part of the research brings different perspectives - cultural, gender and language studies - to reflect about Marcelino Freires’s narratives and queer characters. An the end, the dissertation will seek to conclude if the writer is a "practitioner homosexual" in his literature, positioning himself on issues of gender and sex in contemporaneity. / Submitted by Alexandre José Ventura da Silva (alexandre.silva59@unisul.br) on 2018-05-25T21:41:40Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_alexandre jose ventura silva.pdf: 1768351 bytes, checksum: 3a6598bf683d7423dfce3def8516d6dc (MD5) / Approved for entry into archive by Kellen Oliveira (kellen.oliveira@unisul.br) on 2018-07-03T12:10:27Z (GMT) No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_alexandre jose ventura silva.pdf: 1768351 bytes, checksum: 3a6598bf683d7423dfce3def8516d6dc (MD5) / Made available in DSpace on 2018-07-03T12:10:27Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) dissertação_alexandre jose ventura silva.pdf: 1768351 bytes, checksum: 3a6598bf683d7423dfce3def8516d6dc (MD5) Previous issue date: 2018 / O escritor Marcelino Freire afirma, em reiteradas entrevistas, ser um “homossexual não praticante”, ao ser questionado sobre sua sexualidade. A irônica afirmação serve como argumento para orientar a presente dissertação, a fim de se verificar como o conceito de biografema pode ser associado a diferentes narrativas de Freire e analisar se – e de qual forma – a referida declaração do autor reverbera na produção literária de personagens queer em sua obra. Para se chegar aos objetivos propostos, será visto como o espaço biográfico de um escritor projeta sua imagem junto aos leitores e se reflete em sua escrita. A pesquisa inicia-se com a discussão sobre os embates público x privado e realidade x ficção e sobre a importância da entrevista como gesto autobiográfico, trazendo à reflexão os conceitos de biografia, de Philippe Lejeune, e de autoficção, de Serge Doubrovsky. Da questão biográfica como construção possível de um real, passamos ao conceito de biografema, de Roland Barthes, analisando como tais traços biográficos, fragmentos, ganham [nova] vida na ficção de Marcelino Freire. A segunda parte da pesquisa traz distintas óticas – estudos culturais, de gênero e de linguagem – para refletir sobre as narrativas e personagens queer de Marcelino Freire. Ao final, a dissertação buscará concluir se o escritor é um “homossexual praticante” em sua literatura, posicionando-se em relação a questões de gênero e sexo na contemporaneidade.

This practice-led thesis situates the experimental novella <i>Gaudy Bauble</i> within the context of interdisciplinary approaches to experimentation which cross the arts, humanities, literature and sciences. The novella and thesis develop a queer avant-garde poetics and writing methodology that I have called transliteracy. Transliteracy builds on my situated and embodied writing practice as a queer identified novelist and nonnative English speaker. I have mobilised the perceived 'otherness' of English to produce narratively and linguistically experimental prose fictions (Waidner, 2010, 2011). Transliteracy develops this practice by sharing agency (the capacity to influence the narrative) across assemblages of human and nonhuman, fictional and real, material and semiotic 'actors', to use the philosopher of science Bruno Latour's (1987, 1999) term for participants in action and process. Transliteracy has allowed me to subvert normative versions of authorship, intentionality, causality, and process in <i>Gaudy Bauble</i>, and to produce a radically subverted version of a plot that is intelligible and captivating to the reader. <i>Gaudy Bauble</i> inaugurates a genre I have called agential realist fiction, which is original in its genre-bending, gender-bending, interdisciplinary and queer avant-garde orientation. The practice was further shaped according to a generative constraint, which dictated that the most marginal actors on and beyond the page were made relevant for the plot. This conceptual apparatus is also reflected in the novella's narrative as a 'not quite' detective story: <i>Gaudy Bauble</i> stages what happens if previously inconsequential actors are allowed to become effectual, rather than actions located within a conventional protagonist. Enacting an "insurrection of subjugated knowledges" (Foucault, 1980, p. 81) in fiction, <i>Gaudy Bauble</i> stages a landscape of reversed power relations, a locally subverted surface of emergence in fiction, where radically nonnormative phenomena and imaginaries can come into being. The thesis connects transliteracy to a wider political LGBTQI+ project and agenda.

Submitted by Marcelo de Troi (troimarcelo@gmail.com) on 2018-03-16T10:30:22Z No. of bitstreams: 1 CORPO DISSIDENTE E DESAPRENDIZAGEM Marcelo de Troi.pdf: 1960512 bytes, checksum: f42fff8a56ad38d557ff01b476ebdc76 (MD5) / Rejected by Uillis de Assis Santos (uillis.assis@ufba.br), reason: O arquivo foi substituído. on 2018-03-16T14:50:28Z (GMT) / Submitted by Marcelo de Troi (troimarcelo@gmail.com) on 2018-03-17T14:52:37Z No. of bitstreams: 1 CORPO DISSIDENTE E DESAPRENDIZAGEM Marcelo de Troi 2018.pdf: 2099922 bytes, checksum: 83c5f18b0033da65501d2e63ba655d60 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-03-19T16:39:10Z (GMT) No. of bitstreams: 1 CORPO DISSIDENTE E DESAPRENDIZAGEM Marcelo de Troi 2018.pdf: 2099922 bytes, checksum: 83c5f18b0033da65501d2e63ba655d60 (MD5) / Made available in DSpace on 2018-03-19T16:39:10Z (GMT). No. of bitstreams: 1 CORPO DISSIDENTE E DESAPRENDIZAGEM Marcelo de Troi 2018.pdf: 2099922 bytes, checksum: 83c5f18b0033da65501d2e63ba655d60 (MD5) / Fapesb / Esta dissertação cria um espaço relacional entre a companhia Teat(r)o Oficina Uzyna Uzona,fundada em 1958 na cidade de São Paulo, e os a(r)tivismos queer, produções artísticas que trazem,em seus enunciados, uma desobediência de gênero e da sexualidade,além de formulações políticas em aproximação com o anarquismo e a luta anticolonial. Essas ideias são desenvolvidas a partir de uma cartografia do Oficina e de uma genealogia da cena queer e sua emergência na última década no Brasil. Elabora-se o conceito de “corpo dissidente” para falar de agenciamentos a partir das produções do teat(r)o e dos a(r)tivismos de modo a provocar um giro nas noções de subjetividade e individuação, distantes do paradigma multicultural e mais próximas ao multinaturalismo e às multiplicidades. O trabalho é amparado pela Filosofia da Diferença e aproxima conceitos dos estudos queer aos dos estudos decoloniais. / This dissertation outlines a relational space encompassing the Oficina Uzyna Uzona Theater Company–founded in 1958 in the city of São Paulo–and queer artivisms, inasmuch as both their artistic productions take stands for gender and sexual disobedience, upholding political formulations verging on anarchism and the anticolonial struggle. These ideas are developed herein based on a cartography of the Oficina experience and on a genealogy of the queer scene—considering also its surfacing in Brazil along the last decade. The “dissident body” concept is formulated in order to address assemblages referred to the Company’s and artivism productions, aiming at turning over the established notions of subjectivity and individuation—by showing the incongruity of the multicultural paradigm against the sounder consistency of multinaturalism and the multiplicities. This work is based on the Philosophy of Difference, and brings together concepts from both queer and decolonial studies.

Our social world is increasingly chaotic. Perhaps there has always been chaos; but our increasingly globalized landscape and information economy seems to place chaos on the frontlines—as videos of military strikes in Iraq, or mundane narratives about making it through another day are available for consumption at any time. Our social world produces. The question: What to do with it all? This dissertation explores the concept of affect, using a collage methodology. To conduct an exploration of affect, which “transpires within and across the subtlest of shuttling intensities” (Seigworth and Gregg 2), this dissertation both explores and performs collage; taking collage as both an artifact for investigation using affect theory, as well as a methodological approach participating in the creation of affect theory. As a result of this commitment, the reader is invited to enter this document in any order they wish—reading directly through, or skipping around chapters as it suits them. As a method, collage operates through placing at least two different things next to each other, and then looking for similarities and differences. Each chapter explores differences by juxtaposing artifacts selected because of a similarity that they shared. Spatial (Harvey Butchart and the Havasupai Native Americans), methodological (the It Gets Better project and Ray Johnson), temporal (September 11, 2001 and September 11, 1973), or praxis-based (Chelsea Manning and Aaron Swartz) similarities guided the juxtaposition of artifacts within each chapter. In addition, each chapter explores a distinct version of affect theory to add to the collage created within and throughout this dissertation. Each chapter is a canyon, collected within the grand canyon of the dissertation as a whole. Ultimately, this dissertation is guided by both academic and artistic impulses. I seek to explore and produce affect theory through deploying the methodology of collage. Drawn to moments that often escape rational interrogation, this dissertation invokes echoes as evidence in order to mobilize a system of resonance through juxtaposition that realizes the power of collage: Establishing interpretive frames that refuse to be finished or fixed. Through the performance of collage methodology, this dissertation seeks to implicitly argue for rhizomatic knowledge systems as a method of resistance to structures of oppression via an aesthetic mobilization of collage.

While studies of lesbian, gay, and transgender communities and cultural production have dramatically increased, research on bisexuality remains highly undervalued in humanities and social science disciplines. To challenge this lack of scholarship, this doctoral dissertation applies both textual and ethnographic methods to examine bisexual representation in non-realistic or “speculative” narratives and to explore the insider perspectives of bisexual people who are also science fiction fans. The overall trajectory of chapters follows a progression from grounded research and analysis to theory and application. First, I explore bisexual worldviews through ethnographic research in overlapping sexual and fan communities and through textual analysis of a 1980s bisexual fanzine. Next, I establish theoretical and methodological foundations for a new sexual paradigm, called dimensional sexuality, and work to intervene in interpretive methods that may restrict readings of sexuality in cinematic narratives. And finally, I test dimensional sexuality as an interpretive mode by offering dimensional readings of science fiction television and novels. From one direction, the project seeks to understand bisexuality as a position from which to theorize sexual knowledge. A major claim is that bisexual epistemology offers an alternative to dominant monosexual frameworks. Specifically, the multivalent logic of bisexuality refutes the “either-or” structure of heterosexuality and homosexuality. By embracing the logic of “both-and,” bisexuality as a category of knowledge enables the reorganization of sexuality within a non-binary, non-gender based multidimensional framework. From another direction, the project demonstrates the productive textual and social spaces offered by speculative narratives for questioning what we “know” about gender, sex, sexuality, and other intersections of social identities. Science fiction bears a deep structural affinity with the dialectical thinking found in critical theory. By asking “what if” questions that challenge our assumptions about “what is,” non-realistic narratives estrange us from the “known” world, interrogate our assumptions about the world, and make visible ideas and experiences outside of the norms we use to interpret what is “real” in a particular social and historical moment. As such, speculative narratives enable us to imagine sexual and gender possibilities beyond the episteme of the moment.

This thesis addresses reenactment and archival practice in the work of Sharon Hayes, a mid-career multi-media artist renowned for her use of archival documents to pose questions about history, politics, and speech. I do this through analyses of two of Hayes’s projects: the series In the Near Future (2005-2009) and a series of projects the artist refers to as “love addresses.” While these projects appropriate and repeat historical documents, Hayes’s work is especially interesting for the way it emphasizes difference over authenticity and explores the ways meaning shifts across temporal, geographic, and social contexts. In contrast to scholars who argue that Hayes’s practice is nostalgic and serves to decontextualize and depoliticize history, my thesis argues that the pedagogical aspects of Hayes’s work and her performative engagements with historical material are deeply political and contextual. My thesis demonstrates that Hayes’s distinctive contribution is to model historical agency and imagine alternative futures.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Literatura, Florianópolis, 2014. / Made available in DSpace on 2015-02-05T20:39:15Z (GMT). No. of bitstreams: 1 332310.pdf: 5516173 bytes, checksum: 71ce76d1f214b727eb64915d2d0adfc2 (MD5) Previous issue date: 2014 / A pesquisa, de natureza qualitativa, se insere na Linha de Pesquisa Crítica Feminista e Estudos de Gênero. Esta investigação tem como cerne teórico a teoria queer com base em autores como Jack Halberstam (2005), Annemarie Jagose (1996) e Richard Miskolci (2012). Embora a sexualidade seja um tema presente nesta dissertação, a questão principal se refere à (hetero)normatividade e aos padrões sociais imbricados nela. Para entabular essas discussões o objeto desta pesquisa é o cinema, o meio através do qual se estabelecem os diálogos com a teoria citada. Ao longo do texto alguns filmes e cenas específicas são apresentados para formular uma discussão teórica inserida no campo da representação imagética, neste caso o cinema. A partir de um caminho teórico e histórico sobre as principais questões abordadas na dissertação, a ideia principal consiste em reunir o cinema e a música, como dois espaços de voz, focando na participação de mulheres no rock n roll e, principalmente, abordando o movimento feminista estadunidense que ocorreu no cenário alternativo musical, o Riot Grrrl. Sendo assim, depois da problematização teórica e histórica das questões abordadas entre esses dois campos de representação artística, o filme All Over Me dirigido por Alex Sichel de 1997 é analisado. A questão norteadora está focada na reflexão acerca do modo como a música e a subcultura representadas em All Over Me, com bandas integradas por jovens meninas, contribui para o empoderamento da personagem principal. A metodologia de análise fílmica utilizada é a proposta por David Bordwell e Kristin Thompson (2008), unindo esta com o percurso teórico feito pelos capítulos anteriores. O queer foi pensado nessa dissertação como uma categoria de análise importante para entender as representações, em especial, as cinematográficas. Essa perspectiva abre a possibilidade para que qualquer representação seja pensada a partir dessas teorias possibilitando o entendimento dos modos de elaboração dos discursos dominantes/normativos através de imagens, histórias e/ou personagens. A categoria se fez necessária, no caso da análise do filme em discussão, para a compreensão de como a personagem principal se sente marginalizada e, até mesmo, hostilizada em certos ambientes. O olhar que conduz a narrativa é a da personagem principal revelando suas perspectivas, sua relação com o próprio corpo e desejo, e o processo de empoderamento ao longo da história estabelecido por sua relação íntima com a música. Através da análise fílmica foi possível identificar esse processo na narrativa, os momentos chaves dentro da história da personagem e o modo como a construção imagética expressa o seu estado psíquico.<br> / Abstract : The research, of qualitative nature, belongs to the field of Feminist Critics and Gender Studies. The theoretical core of this investigation is the queer theory based on author such as Jack Halberstam (2005), Annemarie Jagose (1996) e Richard Miskolci (2012). Although sexuality is a current theme in this dissertation, the main issue concerns the (hetero) normativity and its related social standard. In order to engage in these discussions, the subject used in this research was the cinema, the medium, which establishes dialogues with the aforementioned theory. Throughout the text some specific films and scenes are presented to formulate a theoretical discussion inserted in the field of image representation, in this case, the cinema. From a theoretical and historical journey on the issue addressed in the dissertation, the main idea is to bring together the film and the music, as two spaces of voice, focusing on the participation of women in rock n roll, and specially addressing the American feminist movement in the alternative musical scene, the Riot Grrrl. Thus, after the theoretical and historical problematization of the issue addressed between these two field of artistic representation, the movie All Over Me, directed by Alex Sichel in 1997, is analyzed. The research question focuses on the reflection about how the music and the subculture represented in All Over Me, which integrated bands of young girls, contributed to the empowerment of the main character. The methodology of film analysis used was proposed by David Bordwell and Kristin Thompson (2008), combining it with the theoretical route of the previous chapters. The queer was thought in this dissertation as a category of analysis important to understand representations, in particular the filmic ones. This perspective opens the possibility that any representation can be thought through these theories allowing a better understanding of the development modes of dominant/normative discourse through images, stories and/or characters. The category was necessary for the analysis of this film in order to comprehend how the main character feels marginalized and even ostracized in certain environments. The narrative is conducted by the eyes of the main character revealing her outlooks, the relationship with her own body and desire, and the process of empowerment throughout the history established by her intimate connection with the music. Employing the film analysis it was possible to identify this process in the narrative, the key moments in the history of the character and the way the imagery construction represents her mental state.

Submitted by Leonardo Paulino (leocenicas@hotmail.com) on 2015-02-03T13:59:25Z No. of bitstreams: 1 bem.me.queer pronta.pdf: 2409097 bytes, checksum: 2bf94b686b27b6b7e274a501d0e35337 (MD5) / Approved for entry into archive by Ednaide Gondim Magalhães (ednaide@ufba.br) on 2015-02-04T15:05:15Z (GMT) No. of bitstreams: 1 bem.me.queer pronta.pdf: 2409097 bytes, checksum: 2bf94b686b27b6b7e274a501d0e35337 (MD5) / Made available in DSpace on 2015-02-04T15:05:15Z (GMT). No. of bitstreams: 1 bem.me.queer pronta.pdf: 2409097 bytes, checksum: 2bf94b686b27b6b7e274a501d0e35337 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Essa dissertação destina-se ao desenvolvimento do processo de criação e análise de três performances autorais articulando questões sobre a construção de identidades e sexualidades. Procura-se estabelecer reflexões sobre a arte da performance como interstício para provocar tensões nos modos como se configuram as identidades e sexualidades dos sujeitos no mundo contemporâneo. Através de investigações práticas na atividade “Laboratório de Performance (TEA 794)” do Programa de Pós-Graduação em Artes Cênicas, busca-se evidenciar a experiência prática como ampliação para as relações entre movimento/escrita, corpo/espaço, presença/ausência, de maneira que, a prática criativa funciona como o modus operandi da pesquisa. Para auxiliar as implicações que essa investigação propõe, há um trânsito entre diversos caminhos teóricos que se suplementam, estimulando as discussões inseridas pelos sujeitos no contexto social ao criarem movimentos de força contra os processos taxonômicos (categorização e normatização). Esses movimentos são agenciados durante essa escrita como possíveis potencializações de um corpo queer sugerindo a perturbação e subversão nos atuais regimes político-sociais da heteronormatividade. Essa dissertação funciona como um exercício micropolítico para dilatar as potencialidades e a autonomia do corpo, as produções de afetos e a criação de um corpo ético/político/estético.