abstract: The hagiographic comedy written by Tirso de Molina Los lagos de San Vicente (1607) presents the journey of Santa Casilda in search of the cure of an illness in her blood that affects her. Casilda rejects the medical assistance offered to her by Muslim doctors and miraculously she finds the cure in the Christian world. In this quest, the intellectual and theological evolution of the future saint in defense of the Christian faith is presented. This dissertation will study the resources that Tirso de Molina employs to show the rejection and displacement against the Islamic world represented by a series of erotic behaviors that, in the effort of dramatizing these impertinences they are characterized within a second discourse. Tirso de Molina takes advantage of the hagiographic comedy's discourse nature and the baroque's obscure literary characteristics to express his messages. This dissertation will study in detail how the combination of hagiographic theatrical elements with linguistic expressions are used to convey a subversive discourse that therefore suggests the application of queer theory as a frame of reference. As a result of this investigation it is concluded that Tirso de Molina promotes the hagiographic model and in order to contrast the triumph of the moral Catholic world over the immoral Muslim world the play writer makes references to the nefarious sin. / Dissertation/Thesis / Ph.D. Spanish 2011

Orientadora: Larissa Pelúcio / Banca: José Carlos Marques / Banca: Priscila Gomes Dornelles / Banca: Luís Antônio Francisco de Souza / Banca: Jorge Leite Júnior / Resumo: O MMA (Mixed Martial Arts) feminino emergiu no cenário esportivo nos últimos anos, e teve sua coroação quando da implantação da primeira categoria feminina no UFC (Ultimate Fighting Championship) - principal organização da modalidade - em 2013, fator que impulsionou fortemente seu crescimento e visibilidade no cenário mundial. Partindo de uma epistemologia Queer, este trabalho teve por objetivo identificar e analisar os fatores que culminaram no recente crescimento do MMA feminino no Brasil, com foco nas questões relativas à performatização de gênero das lutadoras e nas representações midiáticas de gênero relativas a elas. Partiu-se de uma dimensão microestrutural, o universo do MMA feminino, para buscar compreender aspectos macrossociais que situam as estratégias pessoais dessas atletas em responder, via esporte, às mudanças significativas no campo das relações de gênero e das sexualidades não normativas no Brasil contemporâneo. Para tal, foi realizada uma etnografia multissituada com lutadoras brasileiras, online e também presencial. Verificou-se a predominância de atletas bastante jovens, pertencentes às classes populares e médias, que buscam no MMA uma forma de subsistência e a esperança de ascensão social. Há, também, um crescente fluxo de lutadoras brasileiras para os Estados Unidos da América, em busca de melhores condições de treinamento e maiores possibilidades de sucesso profissional. Identificou-se a existência de um Mercado da Beleza no MMA praticado por mulheres,... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Women's Mixed Martial Arts (WMMA) has been growing fast in the last years and its coronation happened with the implementation of the first pound division for women in the American Ultimate Fighting Championship (UFC), in 2013, a factor that strongly stimulated its growth and visibility around the world. Based on a Queer epistemology, this work aimed to identify and analyze the factors that culminated in the recent growth of WMMA in Brazil, focusing on issues related to gender performativity of female fighters and media representations of them. From a microstructural dimension, the female MMA universe, this research seeks to understand the macrosocial aspects that place personal strategies of these athletes in responding via sport to the significant changes in the field of non-normative genders and sexualities relations in contemporary Brazil. A multisited ethnography was performed with Brazilian female fighters, from physical ethnographic immersion in training and competitions as well as through televising and online follow-up. It was found a predominance of very young athletes, belonging to the popular and middle classes, who sought in MMA a way of subsistence and the hope of social ascension. There is also an increasing flow of Brazilian fighters to the United States of America that lies in the search for optimization of their trainings and greater possibilities for professional success. The existence of a Beauty Market was identified on WMMA, which increases the chances of... (Complete abstract click electronic access below) / Doutor

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação Interdisciplinar em Ciências Humanas, Florianópolis, 2011 / Made available in DSpace on 2012-10-25T23:03:34Z (GMT). No. of bitstreams: 1 293456.pdf: 2982977 bytes, checksum: 9377a9d917d5965ecc15f933edd0b8dd (MD5) / O presente estudo tem como principal objetivo a constituição de arte do erótico como objeto de estudos. Através de conceitos como ambiguidade, fetichismo, manifesto e desafio se problematiza o feminino. Parte-se do suposto de que existe um regime epistemológico visual que trabalha mediante tecnologias do corpo e de visualidade, para a configuração de um código binário. Dessa forma, propõe-se uma metodologia para a pesquisa inter e transdisciplinar de estudos queer, feministas, antropologia visual e arte contemporânea, em cujo processo se faz necessária a realização de genealogias, (en)codificações culturais, e experimentações plástico-conceituais. O eixo condutor da tese são as experiências práticas, artísticas, políticas y teóricas idealizadas e executadas mediante um tipo de insistência pela autora como artista e pesquisadora no decorrer dos estudos de doutorado (PPGICH/UFSC), no Brasil, e, no Estado Espanhol.

Submitted by Johnny Rodrigues (johnnyrodrigues@ufcg.edu.br) on 2018-08-30T17:43:12Z No. of bitstreams: 1 SOPHIA PADILHA MENESES - PPGCS DISSERTAÇÃO 2014..pdf: 9809821 bytes, checksum: 67136fdd347c1f42930b6d1104f57b58 (MD5) / Made available in DSpace on 2018-08-30T17:43:12Z (GMT). No. of bitstreams: 1 SOPHIA PADILHA MENESES - PPGCS DISSERTAÇÃO 2014..pdf: 9809821 bytes, checksum: 67136fdd347c1f42930b6d1104f57b58 (MD5) Previous issue date: 2014 / Capes / Esta dissertação busca problematizar as questões de gênero a partir da experiência da pesquisadora confrontada com e no espetáculo Agreste. Para tal considerou-se relevante tomar como fio condutor as afetações binárias e heteronormativas proporcionadas pela experiência da pesquisadora quando esteve no papel de espectadora, permitindo-se assim, analisar a desconstrução do conceito de gênero na perspectiva queer. Ao assistir a referida peça, a espectadora foi surpreendida pela surpresa dramática da trama, o que a fez, enquanto estudiosa do tema, perceber que a heteronormatividade não era uma abstração que operava fora, mas que a incorporava interiormente e sob a qual se via vetor de seus efeitos. Partindo desta vivência e do encontro entre abstrações e consequências reais, desenvolvemos este trabalho que exigiu uma forma distinta de escrita que não é linear, e pretende contemplar um experimentar das questões que analisa, porém o objetivo desta dissertação não se restringe às questões queers. Ela também abrange as relações dicotômicas no interior da pesquisa, como sujeito / objeto, na qual, a participação como forma de conhecimento sinaliza que o pesquisador não está resguardado em um patamar em que a realidade social não o atinja, afete, altere, e sob os quais, em muitos casos, ele mesmo auxilia a reprodução das construções sociais que outrora denuncia. Portanto neste percurso se assume as posições de sujeito e objeto, pois a pesquisadora está inserida num contexto que, ao mesmo tempo em que se desnudam questões sociais, também se vê produtora e vetor de suas causas. O campo de pesquisa tem duas unidades temporais: uma em 2010; e outra em 2013. Ambas complementam o trabalho, no qual, se apresentam práticas sexuais organizadas hierarquicamente, direcionando a sugerir que as categorias heterossexuais e homossexuais são atributos fictícios, utilizadas por estratégias que os agentes alocam de forma a reforçarem um status social. A partir dos efeitos do objeto desta pesquisa se revelam os espaços reservados para tais ficções, que por serem constituídas para definir a verdade última dos sujeitos têm, portanto, consequências reais. Este trabalho não enfatiza as práticas sexuais, mas as questões políticas e hierárquicas que organizam as sexualidades. Para dar conta desta empreitada que desconstrói não só gênero, como a própria linguagem binária que o sedimenta, utilizamos a etnografia desenvolvida por Favret-Saada e a questão da afetação como forma de produção de conhecimento, além da antropologia da experiência e performance de Turner. / This dissertation seeks to problematize gender issues from the experience of the researcher confronted with the theatrical play Agreste, to this it was considered relevant thread take as binary and heteronormative affectations provided by the experience of the researcher when he was in the role of spectator, thus allowing to analyze the deconstruction of gender in queer perspective. When watching that play, the spectator was surprised by the dramatic surprise of the plot, which made her as studious theme, realize that heteronormativity was not an abstraction that operated outside but that embodied within and beneath which by vector its effects. Based on this experience and the encounter between abstractions and real consequences, this study developed that required a distinct form of writing that is not linear, and is intended to address one experiment that examines the issues, but the goal of this dissertation is not limited to queer issues. It also covers the dichotomous relationships within the research as subject / object, in which the participation as a knowledge indicates that the researcher is not guarded at a level where social reality not reach, affect change, and under which, in many cases, it even helps the reproduction of social structures that once denounced. Therefore this path is assumed the positions of subject and object, because the researcher is embedded in a context that, while they undress social issues, also sees producer and vector causes. The field has two time units: one in 2010, and another in 2013. Both complement the work, which, if present sexual practices organized hierarchically, directing to suggest that heterosexual and homosexual categories are fictitious attributes, strategies used by agents to allocate in order to strengthen social status. From the effects of the object of this research is to reveal the placeholders such fictions, which are made to define the ultimate truth of the subject, therefore, have real consequences. This work does not emphasize the sexual practices, but political issues and hierarchical organizing sexualities. To take account of this endeavor that not only deconstructs gender as binary language itself that the sediments, we use ethnography developed by Favret-Saada and the issue of affectation as a form of knowledge production, beyond the anthropology of experience and Turner performance.

Cette thèse propose une analyse de la présence et des représentations de l’analité dans l’art contemporain. Les œuvres analysées ici sont regroupées autour de trois axes centraux: le premier est celui qui investigue les rapports entre sexe et politique, le deuxième est dédié aux liens entre les excréments et le système de production industriel, le troisième met en relation l’érotisme et l’écologie. Dans le premier axe, nous proposons un parcours qui passe par les rapports entre le matriarcat et le patriarcat et arrive à la théorie queer contemporaine. Dans ce cadre, nous étudions la production artistique et activiste pornoterroriste. Le deuxième axe reprend le processus historique d’aseptisation des villes et la thèse freudienne sur le caractère anal pour créer un contexte de relecture des œuvres de Piero Manzoni, Wim Delvoye, Paul mccarthy et Andres Serrano. Le dernier axe essaie de créer des résonances entre la philosophie de Gilbert Simondon, l’anus solaire, un essai de Georges Bataille, la production picturale de Jakub Julian Ziolkowski et la vidéo Cooking, de Tunga, à partir de la notion chère à Simondon d’ordre de magnitude, à partir de laquelle nous essayons de dévoiler les rapports de l’anus avec le cosmos dans la production artistique contemporaine. / This thesis offers an analysis of the presence and representations of anality in contemporary art. The works analyzed here are grouped around three central axes: the first one investigates the relationship between sex and politics, the second is dedicated to the links between excretion and the industrial production system, the third one proposes a link between eroticism and ecology. In the first axis, we propose a path that goes through the relationship between matriarchy and patriarchy and comes to contemporary queer theory. In this context, we study the artistic and activist pornterrorist production. The second axis takes up the historical process of sanitizing cities and the Freudian formulations on the anal character to create a context for the analysis of works by Piero Manzoni, Wim Delvoye, Paul McCarthy and Andres Serrano. The last axis tries to create resonances between the philosophy of Gilbert Simondon, The solar anus, a short essay by Georges Bataille, the pictorial production by Jakub Julian Ziolkowski and the video Cooking, by Tunga, based on SimondonÕs concept of order of magnitude, from which we try to unravel the relationships of the anus with the cosmos in contemporary artistic production.

Magister Legum - LLM / For many, the human rights which South Africa has been able to secure for LGBTI (lesbian, gay, bisexual, transgender and intersex) people has been very progressive. However, with the conflation of sexual orientation and gender identity, the assumption of access to human rights for all within the LGBTI and society at large, has led to transsexual people not being able to claim their rights and assert their existence as human beings effectively within our constitutional democracy. Currently, there is a vacuum in South Africa's law of marriage based on its inability to accommodate spouses who married as a 'heterosexual' couple but where the one spouse subsequently undergoes gender affirmation, conforming the relationship to what is perceived as 'homosexual'. On account of this, the Department of Home Affairs are subjecting these couples to compulsory or forced divorces by refusing to have the transsexual spouse recognised within his or her affirmed gender on the marriage certificate. This means that the transsexual spouse either remains married under the Marriage Act and is subject to being recognised as his or her birth-sex, or submits to a compulsory or forced divorce in order to be recognised as his or her affirmed sex on a marriage certificate issued under the Civil Union Act upon them 'remarrying'. This thesis addresses the inequalities and inequities brought about by the Marriage Act. It investigates the history of marriages within South Africa that were prohibited based on characteristics such as race which people have no control over. It looks at how the State, through its departments, has imposed itself on the social relationships people formed subject to its legal terms and conditions. This thesis questions whether the State through its action is acting in a way that is administratively just. It argues that the successfulness of a divorce decree is dependent on at least one party voluntary applying for it. This presupposes the idea that whenever couples who are validly married are forced or compelled to divorce one another that this, in fact, cannot be seen as one of the valid ways in which to obtain a divorce decree legally. Before venturing into the legal aspect concerning this research topic, a theoretical framework will be advanced to position these couples in a greater social context. Subsequently, in order to establish the legal position of these couples, this thesis will draw on the current South African human rights discourse that has been developed by and for the LGBTI community, especially as it relates to the law of marriage. It will also establish the international and foreign human rights discourses that assert or, at least, seek to assert LGBTI human rights broadly. Ultimately, a constitutional analysis will be conducted to establish the position of these couples under the Marriage Act.

This dissertation is a multi-methodological project that examines the experiences of being both LGBTQ+ and disabled from an intersectional perspective through narratives constructed in virtual spaces. In this project, I address the question ‘how do individuals who identify as both disabled/chronically ill and LGBTQ+ negotiate these often contradictory identities?’ I also complexify this intersectional analysis by examining how LGBTQ+/disabled identities are constructed in relation to race, class, and gender. Additionally, by conducting virtual ethnography as the primary method of data collection, I explore questions pertaining to how members of LBGTQ+ and disability online communities engage in virtual identity construction and virtual community building. Through these projects I seek to bring disability and LGBTQ+ identities into the intersectionality literature and discourse that has frequently excluded, and at times even ignored, these positionalities.

The grotesque has long been utilized in literature as a means for subverting societal constraints and inverting constructions of normalcy. Unfortunately, in many instances, it has been constructed at the expense of disabled characters using their embodiment as metaphorical plot devices rather than social and political agents. Criticism of the grotesque’s use of bodily difference has prompted this analytical project in order to rethink disability as socially and politically positioned within texts, rather than simply aesthetics for symbolic means. The aim of this paper is to explore the ways the literary grotesque can be reread using queer theory and crip theory as frameworks for constructing agential disabled embodiments in Katherine Dunn’s Geek Love. Ultimately, the potential of queer and crip interventions necessitates an examination of the systems of power disabled subjects operate within in these narratives.

xiii, 429 p. : ill. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / My dissertation argues that the film comedies of Kevin Smith, through their willingness to depict and verbalize gender-bending, queer desire, and deviant sexual practices, exemplify the role independent "slacker" cinema played in the 1990s explosion of American queer media visibility. Couched in witty verbal comedy, Smith's films depict the tensions and dangers Generation-X males face as they negotiate the culturally enforced gap separating male homosociality (intense friendship, male bonding) from explicit male-male homoerotic desire in contemporary U.S. culture. The project takes Smith's career as a metonym for independent slacker cinema (which includes films by Smith, Richard Linklater, Jim Jarmusch, and Judd Apatow) and argues that Smith's films have been successful because they tap into and exploit both the 1990s boom in independent queer media production and the particular interests and needs of actual young white slackers, including how these young men navigate tensions related not only to gender and sexuality but also to race and class (all of which are evident in their taste for mainstream superhero comics and the Star Wars films). Chapter II argues that Smith's debut feature, Clerks (1994), exemplifies, through its plot and formal elements, the homosocial buddy relation that suppresses male-male homoerotic desire by channeling it into men's rivalries over women. The chapter exposes the misogyny inherent to the slacker's homosocial group and discusses his fear/fascination with masculine women such as domineering mothers, bossy girlfriends, and (in later Smith films) lesbians. Chapter III argues that Mallrats (1995) shares key narrative properties and subject matter with superhero comic books, thereby addressing the comic book fans who largely constitute Smith's fan base. Chapter IV offers a bisexual reading of Smith's third feature film, Chasing Amy (1997). Chapter V examines Smith's later films Dogma (1999), and Jay and Silent Bob Strike Back (2001), arguing that they function generically as queer road movies. Chapter VI analyzes Smith's public persona as an indie cinema icon who uses ironic, ambiguous modes of self-presentation to "have it both ways," maintaining an appeal for both homophobic and queer-friendly audiences, thereby demonstrating Smith's keen understanding of self-promotion and the economic structures of independent cinema. / Adviser: Kathleen Rowe Karlyn

This thesis represents an investigation into the strategies used by postsocialist Chinese male subjects to articulate their subjecthood and desires. The introduction explains the choice for using a phenomenological methodological approach in addressing the issue and also lays out the simultaneous goal of this thesis to inaugurate a move away from political allegorical interpretations as the standard for reading contemporary Chinese literature. The body chapters look at two different contemporary Chinese works to help illuminate the arrival of the Chinese subject. Using Wang Xiaobo's novella "Sentiments Like Water" and the anonymously penned online novel Beijing Story as case studies, this thesis investigates the ways alternative epistemologies and uses of history can undo pathological understandings of queerness and create new identities for Chinese subjects. The thesis concludes with thinking about the direction of the queer and Chinese studies fields and offers future points of investigation.