Thesis (Ph. D.)--Ohio State University, 2003. / Title from first page of PDF file. Document formatted into pages; contains x, 253 p. Includes bibliographical references (p. 235-253). Available online via OhioLINK's ETD Center

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005. / Coursework. 2 December 2005. Bibliography: leaves 74-91.

Thesis (Ph. D.)--University of Hong Kong, 2008. / Includes bibliographical references (leaf 270-303) Also available in print.

Thesis (Ph. D.)--University of Hong Kong, 2008. / Includes bibliographical references (leaf 270-303) Also available online.

Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains vii, 38 p. : ill. (some col.) Includes bibliographical references.

Dans Trouble dans le genre (1990), Judith Butler affirme que le drag démontre la structure imitative du genre. Si, dans le sens commun, le drag est souvent rattaché à la performance travestie, nous allons voir avec Butler qu’il recouvre un ensemble complexe de pratiques corporelles (rôles sexuels, modifications corporelles, etc.). Alors, comment s’est constituée la théorie butlérienne ? Quelle est son influence sur les pratiques plasticiennes et sur les théories queer qui lui succèdent, participant indirectement (sinon involontairement) à la construction d'une esthétique drag qui intègre le transgenre ? En premier lieu, nous verrons que Butler étudie la performance drag à travers une anthropologie des artistes travestis élaborée par Esther Newton (Mother Camp, 1972), ainsi que par une critique du transgenre dans les films Paris is Burning (1991) et Boys don't cry (1999). Nous observerons ensuite comment les drag kings, photographiés par l’artiste Del LaGrace Volcano, sont interprétés par Judith Halberstam, à la suite de Butler, comme des performances qui dénaturalisent le genre et engagent parfois le corps des artistes jusqu'à la limite du transgenre. Enfin, à l’appui du philosophe Paul B. Preciado qui théorise sa propre "intoxication" à la testostérone (Testojunkie, 2008), nous aborderons l'art transgenre comme une esthétique biodrag qui incorpore littéralement la théorie butlérienne, en même temps qu'elle l'altère. À travers ces trois moments-clés, nous voudrions montrer comment la théorie butlérienne a produit une esthétique drag en mutation constante qui s'imprègne des grands récits de son temps, mais évolue aussi jusqu'à bouleverser les discours qui l'ont en partie engendrée / In Gender Trouble (1990), Judith Butler asserts that drag demonstrates the imitative structure of gender. If, in the common sense, the drag is often connected with cross-dressed performance, we will go to see with Butler that it recovers a complex set of bodily practices (sexual roles, body modifications, etc.). Then, how was etablished the Butler’s theory? What is its influence on the artistic practicals and on the queer theories that succeed her, contributing indirectly (if not involuntarily) to the construction of a drag aesthetic which integrates the transgender? Firstly, we will see that Butler studies the drag performance through an anthropology of the female impersonators elaborated by Esther Newton (Mother Camp, 1972) as well as by criticism of the transgender in the films Paris is Burning (1991) and Boys don't cry (1999). We observe afterwards how, after Butler, Judith Halberstam interprets the drag kings, photographed by the artist Del LaGrace Volcano, as performances whom denaturalize gender and, sometimes, engage the body of the artist until the limit of the transgender. At last, by using the philosophy of Paul B. Preciado who theorizes his own testosterone "intoxication" (Testojunkie, 2008), we will discuss the transgender art like a biodrag aesthetic which literally incorpore the Butler’s theory, at the same time that she modifies it. Through these three moments, we would want to show how Butler’s theory produced a drag aesthetics constantly changing which is permeated with grand narratives of his time, but also evolves until overturn the speeches which partially engendered it

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Thesis (Ph.D.) -- University of Western Sydney, 2003. / Includes bibliography.