This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

While a number of recent studies have addressed the overall educational experiences of larger groups of gay and/or lesbian students within institutions of higher learning, there are no in-depth studies which address the experiences of a small number of gay men and/or lesbians who are students in programs of visual art. This comparative case study of two gay male students of visual art considers three primary questions: what are the ways in which individual subjectivities and cultural practices of white, gay, male artists inter-relate; what is the impact of each artist's cultural productions on the broader culture in which they are located; and, what are the experiences of each subject within the postsecondary visual art's program in which each was enrolled. Data was collected through formal interviews, participant-observation, and an examination of the art practices of each subject. This study draws on the contributions, and the inter-relationships, of feminist, postmodernist, and queer theory literatures. In response to the first primary question, this study identifies: a range of denominators by which the subjects name themselves; four categories by which affiliated communities might be identified; a strong positive relationship between individual subjectivities and the practices of art. Second, this study concludes that: public response to the art practices of dissident subjects may vary in terms of mediums and methods; the relationship between language and visual art is variant between the two artists but the embeddedness of language in visual art is recognized; the subjects hold opposing views with respect to the role of the art object within culture, but, in both cases, the art object is seen as being integral, positively or negatively, to individual identities; art is a means to cultural knowledge, that is, visual art may serve as a means of articulating various queered theoretical standpoints; and finally, that the possibilities of camp are a means by which queer identities may be articulated and constituted in visual art practices. In response to the third primary research question, this study concludes that: there is either a lack of gay or queer content matter and expertise, or a strong negative reaction against queer experience in the programs of visual art presently considered; and finally, that the university is a site of cultural practice which continues to be a major legitimizer of social authority. In general terms, with respect to epistemologies, research methodologies, and texts, a number of necessary adaptations emerge which reflect the unique experiences of queer researchers engaged in the production of social knowledges with queer subjects. The research findings suggest that the incorporation of the needs of queer students into the Academy and the Arts would prove valuable, not only to students who so define themselves, but, because different perspectives reflect different and expanded knowledges, would contribute to the learning/living experiences of all post-secondary students of visual art. Recommendations for further research include continuing inquiry which similarly considers the experiences of lesbians in visual arts programs, and for larger scale studies with gay and/or lesbian students which may provide alternate kinds of data.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

Thesis (M.A.)--Carleton University, 2007. / Includes bibliographical references (p. 109-115).

While a number of recent studies have addressed the overall educational experiences of larger groups of gay and/or lesbian students within institutions of higher learning, there are no in-depth studies which address the experiences of a small number of gay men and/or lesbians who are students in programs of visual art. This comparative case study of two gay male students of visual art considers three primary questions: what are the ways in which individual subjectivities and cultural practices of white, gay, male artists inter-relate; what is the impact of each artist's cultural productions on the broader culture in which they are located; and, what are the experiences of each subject within the postsecondary visual art's program in which each was enrolled. Data was collected through formal interviews, participant-observation, and an examination of the art practices of each subject. This study draws on the contributions, and the inter-relationships, of feminist, postmodernist, and queer theory literatures. In response to the first primary question, this study identifies: a range of denominators by which the subjects name themselves; four categories by which affiliated communities might be identified; a strong positive relationship between individual subjectivities and the practices of art. Second, this study concludes that: public response to the art practices of dissident subjects may vary in terms of mediums and methods; the relationship between language and visual art is variant between the two artists but the embeddedness of language in visual art is recognized; the subjects hold opposing views with respect to the role of the art object within culture, but, in both cases, the art object is seen as being integral, positively or negatively, to individual identities; art is a means to cultural knowledge, that is, visual art may serve as a means of articulating various queered theoretical standpoints; and finally, that the possibilities of camp are a means by which queer identities may be articulated and constituted in visual art practices. In response to the third primary research question, this study concludes that: there is either a lack of gay or queer content matter and expertise, or a strong negative reaction against queer experience in the programs of visual art presently considered; and finally, that the university is a site of cultural practice which continues to be a major legitimizer of social authority. In general terms, with respect to epistemologies, research methodologies, and texts, a number of necessary adaptations emerge which reflect the unique experiences of queer researchers engaged in the production of social knowledges with queer subjects. The research findings suggest that the incorporation of the needs of queer students into the Academy and the Arts would prove valuable, not only to students who so define themselves, but, because different perspectives reflect different and expanded knowledges, would contribute to the learning/living experiences of all post-secondary students of visual art. Recommendations for further research include continuing inquiry which similarly considers the experiences of lesbians in visual arts programs, and for larger scale studies with gay and/or lesbian students which may provide alternate kinds of data. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Orientador: Carolina Cantarino Rodrigues / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T16:59:38Z (GMT). No. of bitstreams: 1 Lima_RodolfoPereirade_M.pdf: 13333600 bytes, checksum: 6f14916c85f45c014392f1802fab932e (MD5) Previous issue date: 2015 / Resumo: A dissertação propõe uma intersecção entre teatro e homossexualidade a partir da produção dramatúrgica do autor Newton Moreno, produzida no começo do século XXI. Peças em que homossexuais masculinos e travestis tiveram suas idiossincrasias reverenciadas através de esquetes permeados por (des)amor, violência e preconceito. A dissertação apresenta-se em ensaios interdependentes, apoiados nos textos de Theodor W. Adorno e Jorge Larossa que arejam o conceito de ensaio, bem como os conceitos de obsceno e pornográfico, defendidos respectivamente por Eliane Robert Moraes e Susan Sontag. Não esquecendo de autores como Michel Foucault, José Antônio Marina, Wilton Garcia, Denilson Lopes e Gilles Deleuze, entre outros, para fomentar a discussão em torno desse suposto "teatro gay". A relação teatro/gay não é comum no meio acadêmico. Por isso, o intuito de que parte da memória teatral gay não se perca com o tempo / Abstract: The dissertation proposes an intersection between theater and homosexuality from the theatrical production of the author Newton Moreno, produced in the early twenty-first century. Texts on homosexuals and transvestites which has its idiosyncrasies revered through skits permeated by disaffection, violence and prejudice. The dissertation is presented in interdependent trials supported in the writings of Theodor W. Adorno and Jorge Larossa airing the concept of study, and the concepts of obscene and pornographic, defended respectively by Eliane Robert Moraes and Susan Sontag . Not forgetting of authors like Michel Foucault, José Antonio Marina, Wilton Garcia , Denilson Lopes and Gilles Deleuze , among others, to encourage discussion around this supposed "gay theater " . The relationship theater / gay is not common in Brazilian academia. Therefore, in order that the gay theater memory is not lost with time. Keywords ¿ Newton Moreno, Gay Theatre, homoeroticism, dramaturgy / Mestrado / Divulgação Científica e Cultural / Mestre em Divulgação Científica e Cultural