黃愛倫. / "2007年9月". / 論文(哲學碩士)--香港中文大學, 2007. / 參考文獻(leaves 151-159). / "2007 nian 9 yue". / Abstract also in English. / Huang Ailun. / Lun wen (zhe xue shuo shi)--Xianggang Zhong wen da xue, 2007. / Can kao wen xian (leaves 151-159). / 摘要 --- p.iv-v / Chapter 一、 --- 導論 --- p.1-18 / Chapter 1.1 --- 關於台灣酷兒文學的一些觀點 / Chapter 1.2 --- 陳雪的小說時光 / Chapter 1.3 --- 硏究背景與方向：台灣家庭景觀 / Chapter 1.4 --- 理論架構 / Chapter 1.5 --- 發展異色論述：酷兒、家庭與酷兒家庭的關係 / Chapter 1.6 --- 章節安排 / Chapter 二、 --- 從《惡女書》的十年論爭 回顧九〇年代台灣同志/酷兒小說發展 --- p.19-50 / 引言 / Chapter 2.1 --- 陳雪與酷兒文學：由〈尋找天使遺失的翅膀 〉 開始 / Chapter 2.1.1 --- 酷兒發妖 / Chapter 2.1.2 --- 酷兒與酷兒文學 / Chapter 2.1.3 --- 看見/看不見：建構同志/酷兒文學史 / Chapter 2.2 --- 九〇年代的時空脈絡 / Chapter 2.2.1 --- 建構在地酷兒政治：台灣同志/酷兒運動 / Chapter 2.2.2 --- 學院裡的另類顛覆：張小虹與「金童玉女」 / Chapter 2.3 --- 酷兒的十年論爭 / Chapter 2.3.1 --- 《惡女書》何惡之有？ / Chapter 2.3.2 --- 反對序言的聲音 / Chapter 2.3.3 --- 代言：有必要爲陳雪辯護嗎？陳雪代表了酷兒？ / 小結：二千年的酷兒版圖 / Chapter 三、 --- 禁色之愛：酷異家庭羅曼史 --- p.51-80 / 引言：慾望之規條´ؤ´ؤ家庭成員之間的緘默 / Chapter 3.1 --- 彼此牽纏的三個槪念：異性戀、家庭戀和同性戀 / Chapter 3.2 --- 呈現家庭戀的作品 / Chapter 3.3 --- 〈色情天使〉：不能排拒的兄妹性愛閱讀經驗 / Chapter 3.4 --- 被現實消音的戀母情慾：〈尋找天使遺失的翅膀〉 和〈夜的迷宮〉 / Chapter 3.4.1 --- 不能嵌入寫實文學體裁 / Chapter 3.4.2 --- 建構虛擬場景 / Chapter 3.4.3 --- 宇宙只有我和你：回歸/貼近母親身體的温柔 / Chapter 3.5 --- 〈兒子〉：改寫家庭戀的宿命 / Chapter 3.5.1 --- 寫在前面的夢境 / Chapter 3.5.2 --- 寫在後面的性愛和分娩場景 / 小結 / Chapter 四、 --- 自訂親屬關係：探索同性家庭的可能 --- p.81-107 / 引言：兩位男生的一場婚禮 / Chapter 4.1 --- 社會爭辯之點：婚姻與家庭 / Chapter 4.2 --- 如遠若近的核心家庭 / Chapter 4.3 --- 後現代酷兒家庭 / Chapter 4.4 --- 台灣酷兒家庭的狀況 / Chapter 4.4.1 --- 〈蝴蝶的記號〉：家的多重意義和經驗 / Chapter 4.4.2 --- 人來人往：《愛情酒店》的自選家人組合 / Chapter 4.4.3 --- 〈異色之屋〉的封閉與荒蕪 / 小結 / Chapter 五、 --- 總結 --- p.108-115 / Chapter 5.1 --- 世俗的小說 / Chapter 5.2 --- 撰文過程中的自身觀照 / Chapter 六、 --- 附錄一、陳雪訪談文字記錄 --- p.116-150 / Chapter 七、 --- 參考書目 --- p.151-159

James Arthur Baldwin (1924- 1987) is one of the two major writers who have dared write about black gay men and from a black gay perspective. However, his fame as a racial spokesman and his insightful analyses of race relations in America tend to distract attention from the fact that he has been one of the most important homosexual writers of the twentieth century. Intolerance and homophobia among black and white Americans often led to a misinterpretation or misevaluation of James Baldwin's novels. James Baldwin was very courageous to come out as a black homosexual writer during the period of the Cold War and the Civil Rights movement. However, his awareness of racism and homophobia in the American society, and his difficult position of being a public figure and a spokesman for the Afro-Americans left its traces in his novels and influenced his novel writing career. The purpose of the present study is to show that out of intolerance, ignorance, and homophobia the evaluators of James Baldwin's novels often did him no justice. Baldwin through his novel writing developed a homosexual consciousness for himself. This struggle of coming-out was his personal struggle and it was marked by his burden of the doubly oppressed. I argue that Baldwin's search for an identity as a black homosexual writer is reflected in his writing. He constructed his identity through his writing. This study attempts to show that Baldwin's development of a homosexual identity took place in stages during his novel writing career. An analysis of the novels Go Tell It On the Mountain (1953), Giovanni's Room (1956), Another Country (1962), and Just Above My Head ( 1979) will demonstrate his movement from dealing with homosexuality as an underlying theme to using it as a tool to protest against any kinds of labels in the American society. Baldwin believed that discrimination cannot cease as long as the categorization of people through artificial constructs such as the "Negro" or the "homosexual" exists.

In the late 1970s and early 1980s, previously unpublished portions of Thomas Mann's diaries were released for publication. These excerpts contained passages that removed all previous doubt as to Mann's sexual proclivities, affirming his homosexual inclinations. It had been suspected that Mann was homosexual before this time, but there was no conclusive proof until the release of the now-famous (or infamous) diary entries. Now that there is written proof of Mann's sexual orientation, literary scholars can more persuasively argue the often overlooked or circumvented homosexual aspects of his writings. This thesis is an investigation of the homoerotic elements in Thomas Mann's novella, Death in Venice. The present study draws out the homoerotic elements of the text and places them in a socio-historical context. Textual analysis, as it concerns coded homosexual desire, as well as a biographical schema of Mann highlight the homoerotic characterizations in the novella. The analysis is based in an historical context, a time when homosexual expression was strictly illegal. The tension created between Mann's need to process his homosexuality and his internal moral code - as well as the external moral code of Wilhelmine Germany - forced him to contrive a story in which he could only present homosexual desire in code or via allusions to the homosexuality of Ancient Greece.

Thesis (Ph. D.)--University of California, Santa Cruz, 2004. / Includes bibliographical references (p. 294-308). Also available on the Internet.

Thesis (Ph. D.)--Illinois State University, 2006. / Title from title page screen, viewed on April 27, 2007. Dissertation Committee: C. Anita Tarr (chair), Roberta Seelinger Trites, Jan Christopher Susina. Includes bibliographical references (leaves 197-208) and abstract. Also available in print.

Thesis (Ph. D.)--University of California, San Diego, 2002. / Vita. Includes bibliographical references.

Thesis (Ph. D.)--Université de Montréal, 2001. / Includes bibliographical references.

This dissertation explores the relationship between the regulatory discourses of nationalism and sexuality as they operate in the cultural production and textual dissemination of contemporary Canadian literatures. Applying recent studies in postcolonial and queer theory to a number of works by gay and lesbian authors written across a broad spectrum of years, political perspectives, and genres, I seek to formulate a critical methodology which allows me to situate these works within the trajectory of Canadian canon-formation from the 1940s to the present. In so doing, I argue that the historical construction of Canadian literature and Canadian literary criticism upon an apparent absence of national identity—us encapsulated most tellingly in the "Where is here?" of Frye's "Conclusion"—masks nothing so much as the presence of a subversive and destabilizing sexual identity—"queer." The dissertation is made up of eight chapters: the first opens with a Sedgwickian survey of the "homosocial" underpinnings of several foundational texts of Canadian literature, before providing an overview—via George Mosse, Benedict Anderson, and Michel Foucault—of the theoretical parameters of the dissertation as a whole. Chapter two focuses on three nationally "ambivalent" and sexually "dissident" fictions by Timothy Findley. A comparative analysis of the homophobic criticism accompanying the sexual/textual travels of Patrick Anderson and Scott Symons serves as the basis of chapter three. Chapter four discusses the allegorical function of homosexuality in the nationalist theatre of Michel Tremblay, Rene-Daniel Dubois, and Michel Marc Bouchard. Chapter five examines how national and sexual borderlines become permeable in the lesbian-feminist translation poetics of Nicole Brossard and Daphne Marlatt. Issues of performativity (the repetition and reception of various acts of identification) are brought to the fore in chapters six and seven, especially as they relate to the (dis)located politics of Dionne Brand, and the (re)imagined communities of Tomson Highway and Beth Brant, respectively. Finally, chapter eight revisits some of the vexed questions of identity raised throughout the dissertation by moving the discussion of nationalisms and sexualities into the classroom.

This thesis proposes to apply Queer theory as the framework for examining Michel Marc Bouchard's play Les Feluettes. This study is built around two methodological axes, one being the analysis of dialogue; the second, the application of Queer theory. Dialogue and staging are scrutinized in an effort to discover the Queer. The links between sex, power, language and knowledge will be specifically studied. The intention is to show how their relationship, based on opposition, can be modified by a subversive discourse. By way of introduction, a brief discussion of Queer theory will be presented to familiarize the reader with its origins, sources of inspiration and strategies of deconstruction. The first chapter will focus on the homosexual's interior monologue. Chapter two will focus on the homosexual's dialogue with other homosexuals. The third, and final chapter, will round out the analysis by studying the dialogue between the homosexual and heterosexuals. (Abstract shortened by UMI.)

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