This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.

Dramatic works from America with AIDS as subject matter have evolved over the past twenty years. In the early 1980s, dramas like Larry Kramer's The Normal Heart, William Hoffman's As Is, and Robert Chesley's Night Sweat educated primarily homosexual men about AIDS, its causes, and its effects on the gay community while combating the dominant discourse promoted by the media, government, and medical establishments that AIDS was either unimportant because it affected primarily the homosexual population or because it was attributed to lack of personal responsibility. By the mid-eighties and early nineties, playwrights Terrence McNally (Love! Valour! Compassion!)and Paul Rudnick (Jeffrey)concentrated on relationships between sero-discordant homosexual couples. McNally's "Andre's Mother" and Lips Together, Teeth Apart explored how families and friends face the loss of a loved one to AIDS. Tony Kushner's Pulitzer Prize-winning Angels in America epic represents living beyond AIDS as a powerful force. Without change and progress, Angels warns, life stagnates. Angels also introduces the powerful drugs that help alleviate the symptoms of AIDS. AIDS is the centerpiece of the epic, and AIDS and homosexuality are inextricably blended in the play. Rent, the Pulitzer Prize-winning musical by Jonathan Larson, features characters from an assortment of ethnic and social backgrounds - including heterosexuals, homosexuals, bi-sexuals, some with AIDS, some AIDS-free, some drug users - all living through the diverse troubles visited upon them at the turn of the millennium in the East Village of New York City. AIDS is not treated as "special," nor are people with AIDS pandered to. Instead, the characters take what life gives them, and they live fully, because there is "no day but today" ("Finale"). Rent's audiences are as varied as the American population, because it portrays metaphorically what so many Americans face daily - not AIDS per se, but other difficult life problems, including self-alienation. As such, Rent defies the dominant discourse because the community portrayed in Rent is the American community.

À partir d’une étude descriptive et comparative des pièces dramatiques Les Feluettes (1987) et Les Muses orphelines (1988) de Michel Marc Bouchard (Québec) ainsi que Feliz cumpleaños, señor ministro (1992) et Madre amantísima (2003) de Rafael Mendizábal (Espagne), le présent mémoire traite de la représentation des homosexualités à travers les relations amoureuses et familiales, les subversions du genre, l’homophobie, ainsi que la pandémie de sida et son impact au niveau théâtral et littéraire. L’approche méthodologique employée est la perspective des études du genre et des études queer. Comme conclusions, on constate que les relations amoureuses sont marquées par la valorisation paradoxale du cadre de l’amour romantique classique, entre libération et homonormativité, en plus d’une représentation de la sexualité articulée par des rôles polarisés. Les relations familiales, pour leur part, s’organisent autour de la figure paternelle associée avec d’importantes nuances au discours dominant hétérosexiste, et se décline parallèlement en la figure du père absent et désintéressé. De même, les figures maternelles sont majoritairement absentes ou effacées, bien que ce constat soit renversé par une figure maternelle traditionnelle particulièrement forte. Dans tous les cas, la figure maternelle reste idéalisée. Les identités de genres sont étudiées sous l’angle des identités dichotomiques lesbiennes et de l’effémination entant que subversions des normes dominantes du genre et l’articulation sexiste du phénomène de l’homophobie, motivé par le tabou de l’homoérotisme et son poids en scène. / Based on a descriptive and comparative study of Michel Marc Bouchard’s Les Feluettes (1987) and Les Muses orphelines (1988) from Quebec, along with Rafael Mendizábal’s Feliz cumpleaños, señor ministro (1922) and Madre amantísima (2003) from Spain, this study deals with the representation of homosexualities in theatre through love and family relationships, gender subversions, homophobia, as well as the AIDS pandemic and its literary and theatrical impact. The methodological framework borrows from queer and gender studies. This study concludes that homoerotic love relationships are defined by the paradoxical valorisation of the frames of classical romantic love, between liberation and homonormativity, and a representation of sexuality articulated on polarized roles. For their part, family relationships are organized around the father-figure linked in different shades to the dominant, heterosexist discourse, alongside the figure of the absent and uncompromised father. Likewise, the maternal figures are mainly absent or self-effacing, even though this statement is reversed by an especially strong maternal figure. In all cases, mother-figures remain idealized. Gender identities are studied from the angle of lesbian dichotomous identities and effemination as subversions of dominant norms of gender, and also considering the sexist articulation of homophobia, strengthened by the taboo of homoerotism and its weight in the theatrical discourse. / A partir de un estudio descriptivo y comparativo de las obras Les Feluettes (1987) y Les Muses orphelines (1988) del quebequense Michel Marc Bouchard y de Feliz cumpleaños, señor ministro (1992) y Madre amantísima (2003) del español Rafael Mendizábal, esta memoria trata de la representación de las homosexualidades a través las relaciones amorosas y familiares, las subversiones del género, la homofobia así como la pandemia de sida y su impacto a nivel teatral y literario. El marco teórico en el que se inscribe este estudio son los estudios de género y los estudios queer. Como conclusiones de este estudio, se constata que las relaciones amorosas son marcadas por la paradójica valorización del marco del amor romántico clásico, entre liberación y homonormatividad, además de una representación de la sexualidad articulada en roles polarizados. Por su parte, las relaciones familiares se enredan alrededor de la figura del padre asociada a diferentes grados al discurso dominante heterosexista, y que también se declina en la figura del padre ausente. Del mismo modo, las figuras maternas son mayoritariamente ausentes o borrosas, aunque una figura materna particularmente fuerte sea la excepción de la regla. En todos los casos, la figura materna permanece idealizada. Las identidades de género son estudiadas a partir de las identidades lesbianas dicotómicas y de la afeminación como subversio-nes de las normas dominantes del género y la articulación sexista del fenómeno de la homofobia, motivado por el tabú del homoerotismo y su peso en el escenario. / A partir de um estudo descritivo e comparativo das peças teatrais Les Feluettes (1987) e Les Muses orphelines (1988) do quebequense Michel Marc Bouchard e de Feliz cumpleaños, señor ministro (1992) e Madre amantísima (2003) do espanhol Rafael Mendizábal, esta tese discurre sobre a representação das homossexualidades no teatro a través das relações amorosas e familiares, das subversões do gênero, da homofóbia assim como da pandemia de sida e do seu impacto à altura do teatro e da literatura. O quadro teórico no que este estudo se encaixa são os estudos de gênero e os estudos queer. Nas conclusões, parece que as relações amorosas são marcadas pela valorização paradoxal do marco do amor romántico clássico, entre liberação e homonormatividade, além de uma representação da sexualidade articulada em funções polarizadas. Pela sua parte, as relações familiares enmaranham-se em torno à figura do pai-de-família, associada com maior o menor força ao discurso dominante heterossexista, que também fica presente sob a figura do pai ausente. Da mesma maneira, as figuras maternáis são ausentes u apagadas en maioria, mesmo se uma figura maternal notadamente forte seja a excepção da regla. Em todo caso, a figura da mãe fica sendo idealizada. As identidades de gênero são estudadas a partir das identidades lésbicas dicotómicas e da afeminação como subversões das normas dominantes do gênero e a articulação sexista do fenómeno da homofobia, motivada pelo tabu do homoerotismo e o seu peso no cenário. / Основываясь на описательно-сравнительном анализе пьес Мишеля Марка Бушара (Квебек) Les Feluettes 1987 году и Les Muses orphelines 1988 году, а также Рафаэля Мендисабаля (Испания) Feliz cumpleaños, señor ministro 1992 году и Madre amantísima 2003 году, данное эссе затрагивает тему гомосексуализма через любовь и семейные отношения, искажение половых ролей, гомофобию, распространение СПИДа, и его влияние в литературе и театре. Любовные отношения определены главным образом рамками классической романтической любви между освобождением и гомонормативностью, наряду с представлением о сексуальности, выраженном в противоположных ролях. Семейные отношения строятся вокруг фигуры отца, олицетворяющей доминирующие общественные нормы и табу гомосексуализма, или фигуры рассеянного и отвлеченного отца. Таким же образом, фигуры матери в основном незначительны или незаметны, однако это утверждение может быть опровержено присутствием особенно сильной материнской фигуры в других пьесах. В любом случае, фигуры матери остаются идеализированы. Гендерная пренадлежность изучаются с точки зрения двоякого понимания личности лесбиянок как искажения доминирующих половых ролей, а также учитывая сексистское выражение гомофобии, укрепленное табу гомоэротизма и его значения в рамках театра. / انطلاقا من دراسة وصفية و مقارنة لأعمال الزنابق والمصادر الروحية اليتيمة لميشال مارك بوشارد (كيبيك ) وكذلك عيد ميلاد سعيد والسيد الوزير و الأم المحبة لرفايل مونديزبال (إسبانيا ) ، تعالج هذه الأطروحة موضوع المثلية الجنسية عبر علاقات الحب و العلاقات العائلية، فتن الجنس، فوبيا المثلية، و كذلك وباء السيدا و تأثيرها على المستوى المسرحي و الأدبي . تتميز علاقات الحب بتعزيز متناقض لإطار الحب الرومانسي الكلاسيكي، بين حرية و رؤيا منفتحة و عادية للمثلية الجنسية، بالإضافة إلى تمثيل النشاط الجنسي بناء على أدوار الإستقطاب . فيما يخص العلاقات العائلية، فإنها تنظم حول شخص الأب المرتبط بفوارق دقيقة و هامة ضمن الخطاب المهيمن للمغايرة الجنسية، و يتمحور بشكل موازي في هيئة الأب الغائب و غير المهتم . من خلال الرؤيا ذاتها تبقى شخوص الأمهات غائبة أو محذوفة على الرغم من أن هذه النتيجة تم الإطاحة بها من طرف شخصية الأم التقليدية القوية . في جميع الأحوال تبقى شخصية الأم نموذجية . تمت دراسة الهويات الجنسية من . زاوية الهويات المثلية الإنقسامية و التخنث كتخريب للمعايير المهيمنة للجنس و التعبير الجنسي للمثلية بدافع تحريم الشهوة المثلية والتأثير الناجم عنه في المشهد المجتمعي

"耽美"来源于日本，是以女性读者群为主要受众、描写男性与男性之间浪漫关系或性关系的文学或艺术作品，也被称为BL（Boy’s Love）。喜爱耽美的女性爱好者被称为"腐女"。耽美文化自1990 年代后期随着日本流行文化进入中国，至今已在中国网络空间中逐渐发展成为一个主要由女性网民所组成的，包含文本创作、阅读与交流的文化圈。与此同时，耽美文化的流行亦引发了中国当下种种对性与性别问题的思考。 / 本研究将耽美文化解译为"女性幻想男男之爱"的欲望结构，从精神分析幻想理论与酷儿理论的视角来考察中国网络中的耽美文化现象。论文所围绕的一个问题是，耽美文化与中国社会文化中的性/别话语产生了怎样的关系，以及如何从腐女的耽美幻想中搭建起与现实性/别政治的联系。研究首先分析了两类网络耽美小说文本，分别来看它们与1990年代以后的"男同性恋"身份话语，和2000年代以后对"中国古典文化"想象之间的吸收、挪用与再创造；其次以网络腐女圈的论坛讨论与配对狂欢为对象，研究网络耽美式恶搞对官方媒体、主流男性形象和异性恋规范的权威所潜在的颠覆性；最后以2011年一桩"腐女被抓案"新闻报道为契机，来观察耽美文化与网络淫秽色情审查的纠葛、冲突与可能的出路。 / 欲望幻想的流动性决定着它边界的模糊与开放，以及它承载、影响乃至侵扰"现实"秩序的功能。因此，作为一种女性的男性同性情欲幻想，本研究视耽美文化最引人注目的地方不在于其本身的出现与流行程度，而在于它与各种性/别话语的相互建构与矛盾冲突。此外，在对幻想文本、网络话语以及腐女群体的调查中，本研究也期待探索某种"酷儿"政治在中国网络文化中生产的可能性。 / Boy’s love (BL in short; danmei in Chinese) is a Japanese term for female-oriented fictional media, which focuses on love, sex and romance between beautiful androgynous boys or young men. Apart from the gay self-representations, BL is a genre of male homoeroticism by and for mostly heterosexual women. In China, the BL fans call themselves "Fu Nu", which means "rotten girl", to describe their enthusiasm for fantasizing male homosexuality. BL originated from Japanese amine, comic and game youth culture, and has since become a transnational phenomenon all over the world with a global fan base. As such, the phenomenon of boy’s love had already aroused a lot of discussions in relation to ideologies of gender and sexuality from different cultural and social perspectives. BL fandom in China’s culture context with its "Chinese characteristics" also deserves particular attention, when it opens up a fantastic space for Chinese woman to practice their sexuality beyond non-heterosexual norms. / However there is limited work that considers the queer sexuality of female BL fans in China, in relation to the queer texts and queer discourses they create. There is also little research that explores the capacity of boy’s love netizens to resist the on-going internet surveillance by the Chinese government of information deemed ‘sexually inappropriate’ and outside the heterosexual norm. Therefore there remains a paucity of studies that examine the political potentialities of anti-homophobic and queer discourses of sexuality as manoeuvred by the Chinese BL fan base that continue to populate online communities. Based on previous studies about the phenomenon of boy’s Love in China, this paper analyses the queer politics of the online BL fandom in terms of the interactions between BL and the other gender and sexuality discourses on the Chinese Internet. It will be argued that the online BL fandom opens up a virtual space for girls and young women to author practice their male homosexual fantasies. Moreover, it will be maintained that boy’s love appropriates the queerness from the different sides of cyber culture into its narrative fantasies, thus forming a queer continuum made up with the conflicts, complicities and political potentialities of the gender and sexuality on the Chinese internet. This paper concludes with an analysis of the ambiguous relation of BL with Chinese Internet censorship, and traces the capacities of boy’s love netizens in subverting and resisting government surveillance of what it terms ‘obscene’ information. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 周舒燕. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 151-162). / Abstracts also in English. / Zhou Shuyan.

No description available.

Thesis advisors: Kevin Kopelson, Priya Kumar. Includes bibliographic references (p. 182-188).

Indiana University-Purdue University Indianapolis (IUPUI) / A variety of minority groups are present in the readings of Spanish and Latin American literature classes; however, there is a lack of representation of homosexual themes in the readings. This paper takes a look at what homosexual themes are present in the literature anthologies in current use, and then suggest a teaching unit and methodology for how one can implement these topics into a literature class. The paper provides a sound basis for teachers who are trying to introduce these issues into their classes. [Language - Spanish]