This dissertation examines how transgender feelings and gender variation emerged as a vital motivator for scientific and aesthetic explorations of human personhood and social experiences of marginality in German-speaking culture in the early twentieth century. My research illustrates how concepts of gender variation served as a generative problem for modernist practitioners of sexual science and as a creative impulse and figural resource for modernist literary and artistic innovations. The feedback between these fields allowed for novel social categories to develop in a period where designations like “transgender” or “transsexual” were not yet in use as stable public identities or diagnoses, but nevertheless circulated in response to experiences of embodied difference and social alienation. By reading for “transgender feeling” as a heuristic that unites multiple historical categories of gender and sexual variation, I argue that transgender phenomena were instrumental for the development of German modernist movements at large. Building on affect studies, trans and queer studies, and German literary and cultural studies, my project intervenes in limited contemporary understandings of transgender history and identity as a minority political and diagnostic discourse. Instead, I argue for a more expansive, “democratized” notion of transgender feeling that encompasses diverse historical forms of gender variation, some of which have disappeared or become “obsolete,” and show how narratives of gender intermediacy and incongruence are essential to modernist aesthetic practices. Chapter One examines theories of sexual intermediacy in the sexological work of Magnus Hirschfeld and Otto Weininger, who both suggested that a transgender condition underlies “normal” human sexual development. I show that trans feelings cut across Hirschfeld’s sexological categories and, in particular, his deployment of the case genre, troubling stable taxonomies of sexual affect and allowing for promising forms of coauthorship and “trans genre writing” to emerge in sexology. Chapter Two takes up Rainer Maria Rilke’s writing in The Notebooks of Malte Laurids Brigge and Das Stunden-Buch, as well as his early childhood experience, to argue that dysphoria and intermediacy are key to understanding the social alienation that Rilke expressed in his modernist work alongside personal attachments to femininity and a feminine poetic voice. Chapter Three on Else Lasker-Schüler illustrates how trans feelings, the masculine persona of Jussuf and appropriations of racial and ethnic difference significantly frame the novel Mein Herz and become enduring features of Lasker-Schüler’s literary and artistic production. I highlight how scholarly reception of Rilke and Lasker-Schüler’s work have intentionally disavowed these expressions as transgender and argue for a reassessment of trans feeling as a creative impulse in German modernism through their texts and images. My last chapter explores how modernist periodical media served as a vital tool for crafting trans intimate publics in the Weimar period and for negotiating the shared norms of gender and social participation for a novel class of gender-variant people under the category of transvestism. In my conclusion, I turn to the unfinished business of sexual and gender definition that continues to frame LGBTQ politics in Germany and abroad today, and I link contemporary questions of trans aesthetics to modernist dynamics of gender and sexual multiplicity.

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This dissertation is a report on how Tom Lanoye, a contemporary Flemish author who explores themes of social relevance, deconstructs the sexual identity of his characters within the context of a postmodernist culture. The manifestation of this deconstruction process is described within those theoretical paradigms of Michel Foucault and Judith Butler that link sexual identity and social mores. For the purpose of this research Tom Lanoye‘s ‘Monster’ Trilogy was selected. Set against the backdrop of Belgium society during the late nineties of the twentieth century and highlighting the moral downfall of the Deschryver patriarchy, Lanoye’s novels address an assortment of contemporary gender and social political issues in his trilogy. These include the following: political corruption; incest; homosexuality; racism; the sexual abuse of minors; the relation between language and identity, volatile childrenparent relationships; the subversion of gender norms and sexual transformation. / In hierdie verhandeling word verslag gedoen van die wyse waarop Tom Lanoye as hedendaagse eksponent van die Vlaamse versetprosa die seksuele identiteit van sy karakters binne die konteks van 'n postmodernistiese verwysingsraam dekonstrueer. Die manifestasie van hierdie dekonstruksieproses word beskryf binne die teoretiese paradigmas met betrekking tot die verband tussen seksuele identiteit en maatskappy van Michel Foucault en Judith Butler. Vir die doel van hierdie ondersoek is Lanoye se 'Monstertrilogie' geselekteer. Gesitueer teen die agtergrond van die Belgiese maatskappy in die laat negentigerjare van die twintigste eeu en gefokus op die morele ondergang van die Deschryver-patriargie, sny Lanoye se trilogie 'n verskeidenheid van aktuele gender-en sosio-politieke kwessies aan. Hierdie kwessies sluit in: politieke korrupsie; bloedskande; homoseksualiteit, rassisme; die seksuele misbruik van minderjariges; die verhouding tussen taal en identiteit; onbestendige ouer-kind-verhoudings; die ondermyning van gendernorme en die kwessie van seksuele transformasie. / Afrikaans & Theory of Literature / M.A. (Afrikaans)

This thesis looks at literature by two South Asian, diasporic writers, Jhumpa Lahiri and Monica Ali, as a space where creative, cross-­cultural and independent identities for diasporic women might be created. The central claim of the thesis is that diasporic migration affects South Asian women in particular ways. The most positive outcome is that these women adopt new trans-­border identities but that these remain shaped by class, culture and gender. Hence a working class milieu such as the one depicted by Monica Ali, leads to an immigrant, ghetto-­ised, community-­based identity, located solely in the land of adoption, with return or travel to the homeland no longer possible. However, the milieu imagined in Jhumpa Lahiri’s text, a middle-class, suburban environment, creates a solitary, transnational identity, lived between countries, where travel between the land of birth and the land of adoption remains accessible. / English / M.A. (English)

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-06-13T12:28:21Z No. of bitstreams: 1 Evandro Avelino Piccino.pdf: 12216617 bytes, checksum: da32029ff1987313324df47abc05729b (MD5) / Made available in DSpace on 2018-06-13T12:28:21Z (GMT). No. of bitstreams: 1 Evandro Avelino Piccino.pdf: 12216617 bytes, checksum: da32029ff1987313324df47abc05729b (MD5) Previous issue date: 2018-04-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The central idea of this dissertation is that a significant portion of the explanation of permanence of Jeca Tatu as an integral part of the cultural history of Brazil is in one of its representations, the one contained in the advertising booklet Jeca Tatuzinho. Created by Monteiro Lobato, sponsored by Instituto Medicamenta Fontoura, published in 35 different editions between 1926 and 1973, as well as later versions on the comic format, Jeca Tatu, properly sanitized, became the first and most important advertising character created in Brazil. In the fleeting advertising time, Jeca Tatuzinho is a milestone because it resisted time and the temporary kept following as a permanent reference. His career is chronicled in details considering: (1) the objective circumstances that define the process for approval and publication of advertisement parts; (2) the evolution from the point of view of Lobato on his hillbilly, originally conceived as a “bush burner”; (3) the implications of the involvement of the writer with the interests of sanitarians / hygienists / eugenists Artur Neiva, Belisário Pena e Renato Khel; (4) the profiles of Lobato as a publicist and adman; (5) the relation between Jeca Tatu from Jeca Tatuzinho’s publications and the different representations of Jeca that came before and coexisted with him – on popular poetry, music, caricature and films; (6) the relationship between Monteiro Lobato and Candido Fontoura; (7) the relations that Roger Chartier established between the “materiality of text and textuality of the object”, that implicated on the analysis of the characteristics as dimensions, number of pages, paper quality, color applications and graphic nicety; (8) the possibilities of diversification of public established by a language with ability to speak simultaneously with children, with adults treated as children and adults through the children; (9) the confrontation among the booklets and its two book versions – 1924 and 1930; (10) the comparison among the different versions of the booklets as a result of the changes of illustrators, the plot change in 1940, the inclusion of brands to be advertised, the reduction of pages, the adaptation of the booklet for spelling booklets and comics formats; (11) the checking of dates and circulation data with a projection of a doable number of impressions; (12) the results obtained by the advertiser; (13) the possible “modes of reading” by Jeca Tatuzinho in its different periods in view of its content at the same time fun and instructive; (14) the adjustment and maladjustment among ways to read the Jeca recomposed by Lobato and the hillbilly imagery / A ideia central desta dissertação é a de que parcela significativa da explicação da permanência do Jeca Tatu como parte integrante a história cultural do Brasil está em uma de suas representações, a contida no folheto publicitário Jeca Tatuzinho. Criado por Monteiro Lobato, patrocinado pelo Instituto Medicamenta Fontoura, publicado em 35 diferentes edições entre os anos de 1926 e 1973, além de versões posteriores no formato quadrinhos, Jeca Tatu, devidamente higienizado, se transformou no primeiro e mais importante personagem publicitário criado no Brasil. No tempo fugaz da propaganda, Jeca Tatuzinho é um marco porque resistiu ao tempo e o temporário seguiu como uma referência permanente. A sua trajetória é narrada em detalhes considerando: (1) as circunstâncias objetivas que definem o processo de aprovação e veiculação de peças publicitárias; (2) a evolução do ponto de vista de Lobato sobre o seu caboclo, originalmente concebido como “queimador de mato”; (3) as implicações do envolvimento do escritor com os interesses dos sanitaristas/ higienistas/ eugenistas Artur Neiva, Belisario Pena e Renato Khel; (4) os perfis do Lobato publicista e publicitário; (5) a relação entre o Jeca Tatu de Jeca Tatuzinho e as diferentes representações do Jeca que o antecederam e com ele conviveram – na poesia popular, na música, na caricatura e no cinema; (6) o relacionamento entre Monteiro Lobato e Candido Fontoura; (7) as relações que Roger Chartier estabeleceu entre a “materialidade do texto e a textualidade do objeto”, o que implicou na análise das de características como dimensões, número de páginas, qualidade do papel, aplicação de cores e esmero gráfico; (8) as possibilidades de diversificação de público estabelecidas por uma linguagem com capacidade de falar, simultaneamente, com as crianças, com os adultos tratados como crianças e com os adultos através das crianças; (9) o confronto entre o folheto e suas duas versões em livro – 1924 e 1930; (10) a comparação entre as diferentes edições do folheto em decorrência das mudanças de ilustradores, da revisão do enredo de 1940, de inclusão de marcas a serem anunciadas, da redução do número de páginas, da adaptação do folheto para os formatos cartilha e quadrinhos; (11) a checagem de datas e de dados de circulação com projeção de um número de tiragem factível; (12) os resultados alcançados pelo anunciante; (13) os possíveis “modos de leitura” de Jeca Tatuzinho nos seus diferentes períodos tendo em vista seu conteúdo ao mesmo tempo divertido e instrutivo; (14) o ajuste e desajuste entre as maneiras de ler o Jeca recomposto por Lobato e o Jeca do imaginário caipira

Another major endeavor of this thesis concentrates on self-formulations of these queer sf bodies and textualities. My elaboration concerns their delineation of ontological pursuit, multi-hybrid post/non-humanity, and a highly self-aware appropriation of obscene, ambivalent and amoral performatives to constitute deviant cultural strategies which have by far successfully counter-written dominant politics' desire to assimilate dissident voices and recalcitrant sites. / My thesis provides three different approaches to re-read non-realistic, fantasmatic queer gender formations and trans-masculine sexualities. From these positions and perspectives, I will argue for the emergent force of queer transboyhood and gradual recognition given to several non-normative transgender masculine presences, starting from their connections and disagreements with old-guard lesbian feminist agenda and homo-normative les-bi-gay politics. This multitude built by trans-masculine affects not only greatly disturbs hetero-normativity and homo-normative discourses, such charismatic inscriptions which link into marginal territories also have created a persistent intervention to interfere and even convert/pervert canonized texts and representational modes. In these chapters to extrapolate this queer masculine sf heterogenesis, I focus on analyzing three archetypes of trans-masculine personalities and their highly different subjectivities. My aim for these analyses is to theorize how these marginal genders and bodies counterattack, infect, and thus re-write mega-historical narratives by their cultural momentum and anti-human poetics/politics. By performing these "infections", queer masculine subjectivity twists and transforms a seemingly liberal hegemony devoted to excluding the non-normative in the name of single-minded progress and bi-polar gender dichotomy. / This dissertation proposes to closely study writings on queer masculinity in English science fiction and fantasy, forming a trajectory of queer transboy representations from 1930s to the beginning of 21st century. By this project, I embark to articulate multi-layered historical contexts between speculative literature, sub-cultural sites, transgender politics, and constructions on marginal queer-gendered bodies. Through intertextual dynamics embedded within and among theoretical frameworks such as sf study, paraliterary interaction, penumbra sub-subjective tactics, post-human/trans-species writings, I will conduct articulations to generate forms and genealogies of queer masculinity in sf realm, building their continuum and ruptures, agency and subversive power. / 洪泠泠. / Adviser: Natalia Chan. / Source: Dissertation Abstracts International, Volume: 73-03, Section: A, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 296-313). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / Hong Lingling.

This Ph. D. thesis investigates the use of fantasy by British and Irish 'Decadent' authors and illustrators, including Oscar Wilde, Max Beerbohm, Aubrey Beardsley, 'Vernon Lee' (Violet Paget), Ernest Dowson, and Charles Ricketts. Furthermore, this study demonstrates why fantasy was an apposite form for literary Decadence, which is defined in this thesis as a supra-generic mode characterized by its anti-mimetic impulse, its view of language as autonomous and artificial, its frequent use of parody and pastiche, and its transgression of boundaries between art forms. Literary Decadence in the United Kingdom derives its view of autonomous language from Anglo-German Romantic philology and literature, consequently being distinguished from French Decadence by its resistance to realism and Naturalism, which assume language's power to signify the 'real world'. Understanding language to be inorganic, Decadent writers blithely countermand notions of linguistic fitness and employ devices such as catachresis, paradox, and tautology, which in turn emphasize the self-referentiality of Decadent texts. Fantasy furthers the Decadent argument about language because works of fantasy bear no specific relationship to 'reality'; they can express anything evocable within language, as J.R.R. Tolkien demonstrates with his example of "the green sun" (a phrase that can exist independent of the sun's actually being green). The thesis argues that fantasy's usefulness in underscoring arguments about linguistic autonomy explains its widespread presence in Decadent prose and visual art, especially in genres that had become associated with realism and Naturalism, such as the novel (Chapter 1), the short story (Chapter 3), drama (Chapter 4), and textual illustration (Chapter 2). The thesis also analyzes Decadents' use of a wholly non-realistic genre, the fairy tale (see Chapter 5), in order to delineate the consequences of their use of fantasy for the construction of character and gender within their texts.

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

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Zugl.: Madison, Univ. of Wisconsin, Diss.