2014 June 1900
Pacifique is a novel of trauma and recovery set in contemporary Victoria, British Columbia. Tia, the protagonist, meets Pacifique one cold February evening. Five sex- and passion-fueled nights later, a bike ride ends with Tia's head colliding with concrete. When she wakes, Pacifique is gone. Worse, it's unclear whether Pacifique ever existed in the first place. Driven mad in the search for a woman who may be a figment of her imagination, Tia is institutionalized in a psychiatric ward. The doctors tell her she is suffering from head-injury induced psychosis; her fellow patients—including Andrew, a man with schizophrenia—urge her to forget Pacifique. Told in chapters alternating between Tia's and Andrew's points of view, the novel keeps readers asking: is Pacifique real? The novel examines notions of credibility and truth: whom to believe? The medical establishment or the “patients”? The novel also examines how behaviour outside the heteronormative—particularly “obsessive” behaviour or “fantasies”—are pathologized in our culture. Fundamentally, the novel is a story about the thin veil between fantasy and reality, about the choices we make to be happy—and how these choices cannot always coexist. Inspired by Ken Kesey's One Flew Over the Cuckoo's Nest, Daphne du Maurier’s Rebecca, Holly Luhning’s Quiver and Susanna Kaysen’s Girl, Interrupted, Pacifique can be situated within the psychological thriller genre in the way it plays with the notion of reality and alternate realities.
Thesis (M.A.)--Georgia State University, 2008. / Title from file title page. Audrey Goodman, committee chair; Mary Hocks, Nancy Chase, committee members. Electronic text (72 p.) : digital, PDF file. Description based on contents viewed September 17, 2008. Includes bibliographical references (p. 71-72).
Griffiths, Robin Mark
The aim of this thesis is to engage with current debates surrounding contemporary performance, queer theory and the body, which proffer a number of complex and contentious questions. How does queer theory work in practice, and does performance provide the ideal context for such deliberation? How do the subjective essentialisms of performance conflict with ideas of queer performativity and the deconstruction of sexual identity? Drawing upon corporeal and ontological theories of the body in conflict with queer strategic critiques, an attempt is made to articulate a problematically "essential" form of queer subjectivity in performance. By exploring the potential "origins" of a preceding queer practice in the works of Antonin Artaud, Bertolt Brecht and Jean Genet, the work proposes that their approach to theatre and performance articulated and deployed a particularly "deviant" form of expression and aesthetic. They established an approach to theatre and performance, which has continued to inspire and influence anti-essentialist and political forms of queer performance in the new millennium. From the early struggles of lesbian and gay theatre in the politically volatile context of the seventies and early eighties, the thesis foregrounds a liberating yet problematic attempt at enabling a "transformation" in British and North American theatre in response to queer critical paradigms in the nineties. Critical paradigms that are consistently promoted as the unique "product" of a postmodem deconstructive culture, and yet derive much from the works of the early avant-garde, the experiments of the sixties and the subversive texts of post-war British theatre. The nineties have witnessed a proliferation of gay/queer-oriented performance "break through" into the populist mainstream, and the "heteronormative" culture in general. The concluding section focuses upon ideas of a queer corporeality that seeks to remap the significatory potential of the live body in performance, in conflict with discursive inscriptions that attempt to fix and regulate categories of gender and sexuality. Yet, what role does the spectator/audience play in relation to this "activated" queer form of performance? How is the gaze/reception problematised, or does it subvert the very efficacy of queer theory itself?
17 October 2014
This dissertation searches for a body of queer modernist poetry while at the same time attempting to rework the definition of “queer.” In chapter I, I use a reconceptualization of queerness not as an abstract, theoretical rendering of the breakdown of identity categories but in its fundamental, historical sense: a political coalition made up of individuals with different subjective sexual identities who are similarly marginalized in decidedly sexual terms. Thus, this project seeks to locate texts that demonstrate moments of empathy, intersection, and cooperation between LGBT speakers, characters, or editors and people with different sexualities, races, or abilities. In this project, I avoid traditional, well-known texts of modernism in favor of recovering forgotten work by non-heterosexual authors who have been at one time or another marginalized in the canon and in society at large—Amy Lowell, Langston Hughes, and Hart Crane. In order to rediscover this overlooked work by formerly forgotten poets, the project utilizes archival research and a material methodology in which I analyze poems not just in the abstract but in their original, ephemeral locations and venues: archival manuscripts, little magazines, and book-length collections. In chapter II, I uncover an experimental editorial method that Lowell pioneered in her Some Imagist Poets anthologies in which, rather than selecting and editing the selection as a traditional editor, she offered equal space to each contributor to choose and arrange their own suite of poetry. In chapter III, I analyze Hughes’ “A House in Taos” in both its first publication in a Mexico-based literary journal then in one of his own understudied collections, arguing that the poem represents an interracial, bisexual triad. In the chapter on Crane, I analyze several versions of a poem about a young man with a cognitive disability with whom Crane was acquainted while vacationing in Cuba, showing that, when the poem is set outside of the U. S. border, the speaker evinces a deep empathy for the marginalized young man.
"If you don't think about it, it doesn´t exist" : Queer Sexuality and Gender Ambiguity in Ernest Hemingway's Islands in the StreamRemnesjö, Per-Olof January 2013 (has links)
This essay will discuss Ernest Hemingway's Islands in the Stream, posthumously published 1970, focusing in particular on the importance of the protagonist's fluid gender identity and interest in queer sexuality. Central to my discussion is queer theorist Judith Butler's view of gender as something performed and contextual and her objection to the binary of man and woman. I will argue that the issues of gender identity and queer forms of sexuality are ever-present throughout the novel, and that in the protagonist Thomas Hudson, Hemingway presents a different hero in comparison to the hardboiled macho-man he has been claimed to glorify in his work. My thesis is that the protagonist's denial of his ambiguous gender identity and his interest in queer sexualitey are the underlying causes for the development of the plot. The novel will be discussed in relation to the thesis in chronological order: first, it examines the protagonist's detachment and separation from his sons; second, his difficulties to sustain any longer relationships with women, and third, why he never dares to trust the people who say they love him.
Sinwell, Sarah E. S.
Thesis (Ph. D.)--Indiana University, Dept. of Communication and Culture, 2007. / Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 1705. Adviser: Joan Hawkins. "Title from dissertation homepage (viewed Jan. 14, 2008)."
Potter, Joshua Loren
01 August 2016
Using autoethnography, this dissertation explores the relationship between my experiences through the treatment of papillary thyroid carcinoma and crip-queer theory. This dissertation seeks to bridge queer theory, disability studies, and medical discourse through personal experience. Additionally, by employing autoethnography, this study creates nuanced narratives of living with chronic illness at the intersections of disability and queerness. In Chapter One I provide a rationale and provide a cursory explanation of crip-queer theory. In my second chapter I employ Robert McRuer’s notion of the origin story to chart the development of crip-queer theory by looking to the similar activist histories of disability and sexuality within the United States. In Chapter Three I examine my solo performance Orphan Annie Eyes: Overcoming Narratives of Cancer and Loss, arguing that the performance challenges common narrative tropes surrounding disability. In my fourth chapter I use autoethnography to explore my experiences going through cancer treatment. Finally, my fifth chapter explores the implications of this dissertation and seeks to identify future research studies using crip-queer theory.
Konstruiertheit, Inszeniertheit Und ,,Verstehbarkeit" Von Identitäten in Aimée Und Jaguar, Fremde Haut Und Auf Der Anderen SeitePfleger, Simone 11 May 2012 (has links)
What makes identity readable? To answer this question, I examine the constructions of queer, non-German women in three contemporary transnational German films, Aimée und Jaguar, Fremde Haut and Auf der anderen Seite. To become readable, and thus to survive within the socio-political realm of German culture, these protagonists must construct and perform interconnected dimensions of identity— sex, gender, sexuality, ethnicity, language, clothing, and name—that can be located along a hegemonic-defined continuum. But when the characters cannot be read within this framework, they trouble dominant readings and understandings of their positions in this system and disrupt normative conceptions of identity. These threats to the system, however, do not lead to a renegotiation of the protagonists’ identities. Rather, hegemonic German society reacts to the unreadability of these queer figures by violently rejecting them through deportation and/or death.
22 July 2014
The Canadian early childhood landscape is changing substantially, pushing early childhood from a private family responsibility into the greater public policy discourse. New investments in early childhood services, combined with research that defines the importance of early years learning, requires a careful analysis of the professional preparation of early childhood educators. At the same time typical understandings of family and childhood are being challenged through legal and social policy reforms. Although Canadian demographic changes indicate a growing number of queer families with children, the gap in addressing the interests of queer identified parents and their children is exacerbated by the dominance of a heteronormative perspective in early childhood theory, training and practice. My study demonstrates the disparity between the professional preparation of early childhood educators in Ontario and how queer families are understood in the Canadian context. I draw upon queer theory to deconstruct how educators understand child development patterns and family composition including the newly defined family units that can include single or multiple parents of varying sexual identities that may consist of, but are not limited to lesbian, gay, bisexual, queer and trans parents. Using qualitative methods, the research is grounded in data sources including text analysis of key early childhood texts, focus groups with early childhood educators who have graduated from ECE training programs in Ontario during the last decade and interviews with queer parents with young children enrolled in early childhood programs. I argue that the inherent heteronormative discourse of developmentally appropriate practice silences queer in early childhood training and is embedded in foundational approaches including standards of practice, curriculum frameworks and textbooks commonly used in the training of early childhood educators. Notions of diversity, equity and inclusion structure this silencing. My study also found that early childhood educators have a narrow understanding of how queer parents may be similar or different from other parents. Educators have a limited capacity to support and engage with parents that do not fit the dominant framework of family identity. The queer parents’ narratives consistently present subtle forms of homophobia and transphobia through the silencing of their family in their child’s early childhood program. The results of the study provide an opportunity to reimagine the professional training of early childhood educators embedding a much richer theoretical grounding and teaching practice of diversity and difference that includes queer parents and their children.
Pascual, Michael Aaron
14 January 2014
Shepard and James Byrd, Jr. Hate Crimes Prevention Act (2009) and the work of LGBTQ activists in the U.S. I argue that the act consolidates the U.S. nation-state’s monopoly on violence by relying on criminal law as a cognitive apparatus and stifles the work of LGBTQ activists and cultural labor to expand or challenge sensibilities regarding violence. I look to the work of trans and queer activists and how they frame “minor” hate crime cases in relationship to space and systems of criminalization. The activism surrounding Sakia Gunn, the New Jersey 7, Chrissy Lee Polis, and CeCe McDonald broaden theoretical account of violence provided by hate crime protections by attending to affect, the body, and space, and make political demands that move beyond criminal law. This thesis attempts to follow those trajectories and provide alternative grammars and methods for addressing violence. / text
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