The sociocultural mythology of the South homogenizes it as a site of abjection. To counter the regionalist discourse, the dissertation intersects queer sexualities with gender and race and focuses on exploring identity and spatial formation among Black lesbian and queer women. The dissertation seeks to challenge the monolith of the South and place the region into multiple contexts and to map Black geographies through an intentional intersectional account of Black queer women. The dissertation utilizes qualitative research methods to ascertain understandings of lived experiences in the production of space. The dissertation argues that an idea of Progress has been indoctrinated as a synonym for the lgbtq civil rights movement and subsequently provides an analysis of progress discourses and queer sexualities and political campaigns of equality in the South. Analyses revealed different ways to situate progress utilizing the public contributions of three Black women interviewed for the dissertation. Moreover, the dissertation utilizes six Black queer and lesbian women to explain the multifarious nature of identities and their construction in place. Black queer and lesbian women produce spaces that deconstruct the normativity of stasis and physicality, and the dissertation explores the consequential realities of being a body in space. These consequences are particularly highlighted in the dissertation by discussions of the processes of racialization in the bounded and unbounded senses of space and place and the impacts of religious institutions, specifically Christianity. The dissertation concluded that no space is without complication. Other considerations should be made in the advancement of alleviating oppression deeply embedded in United States landscapes. Black women’s geographies offer epistemological and ontological renderings that enrich analyses of space, place, and landscape. The dissertation also concludes that Black women’s bodies represent sites for the production of geographic knowledge through narrating their spaces of material trajectories of interlocking, multiscalar lives.

Ce mémoire s’attache à la question de la matérialité et de la théâtralité du corps genré, telle que posée par une lecture croisée entre un roman du XIXᵉ siècle et un autre de l’époque contemporaine. En effet, L’Ève future, d’Auguste de Villiers de l’Isle-Adam et Les Chiennes savantes de Virginie Despentes portent chacun une attention soutenue à la performance du genre féminin. En mettant en scène des personnages de séductrices qui conjuguent la performance de leur sexe à des métiers d’actrice ou de danseuse, les deux récits suggèrent un rapprochement entre la distance qu’implique la scène, le pouvoir de séduction, et la « réalité » du genre. Si le féminin est un théâtre, ainsi que l’arguent les personnages d’Edison et de Louise dans leur histoire respective; une mascarade selon la théorie Riviere; une catégorie politique selon Wittig; une performance dans l’analyse de Butler; ou une technologie chez Preciado; le genre existe-t-il encore à ce point? Peut-on dire que l’ironie, présente à la fois dans L’Ève future et dans Les Chiennes savantes, en jouant sur la tension entre un discours réel et un discours simulé, reconduit cette indécidabilité de la « réalité » du genre? / This thesis takes its roots in the question of the materiality and theatricality of the gendered body, as it can be understood by a cross-reading of a nineteenth century and a contemporary novel. L’Ève future, by Auguste de Villiers de l’Isle-Adam, and Les Chiennes savantes, by Virginie Despentes, are both putting an emphasis on the performance of the feminine gender. By staging characters of seductive women who combine their gendered performance with their work as actress and dancer, Les Chiennes savantes and L’Ève future are suggesting a link between the representation, the seductive power and the ‘reality’ of gender. If womanliness is a play, as Edison and Louise are alluding to in their respective stories; a masquerade according to Riviere; a political category as argued by Wittig; a performance for Butler; a technology for Preciado; does gender still exist that much? Can it be said that irony, which is found as a literary and philosophic device in both novels, by playing with the tension between the true and the fake in a discourse, is renewing the undecidability of the ‘reality’ of gender?

The goal of this thesis is to explore the way heterosexism and homophobia are present in the coding that has created an implied and monstrous queer identity for the Joker, present in many versions of the character over the past forty years. Through close readings of several of the Joker’s most iconic appearances, queer theory texts, and analytical essays on pop culture, this paper will analyze the use of queer signifiers present in the comics and the way that these portrayals of the Joker are rife with harmful and heterocentric perceptions of what comic creators have seen as necessary signifiers for queerness. Additionally, I will be using knowledge gleaned from my own preexisting work with fan and cultural studies in order to talk about the way that this portrayal of the Joker has been developed within fandom/fan communities and how it is continually replicated in superhero media.

This dissertation is an in-depth critical analysis of four American films made during the 1970s, with emphasis placed on the films' construction of gender and sexuality. This dissertation draws from the tradition of queer film criticism presented in the writings of such theorists as Barbara Creed, Alexander Doty, Richard Dyer, Vito Russo, and Eve Kosofsky Sedgwick. Taking a queer perspective, these film readings explore how particular works implement queer codes and foster a sexually ambiguous world on film. While not typically included in discussions of Queer Cinema or New American Cinema, these four films, Martin Scorsese's Mean Streets (1973), Francis Ford Coppola's The Conversation (1974), Steven Spielberg's Jaws (1975), and Stanley Kubrick's The Shining (1980), exhibit a family resemblance and as a cycle are products of a particular period in American cinematic experimentation. A detailed scene-by-scene analysis is enacted in order to bring to light queer moments in the films and queer concerns of the films' makers. Raising questions about how the camera constructs character identities in these films, this study is reflective of the ways queer perspectives inflect filmmaking from this era.

<p>"Corporeal Resurfacings: Faustin Linyekula, Nick Cave and Thornton Dial," examines art and performance works by three contemporary black artists. My dissertation is opened by the analytic of black female flesh provided by Hortense Spillers in her monumental essay, "Mama's Baby, Papa's Maybe: An American Grammar Book." Drawing on Spillers, I argue that it is not the black female body but the material persistence and force of that body, expressed through the flesh, that needs to be theorized and resituated directly with respect to current discourses that take up black ontology, black subjectivity and black aesthetics. I expand Spillers' conclusions to an analysis of how the materiality of this flesh continues to structure, organize and inflect contemporary aesthetic interventions and performances of blackness in the present. The five chapters that comprise the dissertation map a specific set of problems that emerge from a tangled web of gender, race and performance. I argue that black female flesh, forged through desire and violence, objection and subjectivity, becomes the ground for and the space through which black masculinity is fashioned and articulated as open, variable, and contested within artistic practices. </p><p>Examining the work of these artists, I identify a set of practices that channel this neglected black flesh as a site of aesthetic reclamation and recovery. Focusing on the art of collage and assemblage and its techniques of cutting, pasting, quoting and tearing I demonstrate how black identity is always assembled identity. Moreover, I demonstrate how artistic assemblage makes visible the dense and immeasurable compressions of race, gender and sexuality that have accumulated over time. I argue that these practices offer us unique opportunities to inhabit this flesh. The dissertation expands upon connections between visibility, solidarity, materiality and femininity, bringing them to light for a critical discussion of the unique expressions and co-productions of blackness and sexuality in the fields of visual art and performance. I draw upon thinkers who help me think about the material status of black female flesh and its reproductive value. The project aligns itself with current black scholarly work that treats not simply black subjectivity but blackness itself as central to an understanding of a history of devaluation that subtends the historical construction of modern subjectivity. I theorize how the degraded materiality of blackness, linked to the violent rupturing of black flesh, indexes a deeper history of devaluation that becomes the very condition for and means of qualifying and substantiating our definitions of subjectivity and personhood. I conclude by tracing an aesthetic community or aesthetic sociality grounded in the recovered, lost materiality of Spillers' ungendered black female flesh, a community that I argue, may be glimpsed through particular instantiations of the flesh in art and performance.</p> / Dissertation

Submitted by ANDRÉ MASAO PERES TOKUDA null (andremasao@hotmail.com) on 2016-02-19T13:10:17Z No. of bitstreams: 1 PSICOLOGIA E SISTEMA PENITENCIÁRIO.pdf: 2508235 bytes, checksum: d38b605c521b59d4ce2b2effdf478c0f (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-02-19T18:51:57Z (GMT) No. of bitstreams: 1 tokuda_amp_me_assis.pdf: 2508235 bytes, checksum: d38b605c521b59d4ce2b2effdf478c0f (MD5) / Made available in DSpace on 2016-02-19T18:51:57Z (GMT). No. of bitstreams: 1 tokuda_amp_me_assis.pdf: 2508235 bytes, checksum: d38b605c521b59d4ce2b2effdf478c0f (MD5) Previous issue date: 2016-01-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Através de revisão bibliográfica pode-se colocar que após 50 anos da regulamentação da Psicologia, como profissão, ainda é difícil encontrar bibliografias que tenham como tema a Psicologia Jurídica; essa invisibilidade se justifica, também, devido à quase inexistência no Brasil de disciplinas nos cursos de graduação que tenham como foco tal área, ou seja, existem poucas problematizações sobre este campo na área acadêmica e entre o(a)s profissionais. Neste trabalho cartografamos as atuações e histórias de treze psicólogo(a)s que trabalham (trabalhavam) nas penitenciárias do estado de São Paulo. Orientamo-nos para realização desta pesquisa pelo método cartográfico que correspondeu à exigência, dialogando com saberes que de modo complementar favoreciam variações; vale ressaltar que a cartografia é um método idealizado por geógrafo(a)s e utilizado pelos filósofos Gilles Deleuze e Félix Guattari. Com isso, pôde-se traçar diversas linhas e formas de atuações que atravessam (atravessavam) essas pessoas no dia a dia de trabalho nas unidades penitenciárias, traçando que cada psicólogo(a) foi construindo sua maneira de atuar ao longo de suas vivências, alguns(algumas) tornando-se mais problematizadore(a)s de suas realidades e outro(a)s se mantendo como realizadore(a)s de exames criminológicos, os quais pudemos mapear como principal função instituída a Psicologia e acabam por minar outras possíveis atuações, como trabalhos com grupos e atendimento psicológicos. Discute-se assim, neste trabalho, que há a naturalização do(a) psicólogo(a) como avaliador(a), no entanto existem linhas de fugas possíveis, como apontadas por alguns(algumas) participantes, através da realização de grupos que discutem com as pessoas que estão presas a realidade em que vivem e as diversas possibilidades de modos de viver. Através dessas cartografias acreditamos que ainda é necessário mais discussões sobre essa área da Psicologia, devido, principalmente, ainda estar ligada a realização de exames criminológicos, que acabam por definir vidas, cabendo aos(as) psicólogo(a)s problematizar como atuar de forma potencializadora e contra as biopolíticas que regulam e excluem pessoas selecionadas, uma atuação que prime pela defesa dos direitos humanos e valorização das vidas. / Through literature review we can put that after 50 years of regulation of Psychology as a profession, it is still difficult to find bibliographies which have as their theme the area of Legal Psychology; this invisibility is justified due to the almost absence in Brazil of disciplines in undergraduate courses that has how center this theme, in other words, there are scarce discussions found on this research field in the academic area and among professionals. In this paper we started mapping the actions and stories of thirteen psychologists who work (worked) in the penitentiaries of the state of São Paulo. We were guided to this research by mapping method which corresponded to the requirement, dialoguing with knowledge that a complementary mode favoring variations; it is noteworthy that cartography is a method devised by geographers and used by philosophers Gilles Deleuze and Felix Guattari. Thus, it was possible to draw different lines and shapes of actions that cross (crossing) these people on a daily basis in the penitentiaries units, tracing every psychologist it was building his way of acting throughout their experiences, some becoming more discussants of their situations and others remaining as makers of the criminological examination, which is the main function established the psychology and end up undermining other possible actions, such as working with groups and psychological care. We discussed as well in this paper that there is a naturalization of the psychologist as value, however there are escape lines possible, as pointed out by some participants, through realization of groups that discussing with the people who are trapped reality in which they live and the various possibilities for ways of living. Through these mappings we believe it is still necessary many discussions on this area of the Psychology, principally due still is connected to carrying out of the criminological examination, should the profession discuss how to act of mode potentiating and against the biopolitics that regulate and exclude selected people, an acting that prime the defense of human rights and appreciation of life.

Made available in DSpace on 2014-12-17T14:19:48Z (GMT). No. of bitstreams: 1 DanieliMB.pdf: 4492326 bytes, checksum: 37dd5ccabc01d54153a274b44b6db309 (MD5) Previous issue date: 2009-03-20 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / In this research, we propose a discussion from that observed in our field of work that women are prostitutes and who self-define understood. We check these women have sex with men by means of work and with women from the relationship of affection. We analyzed the practice of sexual activity as another possible expression of sexuality. There are many studies that deal with issues around the theme of prostitution and homosexuality in regard to various aspects and disciplines. Our proposal for study with these women is a topic that is on the agenda, as today, the theme of prostitution and homosexuality is well discussed within the Humanities in general. These new studies indicate about sexuality in a privileged place discussing values associated with the intimacy of the modern person, but also suggest that permeate discussions elements underlying the identity of women who have sex with women and men, the latter being, sexual activity mediated through the employment relationship by the financial interest, because according to our informants, prostitution is a job. From the reports of our participants / informants your answers fit the various brands that define the social field of possibilities of the sexual practices of individuals, raising questions about the origin and social class, family history, stage of life they are set of gender relations in the universe in which they live. All these elements provide the beacons to the process of shaping of subjectivity, understood as the social and biographical circumstances that define the direction I face this new constitution of the subject, it is defined by many theorists of the humanities, such as post-modern or modernity, and the insurgency that we have with the liberation movements that gays and lesbians were in question and make the politicization of sexuality / Nesta pesquisa, propomos uma discuss?o a partir do que observamos em nosso trabalho de campo, que s?o mulheres prostitutas e que se autodefinem entendidas. Verificamos se essas mulheres praticam sexo com homens atrav?s de uma rela??o de trabalho e com mulheres a partir da rela??o de afeto. Analisamos esta pr?tica da atividade sexual como sendo mais uma poss?vel express?o da sexualidade. H? muitos estudos que tratam de quest?es em torno da tem?tica sobre a prostitui??o e a homossexualidade, no que diz respeito a v?rios aspectos e disciplinas. Nossa proposta de estudo com essas mulheres ? um tema que est? na ordem do dia, pois, hoje, a tem?tica sobre prostitui??o e homossexualidade est? bastante discutida no ?mbito das Ci?ncias Humanas em geral. Esses novos estudos sobre a sexualidade nos apontam um lugar privilegiado, discutindo valores associados ? intimidade da pessoa moderna, como tamb?m apontam discuss?es que permeiam elementos que fundamentam a identidade de mulheres que fazem sexo com mulheres e com homens, sendo, esta ?ltima, a atividade sexual mediada atrav?s da rela??o de trabalho pelo interesse financeiro, pois segundo nossas informantes, a prostitui??o ? um trabalho. A partir do relato de nossas participantes/informantes, verificamos que suas respostas se coadunam ?s diferentes marcas sociais que delimitam o campo de possibilidades das pr?ticas sexuais dos indiv?duos, levantando quest?es sobre a origem e classe social, hist?ria familiar, etapa do ciclo de vida em que se encontram as rela??es de g?nero estatu?das no universo em que habitam. Todos esses elementos fornecem as balizas para o processo de modela??o da subjetividade, entendido como as circunst?ncias sociais e biogr?ficas que delimitam o sentido do eu diante desta nova constitui??o do sujeito, nisso que ? definido, por muitos te?ricos das Ci?ncias Humanas, como p?s-modernidade ou modernidade; e as insurg?ncias que temos com a libera??o que os movimentos gays e l?sbicos tiveram em problematizar e tornar p?blico ? politiza??o da sexualidade

Cette thèse s’inscrit dans le champ de la géographie des sexualités et contribue plus précisément au champ des géographies queers. Elle étudie la manière dont sont pensés les lieux queers en commençant par les définir, explorant la manière dont ils s’organisent de manière rhizomatique. Les personnes queers créent des lieux à travers des constellations de personnes qui se regroupent autour d’un rapport spécifique au genre et à la sexualité ainsi qu’autour d’un discours politique queer. Après avoir fait l’archéologie de ces milieux, une étude sera menée sur la violence que vivent les personnes queers dans l’espace public jusque dans les espaces privés. La violence systémique est décrite par l’analyse des rapports de domination et des normes. Les violences intracommunautaires sont ensuite étudiées. L’auteur.e propose finalement une critique des espaces queers sécurisés (safe space) pour proposer une autre conception des lieux par la construction d’espaces bienveillants. La méthodologie de la thèse est fondée sur l’observation participante, l’auto-ethnographie ainsi qu’un questionnaire et des entretiens venant compléter les sources. Un accent a été mis sur la réflexivité de la recherche, notamment sur le travail émotionnel que doit faire le chercheur.e face à ce type de terrain. / This thesis is a contribution to the geographies of sexualities and more specifically to queer geographies. It first seeks to understand how queer places are created by the many ways they are defined, though of, and organized in their rhizomatic pattern. Self-defined queer people have indeed a tendency to create places through the gathering of an array of persons who are connected by a particular relationship to gender, sexuality, as well as by the political component of the queer discourse. Focusing next on the “milieux de vie” that emerged from this loose network of places, the research looks at the systematic violence exerted against queer people in the public and private space. This phenomenon is seen and explained through a set of norms and domination patterns occurring at different levels and scales in society. Violence within the communities is finally studied. The author concludes in examining and in offering a critic of the concept of safe space, which lay the ground for the proposal of the construction of espaces bienveillants (derived from the concept of brave place). The study was conducted through participant observations, auto-ethnographic method, on-line surveys and direct conversations. Reflexivity was at the center of the field work, the author insists most notably on the emotional work researcher faces in this type of research.

Danse, performance, cinéma, écrits théoriques et poétiques : dans la multiplicité de sa création artistique et intellectuelle, Yvonne Rainer s’impose comme une artiste cardinale dans l’histoire de l’art. Instigatrice du changement de paradigme postmoderne en danse, elle arrache le geste ordinaire à la vie quotidienne pour le placer au cœur de la création chorégraphique, en radicale juxtaposition avec des textes, des images et des objets. À partir des années 1970, elle émerge parmi les figures centrales du cinéma expérimental et indépendant en dialogue avec les théories et les luttes politiques féministes, queer et postcoloniales. Cette thèse explore la place de la subjectivité et de l’émotion dans la danse et le cinéma de Rainer. En effet celle-ci a impulsé un renouvellement radical du matériau affectif dans la pratique artistique en l’envisageant comme un fait, une réalité objective. Dans un contexte où l’ennui agit comme un style affectif dominant au sein de l’avant-garde artistique américaine après 1945, l’artiste propose une expérience matérielle sensible, générant une conscience décuplée du temps et plaçant son public dans cette disposition affective à la fois pesante, froide et ordinaire. Puis, en résonance avec le cinéma des femmes, elle investit l’ennui à la fois comme une dynamique de subjectivation et comme une stratégie de subversion. En naviguant entre les dimensions individuelles et collectives de l’émotion, la thèse explore les enjeux esthétiques, politiques et subjectifs de l’ennui dans l’œuvre de Rainer. / The multiplicity of Yvonne Rainer’s art and intellectual works - in dance, performance, film, theoretic and poetic writings - makes her one of the essential artists in the history of art. As instigator of the post-modern paradigm shift in the dance scene, she pulled out movements from everyday life and put them at the core of her choreographic work, creating a radical juxtaposition to texts, pictures and objects. In the seventies, she became one of the main figures of experimental and independent cinema. Her polyphonic and reflexive cinematographic works entered in a dialogue with feminist, queer and postcolonial theories and struggles. The present thesis explores the notion of subjectivity and emotion in the film and dance of Rainer. Indeed, she has given the impulse for a radical renewal of the use of emotional material, which she considered as a given fact and an objective reality, in the artistic practice. In a context where boredom imposed itself as the dominant emotional style in the American artistic avant-garde after 1945, the artist offered a sensitive material experience. In particular, she created an acute conscience of time and put her audience in a specific emotional disposition, boredom, that can be described as tedious, cold and ordinary altogether. Then, in echo with women’s cinema, she explored boredom both as a process of subjectivation and as a strategy of subversion. Navigating between individual and collective dimensions, this research explores the aesthetic, political and personal stakes around the expression of boredom in Yvonne Rainer’s work.

Winterson’s Written on the Body is an experimental and provocative novel that challenges the reader’s mindset as well as society’s heteronormativity by implicitly questioning societal norms and fundamental values. With an unusual protagonist as a point of departure, upper secondary school students in the English as a Foreign Language (EFL) classroom can discuss important political and social issues and giving them the chance to become more open-minded and inclusive towards all people regardless of one’s sex, gender, and, or sexuality. This essay shows that Written on the Body with its unusual, queer protagonist challenges the heteronormativity in modern Western societies and instead of solely focusing on students’ language development during their English education, they are invited to interrupt and question set attitudes, behaviours, and traditions in modern Western societies.