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Cette recherche a pour objectif général de rendre compte de l’expérience de l’intimité, de la famille à l’amitié, tel qu’elle est quotidiennement vécue dans la vie de différentes personnes dans mon réseau personnel. Elle tient compte du contexte postmoderne du vécu de l’intimité, caractérisé par des relations plus flexibles et une multiplication des modèles (Allan, 2008 ; Stacey, 1991). J’y problématise l’intimité sous l’angle des tensions qui émergent dans notre expérience quotidienne par rapport aux normes et aux idéaux d’intimité. M’inspirant de la pensée queer, j’aborde l’intimité d’un point de vue critique, à partir de plusieurs auteures (notamment Berlant, 2000 et Butler, 2002) qui remettent en question les normes d’une intimité durable, associée notamment à l’amour familial et un idéal communicationnel de dévoilement de soi. L’expérience personnelle constitue alors un lieu où des tensions s’expriment et peuvent être saisies, un lieu qui est un point de départ pour développer une critique nuancée. L’ethnographie que j’ai réalisée auprès de gens dans la vingtaine et la trentaine a mobilisé un ensemble de méthodes : observation, réflexivité, entrevues individuelles et de groupes avec treize personnes, méthodes visuelles (création de schémas et de dessins). Ancrée en communication, elle constitue une recherche transdisciplinaire qui mobilise notamment des études sociologiques et des textes critiques. Elle propose un portrait de l’intimité spécifique au Québec et à mon réseau personnel, constitué de petits groupes et de relations dyadiques. Ce réseau est majoritairement composé de jeunes adultes ouverts à certaines intimités non traditionnelles (comme les couples de même sexe) et vivant dans la région métropolitaine de Montréal. Mes analyses explorent d’abord les formes d’intimité caractérisant mon réseau, tant conventionnelles, comme le couple et la famille, que moins conventionnelles, comme le célibat. Ainsi, je me penche sur certaines normes d’intimité, comme celle du couple, en analysant comment elles s’accomplissent, produisent du sens et ont des effets inégaux sur différents sujets. Mes analyses lient des idéaux à des pratiques concrètes et matérielles, notamment l’investissement de l’intimité dans la maison et la propriété privée. Je me tourne également vers certaines formes d’intimité moins souvent abordées, principalement les petits groupes d’amis. J’aborde la communication de manière à décentrer le dévoilement de soi entre deux personnes, souvent perçu comme élément central à l’intimité (Jamieson, 1998), et à prendre en compte les dynamiques de groupe et leurs effets de pouvoir. Ciblant l’idéal de dévoilement, j’analyse en quoi il s’articule à des normes (de couple, familiales, des groupes d’amis) et côtoie différentes autres pratiques communicationnelles comme celles impliquant les médias mobiles et numériques. En guise de discussion finale, je reviens sur les grandes lignes du projet et je développe une réflexion sur les défis posés par la combinaison d’approches critiques et ethnographiques. En somme, la contribution de ma recherche consiste à analyser le vécu de l’intimité en regard de concepts issus d’études culturelles et critiques. / This thesis addresses contemporary transformations of intimacy, from family to friendship, as it is experienced in the everyday life of my personal network of relationships. It takes into account the flexible character and the multiplicity of arrangements of contemporary relationships (Allan, 2008; Stacey, 1991). I focus on some tensions in our intimate lives as a way to critically examine norms and ideals regarding intimacy. Inspired by queer theory, I address intimacy with a critical perspective drawing on authors such as Berlant (2000) and Butler (2002), who question the norms of lasting relationships that are associated with familial love and with the communicational ideal of self-disclosure. Personal experience is the site where these tensions appear and it is the starting point from which a nuanced critique can be developed. The ethnography I have conducted with people in their twenties and their thirties combined a series of methods: observation, reflexivity, individual and group interviews with thirteen persons, visual methods (creation of schemas and drawings). Grounded in communication studies, my research is trans-disciplinary and mobilises sociological studies and philosophical essays, among others. It portrays intimacy in Quebec, and more specifically in my personal network composed of small groups and dyads. This network is mainly comprised of young adults, open to non-traditional intimacies (such as same-sex couples) in the Montreal metropolitan area. My analyses explore the forms of intimacy that characterize my network, including both conventional (e.g. the couple, the family) and less conventional (e.g. celibacy) forms of intimacy. Thus, I analyze the ways in which the norms and ideals of intimacy, such as the couple, are performed, generate meaning and affect various people in different ways. My analyses link collective ideals to concrete and material practices, such as the investment of intimacy in the house and private property. I also turn to some forms of intimacy that are usually given less attention than the couple or the family, mainly small groups of friends. My approach to communication decenters self-disclosure between two people, which is generally perceived as a communication practice at the heart of intimacy (Jamieson, 1998). Instead of focussing on this practice, I analyse how this communication ideal is articulated to couple, family, and friendship norms, and combines to other practices, such as the use of mobile and digital media. In the final discussion, I summarize the main elements of my thesis and reflect upon some challenges raised by the articulation of critical and empirical studies. In sum, the contribution of this research lies in its analysis of lived realities and micro contexts, using concepts from critical and cultural theory.

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

Cette thèse-filmique s'articule autour de deux questions principales : comment aborder l’articulation des différences (qu’elles soient d’ordre genré, sexuel, culturel, racial, physique ou subjectif) telles qu'elles se retrouvent spécifiquement dans certains films québécois ; et, dans quelle mesure l’étude critique des différences permettent-elles de concevoir le cinéma comme un régime de la représentation (Hall 1997a) québécois articulé autour de certaines normativités (Butler, 2004)? On retrouve dans la littérature sur le cinéma québécois des préoccupations sur les questions associées à l’identité nationale liées avec des pratiques de différenciations identitaires et sociales (Poirier, 2004a, 2004b; Boulais, 2006; Barrette, 2009; Juteau et Fontaine, 1996) renvoyant à une opposition entre « nous/soi » et « l’Autre ». Afin de répondre à une urgence politique de considérer autrement ces questions, j’ai adopté une posture intersectionnelle (Bilge, 2009). L’intersectionnalité me permet d’aborder les différences de façon inductive afin d’ouvrir une discussion intégrée sur les rapports de pouvoir et l’articulation des oppressions. À ce sujet, je considère qu’une lutte de pouvoir autour de la représentation (Hall, 1997a; du Gay et al., 1997) s’inscrit dans une lutte plus large concernant des rapports de force dans la société québécoise. Inspirée par les théories queer et féministes, les études cinématographiques et les Cultural Studies, j’ai développé une méthodologie autoethnographique au sein d’une méthodologie de recherche-création (Sawchuk et Chapman, 2012). L’intermédialité de mon projet permet de nouvelles possibilités (Mariniello, 2000) notamment en créant un espace de réflexion favorisant l’échange entre diverses voix et expériences, mais également en brouillant les frontières méthodologiques et médiatiques de ma démarche, permettant d’approfondir de façon intuitive et exploratoire le concept de la rencontre. En effet, la rencontre et l’expérience de la rencontre ont joué un rôle à la fois conceptuel et personnel dans ce projet. Elle me permet d’éviter de fixer la différence, et plutôt de l’aborder dans son processus de reconnaissance et d’émergence d’une identité. / This thesis-film explores two core questions: First, how can we understand the articulation (Slack, 1996) of gender, sexual, cultural, or racial, physical, or subjective differences in certain Québec films? And second, how can a critical study of differences facilitate a conceptualization of Québéc cinema as part of a « regime of representation » (Hall, 1997) articulated around certain norms (Butler, 2004)? There is a recurring preoccupation in the scholarly literature on Québec cinema concerning questions of national identity, a preoccupation closely associated with practices of differentiation between “us” and “the Other” (Poirier, 2004a, 2004b; Boulais, 2006; Barrette, 2009; Juteau et Fontaine, 1996). In response to the political urgency of developing new ways of understanding these questions, I adopt an intersectional approach (Bilge 2009) that allows me to explore differences in an inductive manner in order to develop an integrated discussion of power relations and the articulation of different forms of oppression. I argue that power struggles over representation (Hall, 1997; du Gay et al., 1997) are articulated with broader power relations in Québec society. Inspired by queer and feminist theories, film studies and cultural studies, I develop an autoethnographic method (Maréchal, 2009) in the context of a research/creation process (Sawchuk and Chapman, 2012). My intermedial project allows for new possibilities (Mariniello, 2000), notably in facilitating dialogue between different voices and experiences, blurring the boundaries between different media and methods, and allowing me to develop the concept of the encounter. In fact, the conceptual exploration of the encounter and the personal experience of encounters were crucial to my project. An ethical and intermedial exploration of the encounter permits me to to avoid fixing differences, and rather to explore differences in a process of recognition and the emergence of identity.

This multi-site case study examines literacy practices across four theatre companies for young adults. The study draws upon ethnographic methods including interviews, field notes, and video data to show how composing practices situated with acts of design fostered multiple entry points through text, a multimodal stance when reading, collaboration, play, shared response, and sustained engagement in the orchestration of available modalities in the creation of characters. Drawing upon theories of multimodality, play, and masculinities, the study links literacy practices in drama with the configuration of historically subordinated, non-normative masculinities, including self-identified gay youth. These young men reported excessive self-monitoring and identity management strategies within heteronormative school contexts, but took-up a plurality of masculinities as they engaged design practices that encouraged play, risk-taking, and the appropriation of available media in their design of characters. The study cultivates an awareness of how literacy practices in drama intersected with affirming construction of non-normative gendered and sexual identities typically subordinated in school settings, but that were reportedly more aligned with informants’ sense of self. The study draws implications for how educators may help young people critique structures of heternormativity and hegemonic masculinities that often limit the identities and masculinities available in school. In addition, the study draws implications for classroom practice in the language arts that position youth as designers of multimodal texts that allow for multiple representations of the self. / text

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The system of higher education in the United States of America has retained some of its original character yet it has also grown in many ways. Among the contemporary priorities of colleges and universities are undergraduate student learning outcomes and success along with a growing focus on diversity. As a result, there has been a growing focus on ways to achieve compositional diversity and a greater sense of inclusion with meaningful advances through better access and resources for individuals from non-dominant populations. The clearest result of these advances for sexual and gender diversity has been a normalization of lesbian, gay, bisexual, transgender, and queer (LGBTQ) identities through positive visibility and greater acceptance on campus. However, it appears that relatively few institutions have focused on improving academic diversity and students’ cognitive growth around LGBTQ issues. Through historical inquiry and a qualitative approach, this study explored the fundamental aspects of formal LGBTQ studies academic programs at some of the leading American research universities, including Cornell University, the University of Maryland, College Park, and the University of Texas at Austin – a purposeful sample chosen from the Association of American Universities (AAU) member institutions with organized curricula focused on the study of sexual and gender diversity. The analysis of primary and secondary sources, including documents and interviews, helped create historical narratives that revealed: a cultural shift was necessary to launch a formal academic program in LGBTQ studies; this formalization of LGBTQ studies programs has been part of the larger effort to improve the campus climate for sexual and gender diversity; and there has been a common pattern to the administration and operation of LGBTQ studies. Clearly, the research shows that LGBTQ studies, as a field of study and formal curriculum, has become institutionalized at the American research university. A key outcome of this research is the creation of a historiography of curricular development around sexual and gender diversity at a sample of premier research universities. This work also begins to fill the gap in the study of academic affairs at the postsecondary level of education related to LGBT and queer studies and the organization and administration of learning about diversity and inclusion. Ultimately, the results of this study can influence the continued advancement and maturity of this legitimate field of study as well as academic diversity and social transformation around sexual and gender diversity.

Since 1958, Moderna Museet has housed Sweden’s largest collection of Swedish and international modern and contemporary art. This thesis examines the 21st-century collecting strategies and policy development of Moderna Museet, with a focus on diversity and representation, using intersectional theory and queer studies. Through both quantitative and qualitative methods, including statistics, archival research, discourse analysis, institutional ethnography and interviews with five curators, this study reveals how acquisition policies align with the museum’s aim to diversify its Eurocentric and North American-oriented collection. Fisher’s exact (statistical) test shows differences between the Swedish and international collections, as well as significant gender disparities between donated and purchased artists, indicating a structural unequal pattern regarding donations. Gender and nationality emerge as disciplinary parameters and social constructions for artist registration within the museum database. The findings underscore the slow, systemic change in Moderna Museet, influenced by power structures, external factors, and the museum’s institutional history. In contrast to the 1990s, diversity in the 21st century is continually negotiated and pursued performatively and discursively, rather than implemented through a goal-oriented policy.