This dissertation investigates the place-making practices of African American lesbians in Atlanta, Georgia, from 1990 to 2010. For this project, I ask how African American lesbians claim space to examine how race, sexuality, and class shape their place-making practices. The study is situated in the city before and following the 1996 Olympic Games, which was a period of rapid social, economic, and political growth. The primary question posed in this study is as follows: How do African American lesbians claim space in Atlanta? This dissertation posits three arguments. First, African American queer spaces are transitory, reflecting the shrinking boundaries of black neighborhoods within the contemporary city. Second, these spaces are informed and forged by the sexual, racial, and classed identities of participants. Third, through their place-making practices, struggles, and contestations over public space, African Americans have transformed sites in the city into black queer cartographies. In this empirically informed study, I employ ethnographic research methods, participant observation, archival research, oral histories, and in-depth interviews. By positioning black queer cartographies within the larger schematic of African American life, this work extends current understandings of queer space and builds on the growing subarea of black queer geographies (McBride 2007; Bailey 2011; Eaves 2017). Multiple sites that reflect the transitory and clandestine nature of locating queer space are mentioned in the work. Within Atlanta’s neighborhoods of Midtown, Southwest Atlanta, and Westside, African American lesbians curated spaces that validated their identities and provided a sense of belonging during the period studied.

This qualitative study reflects on my experiences as a queer pedagogue developing a Lesbian, Gay, Bisexual, Transgendered/Transsexual, Questioning/Queer, and Ally (LGBTQA) youth theatre ensemble, Outside the Lines. Through the analysis of my pedagogy and the pedagogy of three practitioners affiliated with the Pride Youth Theatre Alliance, I explore how my queer culture, language, expression and politics influence my Applied Drama & Theatre practice within educational and community spaces. It is hoped that by inviting other practitioners and allies into my process this document will generate constructive dialogue around queer pedagogy and its fluid performance. Furthermore, this document aims to serve as a reference for future practitioners that work with queer youth and in queer spaces. / text

This case study was written to explore the different branches of queer theory and its links to the architecture of bath-houses. This, from both a historicaland a modern-day societal perspective. By implementing researcher Katarina Bonnevier’s queer theory on performativity and cross-cladding, I aim to investigate how the swimming pool and the bath-house can be re-envisioned.Throughout the country, the need for renovating and extending the existing portfolio of swimming pools and bath-house institutions has grown large. Meanwhile, thenumber of queer spaces in the city of Stockholm has over the years diminished. Therefore, I have chosen Liljeholmsbadet at Södermalm, an institution currently facing demolition, as subject of this case study and I propose a reinvention of it into a gay bath-house.Through literary research, observations, and studyvisits to public bath-houses, I will analyse the swimmingpool and what role it has played in society and in the queer community.Subsequently, using Bonnevier’s theoretical framework,I will redesign Liljeholmsbadet and dissect this new gay bath-house’s different components. By “queering” the already-built, this thesis speculates on what lies in the future of the bath-house.This diploma project is not to be viewed as a finished design proposal or an answer to a question, but as a starting point for further discussions.The thesis is split in two parts, a theoretical background as a framework, and a design proposal.

Hierdie proefskrif bied ʼn nie-empiriese ondersoek en ʼn konseptuele analise van die verhouding tussen ruimte en identiteit in Eben Venter (1954-) se oeuvre binne die konteks van ballingskapliteratuur die postkoloniale diskoers. Die manifestasie van die ruimte- identiteitdialektiek, soos wat dit uitgebeeld word in Venter se skryfkuns, word beskryf aan die hand van postkoloniale teorieë en insigte wat verband hou met aspekte soos ruimte, plek, ballingskap, diaspora, ruimtelike verplasing, seksuele migrasie, intra-nasionale migrasie, internasionale migrasie, empiriese en kulturele landskappe, identiteit as sosio-kulturele konstruksie en Suid-Afrikaanse outobiografieë. Vir die doel van hierdie ondersoek is die volgende vertellings geselekteer: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot(2006) en Brouhaha (2010). In ʼn tydsgewrig van grootskaalse migrasie, globale onsekerheid, transnasionale kapitalisme en radikale dekolonisering in die vorm van geweldsmisdaad, gewelddadige betogings by universiteite, plaasmoorde, grondhervorming, haatspraak, arbeidsonrus, xenofobie en die aftakeling van minderheidsregte, sny Venter in sy verhale en outobiografie ʼn verskeidenheid van kwessies aan. Dit sluit in: die naweë van apartheid, die Afrikaner-diaspora, grondeienaarskap, die ideologiese toeëiening van grond, rassisme, homofobie, queer-migrasie, die haalbaarheid van ʼn inklusiewe Afrika-identiteit en die veranderde rol, plek en identiteit van Afrikaners sedert 1994. Die outobiografiese inslag van Venter se skryfkuns is opvallend en word bespreek deur te verwys na die verhouding tussen fiksionele en reële ruimtes en na outobiografie as hibridiese genre en kreatiewe projek. Hierdie studie bied ook ʼn krities-analitiese besinning van Venter se bemoeienis met skryftemas soos selfopgelegde ballingskap, die vervreemding tussen plek en self, globale plekloosheid en “exile as a discontinous state of being” (Said 2000: 177). Een van die belangrikste insigte wat Venter in sy skryfkuns demonstreer, is dat ruimte, soos identiteit, nie ʼn essensialistiese konsep is nie, maar ’n onvoltooide en vloeibare konstruksie wat voortdurend verander na gelang van sosio-politieke ingrepe, internasionale migrasiepatrone en die individu se subjektiewe gewaarwording van plekke, / This dissertation presents a non-empirical and a conceptual analysis of the relationship between space and identity in the works of prose of Eben Venter (1954) within the context of the postcolonial discourse and exile literature. The manifestation of the space-identity dialectic, as portrayed in Venter’s writing, is described on the basis of postcolonial theories and insights related to terms and concepts like space, place, exile, diaspora, spatial displacement, sexual migration, intra-national migration, international migration, empirical and cultural landscapes and identity as a social-cultural construction. For the purpose of this study the following narratives were selected: Ek stamel ek sterwe (1996), Twaalf (2000), Horrelpoot en Brouhaha (2010). At a juncture of mass migration, global uncertainty, transnational capitalism and radical decolonization in the form of violent crime, violent protests at universities, hate speech, farm murders, land reform, labour unrest, xenophobia and the dismantling of minority rights, Venter addresses an assortment of social issues. This include: the aftermath of apartheid, the Afrikaner-diaspora, landownership, the ideological appropriation of land, racism, homophobia, queer-migration, the viability of an inclusive African-identity and the altered role, place and identity of Afrikaners since 1994. The autobiographical element is evident in Venter’s writing and is discussed by referring to the relationship between fictional and real spaces and to autobiography as a hybrid genre and creative project. This study also presents a critical-analytical reflection of Venter’s involvement with writing topics such as self-imposed exile, estrangement between place and self, global displacement/non-belongingness and “exile as a discontinuous state of being” (Said: 2000: 177). One of the key insights Venter demonstrates in his writing, is that space, like identity, is not an essentialist concept, but an incomplete and diffuse construction that is constantly changing depending on socio-political interventions, international migration patterns and the individual's subjective perception of places. / Afrikaans and Theory of Literature / D. Litt. et Phil. (Afrikaans)