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This research is a curiosity for the spaces outside the gender binary, the spaces where an “I” and a “we” could manifest unencumbered by this hierarchical binary[1]. The binary is often in gender research considered a system of understanding sexed peoples in this world based on their differential position in relation to one another. Gender as a “social category imposed on a sexed body”[2] arose in academic usage by feminists in the 1980s, it was introduced to dismantle the idea of separate spheres, and yet it “does not have the power to address existing historical paradigms”[3] and has therefore remained anchored in the idea of two, the male and female identity, and even whilst the idea of male and female social identities has been expanded to contain other sexed and gendered bodies, , the idea of an agendered subject is sparsely addressed. In essence this work seeks to address the binary of existence and non-existence in the bio-social-psychological world that is gender studies, to attempt to find the alchemical magic that creates a new cartography of gender, or at least a sliver of new territory.                Gender is currently one of the base categories of identification in a world built on: §  religious narratives in which “God/s” made only man and woman.  §  biological determination which posits a dependent binary relationship based on gametes.  §  and systemic thinking grounded in Patriarchal thinking.  Whilst the spaces outside the gender binary have become more thinkable in recent decades with the advent of Transgender studies[4] as an academic field, Irigaray[5] offers that the space outside the binary structure offers only “social and psychological damage”[6] to anyone seeking to inhabit it. This thesis thus explores a particular identity cartography which I here call the alchemy of agender, in reference to the potentially mythical, potentially magical space outside of the “norm”.    This research does not claim to cover all theories of power, subjectivity, sexual difference, or the growing body of knowledge within gender studies, pertinently transgender studies, queer studies, and intersectional studies. Conversely, I start from lived experience, both my own; in encountering questions and concerns from the students I teach; and the lived experience of others which manifests in a desire of a community to speak themselves into existence.                In my 8 years of teaching variations of gender studies I have observed that the language and space young people have for imagining and queering their gender has steadily increased. Yet, agender is still very unexplored as a concept, with a constant question of “why do we need gender?” accompanying my student’s reflections. Throughout human history we have examples of agender/non-binary/queer/non-conforming individuals, creating an “I” and a “we” that is outside, beyond or uninhibited by the gender binary, or at the very least the infamous, and equally at times unwelcome, “third wheel” to the binary.    With this research I would like to follow two intertwined threads; a short and questionable diachronic journey of agender; secondly to posit what an “I” and a “we” without and beyond gender might constitute, succinctly to explore how agender/ non-binary identities are formed. Our thought system allows for feminine males and masculine females, or a patchwork of gender traits blended in what is recognized as non-conforming or gender queer, yet I am curious if agendered experiences offer merely another blend or an entire alternative.   In my quest to draw a cartography of agender, I am motivated by the concept of eidetic reduction, this being the Husserlian approach that argues that we can determine the limitations of a phenomena through exploration of lived experiences of that phenomena. For this research, it means gathering experiences from self-identified agender individuals online to determine the essences of this experience. Namely eidetic reduction is when one moves from lived experience, to a more abstract essence, through to a kind of collective categorization of a concept. This is achieved through identifying experiences that are unique to the group in question. In this I am excited to see how exploring agendered experiences can create gender magic, and consequently a possibility to re-imagine who you or I might be.   Succinctly an online ethnographic study of agender discussions will be used to ascertain if there is something unique about the agender experience, how it might differentiate from a trans* experience or a gendered experience.  [1] Scott, J.W. (1986) Gender: A Useful category of Historical Analysis. The American Historical Review, Vol 91, No. 5, pp.[2] Scott, J.W. (1986) Gender: A Useful category of Historical Analysis. The American Historical Review, Vol 91, No. 5, pp.1056[3] Scott, J.W. (1986) Gender: A Useful category of Historical Analysis. The American Historical Review, Vol 91, No. 5, pp.1057[4] In the western world the advent of this field is associated with an article written by Sandy Stone published in 1987 entitled, “The Empire strikes back: A posttranssexual manifesto” (first presented at a UCSC conference entitled "Other Voices, Other Worlds: Questioning Gender and Ethnicity"). [5] Braidotti, R (2003) Becoming Woman: or sexual difference revisited. Theory, Culture and Society, Vol.20, Issue 3, pp. 43-64[6] Braidotti, R (2003) Becoming Woman: or sexual difference revisited. Theory, Culture and Society, Vol.20, Issue 3, pp. 43-64

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Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks. / Art History

In this study, I use social constructionist feminist and queer theory and narrative analysis to identify messages about gender, sexuality, and sexual violence in both the book versions and film adaptations of The Hunger Games trilogy, the Divergent trilogy, and the Vampire Academy series. These three series are representative of a major pop culture trend in which young adult novels are not only popular and financially successful, but in which these types of novels are being adapted into major films. In this study, I demonstrate that the book and film series all generally privilege whiteness, able-bodiedness, and heterosexuality, and in doing so, these texts reproduce a narrow worldview and privilege normative ways of knowing and being. However, while the films strictly reinforce normative understandings of gender, sexuality, and sexual violence, each book series reimagines gender in important ways, disrupts normative scripts that denigrate women’s ownership over their sexuality, and represents sexual violence in graphic but not exploitative ways that portray the real life consequences and complexity of sexual violence. My analysis of these texts reveals that the book series employ a variety of mechanisms that empower the women protagonists including establishing their narrative agency and representing them as gender fluid, while the film series utilize a variety of mechanisms that both objectify and superficially empower women including an emphasis on women’s sexualized physical bodies especially in times of vulnerability, the pronunciation of “natural” sexual differences, and the strict regulation of women’s bodies by dominantly masculine men. I argue that the significant alteration of the books’ original messages are a product of logistical, historical, cultural, and economic elements of the film industry, which has continually constructed women’s roles in terms of their sexual availability, victimization, and need to be rescued by heroic men. In this study, I address the institutional imperatives of the film industry that dictate specific representations of gender, sexuality, and sexual violence, and I address what these representations might mean for audiences. / Media & Communication