<p>Performing autoethnographic explorations as curriculum development strategies, and using autoethnographic modes (e.g., storytelling) as curriculum, may provide queer multicultural social justice education curriculum workers, and explorers, with opportunities to explore their own multicultural identities (e.g., race/ethnicity, socioeconomic status, exceptionality, religion, sexual orientation, and gender), how their identities may intersect with curriculum development, and their stories alongside those of others. In Part One, I tell three (hi)stories highlighting how multicultural education, queer theory, and autoethnography support the practice of identity awareness (of self and others). In Part Two, I share nine explorations developed for this project, along with my performances and reflections of each exploration, which include how <i>performing </i>the explorations impacted their development. Finally, in Part Three, I apply these ideas to my practice of becoming a queer educator. I reflect on some of the tensions I wrestled with, on being aware of myself as a teacher and a student <i>simultaneously</i>, and on my use of language and curriculum development practices. In sum, I advocate for queering autoethnography and using it for curriculum development—thus, simultaneously queering the act of curriculum development—for the purposes of developing identity awareness (of self and others) and of honing queer multicultural social justice education curriculum development practices. During your engagement with this text, I invite the reader to reflect on these practices, perform the explorations, and ponder how these explorations may impact your curriculum development practices. <i>I also encourage you to share your stories.</i> </p>

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La théorie queer et l’autofiction théorique, un statut générique qui recouvre plusieurs écrits postmodernes, sont intimement liées au renouveau féministe et à la résistance envers un essentialisme réducteur imposé tant par le patriarcat que par un féminisme libéral. En redéfinissant leurs rapports à la théorie et à l’action, certaines écrivaines féministes de la nouvelle vague explorent les nombreuses possibilités offertes par le discours postmoderne du soi. Considérant l’émergence de la théorie queer comme un moment charnière de l’évolution du féminisme, la présente recherche interroge les transformations survenues au cours des dernières décennies en ce qui a trait à la bicatégorisation du genre (littéraire et sexuel) et à la refonte des identités (sexe/genre/sexualité) à travers trois œuvres représentatives du genre littéraire qu’est l’autofiction théorique : King Kong théorie (2006) de Virginie Despentes, Insurrections! en territoire sexuel (2009) de Wendy Delorme et Testo Junkie (2008) de Beatriz Preciado. Avec un cadre d’analyse poststructuraliste, regroupant la théorie des scripts de la sexualité (Gagnon), les théories féministes de la performativité et du queer (Butler, Bourcier et Halberstam) ainsi que les théories de l’autofiction (Doubrovsky, Colonna et Lejeune), cette étude vise à évaluer, sur un horizon postmoderne, les effets de l’autofiction théorique sur la construction des rapports identitaires sexe/genre/sexualité des auteures/personnages/narratrices et, réciproquement, les effets de l'identité queer sur l’acte d’écriture féministe. Comme l’autofiction théorique est un genre littéraire très récent, l’un des objectifs de cette recherche était d’abord de le définir. Pour y parvenir, il fallait dresser la généalogie du genre, invoquant ainsi la fiction théorique d'écrivaines féministes québécoises des années 1970 et 1980 telles que Nicole Brossard et Louise Dupré, et en établir les caractéristiques dominantes, soit la radicalité du discours, la prépondérance des micropolitiques queer et l’utopie du devenir-Autre. L’objectif de l’analyse littéraire du corpus choisi était d’identifier, dans un premier temps, les voies empruntées par les autofictionnaires pour marquer leur séparation du discours hétéropatriarcal dominant et de statuer, dans un second temps, des effets réciproques de leur performativité et de leur écriture. Après un chapitre théorique situant précisément l’autofiction théorique au sein du paradigme postmoderne et du renouveau féministe, les trois œuvres du corpus sont étudiées indépendamment dans un second chapitre où l’analyse approfondie de celles-ci montre un éclatement des dyades esprit/corps et réflexion/émotion par une valorisation de l’expérience culturelle de genre. L’objectivité théorique et la subjectivité de l’expression de soi s’unissent dans une expérience concrète tant de l’altérisation des femmes que d’une vision queer du monde. Les discours des trois autofictionnaires constituent ni plus ni moins des voies de contestation des discours hégémoniques – tant sur un plan théorique que pragmatique – alliant ainsi déconstruction radicale et projet utopique. C’est d’ailleurs cet esprit de contradiction oxymorique qui constitue l’une des particularités prépondérantes de ce discours proposant une pensée queer positive qui comble un certain vide laissé par la déconstruction postmoderne.

The aim of this essay was to investigate in what manner sexuality is and has been portrayed and represented in course books used in religious studies in Swedish upper secondary school. In order to study the progression of how Swedish education has portrayed sexuality, course books from the 1970s, the 1990s and 2013 were studied. Moreover, to get a deeper understanding of the subject, the curricula from each time period were also investigated. The method used was first and foremost a qualitative content analysis, but a quantitative approach was also used in some occasions. To get the result of this investigation four questions were asked: “In what way is sexuality portrayed in the curricula?”, “Where in the course books is sexuality discussed?”, “Which questions regarding sexuality are discussed?” and also “What types of sexualities are represented?”. The result of this essay demonstrates the fact that how sexuality is portrayed in Swedish course books for religious studies has changed since the 1970s. By discussing the results with the help of Ambjörnsson’s queer-theoretical analysis, it has become clear that Swedish education has gone from a rather heteronormative approach on portraying sexuality to a more including one. The subject of sexuality is more nuanced in the latest course book, and the subject has been given more space in the books.  However, what has remained the same is the fact that only a few of the chapters discussing different religions also discuss sexuality. In the course books from previous time periods sexuality was almost exclusively discussed in chapters about Islam and Christianity, and even though sexuality is discussed in a different manner that is still the case.

Christopher Isherwood’s 1938 autobiographical novel Lions and Shadows is often read in light of its subtitle as the story of “an education in the ‘twenties.” Yet Isherwood’s early work is more than a simple interwar bildungsroman. Lions and Shadows is a narratively complicated account of a privileged, queer youth in interwar England and an exposition of the effects of the Great War on an entire generation. The autobiographical novel provides veiled descriptions of the queer cultures of Cambridge and London in the 1920s, and records the early artistic development of several members of what has come to be called “The Auden Generation,” including Edward Upward, W.H. Auden, and Stephen Spender. In this project, I explore how and why Christopher Isherwood obscures his sexuality in Lions and Shadows, looking in particular at his friendships with Edward Upward and W.H. Auden and at the fictional work that the former friendship produced, The Mortmere Stories. Chapter 1 provides background information on homosexuality in England during Isherwood’s lifetime, focusing on how class and privilege affect the experience and expression of homosexuality. Chapter 2 analyzes the obsession with the Great War that pervades Lions and Shadows, concentrating on how the Great War affected ideas of masculinity and male sexuality. Finally, Chapter 3 explores the relationship between Isherwood’s social and sexual discomfort and the production and content of The Mortmere Stories, which tend to poke fun at sexual foibles and the proclivities of the upper classes. / text

The subject of inquiry for my thesis is slash fiction, a subset of fanfiction which creates queer identity, romance, relationships, sex, or desire where it was not ostensibly present in the proto-text. I divide my thinking into a non-linear model of five nodes in order to open up multiple in-roads towards examining the queer work of slash without crystalizing into a comprehensive theory that would efface its nuance and particularities. These nodes figure under notions of failure, embodiment, archives, temporality, and hybrid body erotics. The current, motion, and energy running through all of these nodes is what I call critical queer imagination. Critical queer imagination is not an overarching theory that explains slash (or queer creative works in general), but rather a gesture towards the impulse behind queer activism as well as a signal towards queer futurity. It is ultimately this queer critical imagination that allows me to argue for slash fiction as part of a larger queer project that is necessarily engaged with queer potential and political imagination. / text

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SLUTSATS: För  att  nå  min  egen,  djupaste,  svarta  spegel  hade  jag  behövt  ”möta  mitt  eget  mörker”, som Soran Ismail beskriver det i Absolut Svensk… Gjorde jag det? Njae… Jag hade gärna utforskat mina fördomsfulla sidor mer, för att se var jag själv står på  skalan  mellan  Tes och  Antites.  Soran  gjorde i avsnitt 1 ett vetenskapligt  fördomstest, där reaktioner registrerades för att ta reda på fördomar en ”inte vet om att den har”. Någon liknande miljö eller metod (vetenskaplig, existentiell eller psykoanalytisk)  möttes  jag  inte  av  under  kursen  där  jag  kunde  ta  mitt  fördomsprojekt  så  mycket  längre,  däremot  synliggjordes  en  undangömd identitet  hos  mig  själv  som  jag  har  haft  fördomar  kring,  baserat  på  ett  internaliserat  förtryck.  I  min  vilsenhet  kunde  jag  orientera  mig  mot  att  börja utforska detta ämne parallellt i samband med självreflektionen.   Jag  vill  alltså hävda  att  desorientering,  att  gå  vilse,  är  startpunkten  för  självreflektion.  Och  att  självreflektion  i  samband  med  kommunikation  och kunskap är det som krävs för att krossa fördomar. Konst bör därför sträva efter att inleda en process av självreflektion, för att det betraktande  subjektet  ska  kunna  spegla  sig  i  sin  egen  svartaste  spegel  – där  fördomen existerar inom en. / Svarta speglar - magisterutbildningen i konstnärlig självreflektion

This thesis seeks to explore, problematize and critique the violence of norms—normative violence, especially gender norms and heteronormativity-- in contemporary political life. It focuses on the interaction and engagement between norms and the body, and demonstrates that normative violence manifests itself in a twofold way: norms not only regulate, normalize and manage bodies that are already intelligible into reified forms, but also through their exclusionary logic produce unintelligible bodies that are unlivable. Situated within contemporary feminist and queer movements, this thesis bridges between aporias and problems emergent from them and critical readings of Simone de Beauvoir, Michel Foucault, and Maurice Merleau-Ponty. This thesis identifies and indicates normative violence and erasures inherited in the popular rhetoric of the movements and diverse theoretical accounts of the body. Finally, the argument is made that feminist and queer readings of Foucault and Merleau-Ponty provide possibilities for undoing normative violence by resignifying norms temporally and performatively via collective action. / Graduate / janicefe@uvic.ca