What is queer? What is queer? What is queer theory? Where can it go from here? This thesis sets out to explore the origins and influences of queer theory before investigating the present and the future spaces (ie, bodies and settlements) it can potentially move into. Three distinct experiments of fieldwork and ethnographic filmmaking test the truths and potentialities of queer theory when relating to queer bodies and settlements. That is to say that each chapter balances a film and its supporting text by embracing the value and urgency of practice led research. The first chapter questions queer history and details the importance of emerging trans politics in the post-gender, leftist, avant-garde, queer activist and militant space of Bologna. Queer bodies, case one: transgender and transsexual perspectives. Settlements, case one: Bologna and Lido di Classe (Italy). The second chapter considers the interface between disability theory and queer theory with particular attention paid to the practical theory of ‘curative education’. Defined by Rudolf Steiner in 1922 and further developed by Karl König with the foundation of the Camphill movement in 1944, curative education privileges the social model over the medical model in the field of disability so that disability is in fact ability. Queer bodies, case two: learning differences and disabilities perspectives. Settlements, case two: Berlin (Germany), Chatou and La Rochelle (France), Barry and Glasallt Fawr (Wales, United Kingdom). The third chapter uses queer perspectives to promote the relevance of quantum physics to the human body, thus involving contemporary dance, physical theatre and the arts more generally to address and redress the chiasm between science and technology on the one hand, and arts, humanities and socio-cultural sciences on the other. Queer bodies, case three: the inescapably queer reality of the physical world. Settlements, case three: multiple locations in Tuscany (Italy), and Thamesmead, London (England, United Kingdom). This thesis brings notions of queer and otherness deceptively close to notions of the self. Otherness and queerness become mirrors in which our own queerness comes into view.

Lietuvos teatre įsivyravęs hegemoninis heteroseksualus vyriškumas dominuoja didžiojoje dalyje Lietuvos spektaklių. Tuo tarpu homoseksualūs vyrai reprezentuojami sporadiškai, dažnai jiems suteikiamos neigiamos konotacijos, jie tampa parodijiniais spektaklio elementais. Tačiau jau galima prabilti ir apie kitoniškus gėjų vaizdinius Lietuvos teatre, kadangi homoseksualaus vyriškumo tematiką vis aktyviau plėtoja režisierius Gintaras Varnas. Nepaisant ryškėjančio dėmesio netradiciniam vyriškumui Lietuvos scenoje, moksliniame teatrologiniame diskurse ši tema nėra aktyviai analizuojama. Taigi šiame darbe siekiama ne tik atkreipti dėmesį į gėjų reprezentaciją Lietuvos scenoje, bet homoseksualaus vyriškumo vaizdinius ir problematiką išanalizuoti pasitelkiant reikšmingą, XX a. JAV suklestėjusią queer teoriją. Darbe pristatomos queer teorijos susiformavimo aplinkybės ir įtakos, išryškinamos svarbiausios queer teorijos tezės. Tačiau svarbiausias dėmesys skiriamas subversyviam queer teorijos žvilgsniui, kuris įveiksmina heteronormatyvumo dekonstrukciją per šeimos, santuokos institucijų transformacijas heteronormatyvumo sistemoje. Parodoma kokią destabilizuojančią ir asimiliacinę galią formuoja heteroseksualumo simbolių mimikrija. Queer teorija, kvestionuodama heteronormatyvumo konvencionalumą, taip pat atskleidžia kokia stereotipizuojanti galia įveiksminama gėjų bendruomenėse. Pasitelkiant šias teorines subversyvumo tendencijas, analizuojami keturi režisieriaus Gintaro Varno spektakliai... [toliau žr. visą tekstą] / A hegemonic heterosexual manhood is dominant in most of the Lithuanian theatre plays. Meanwhile, the homosexual relationships between men are represented in a sporadic manner and often get negative connotation, as well as, become an element of parody. However, today it is possible to start analysing different images of gays since the theme of homosexual males is being developed intensively by a director Gintaras Varnas. Despite the increasing attention towards the untraditional manhood in the Lithuanian theatre, this subject is not actively analysed in a scientific theatrological discourse. Therefore, this research tries to emphasize the representation of gays in the Lithuanian plays and in order to analyse the homosexual male images and problems it is useful to use the queer theory, which bloomed in the 20th century in the USA. The factors of the development and the origin of the queer theory and the most important theses are presented in this research. Nevertheless, the focus is placed to the subversive aspect of the queer theory, which enables the deconstruction of heteronormativity through the transformations of family and marriage in the system of heteronormativity. The research shows destabilizing and assimilative power, which forms the mimicry of the heterosexual symbols. The queer theory questions the conventionality of heteronormativity and reveals, which stereotypical power is applied in the gay communities. Four plays by Gintaras Varnas (‘Publika’, 1997, ‘Tolima... [to full text]

A Queer Reading of Charles Bukowskiʼs Women and Love is a dog from hell This thesis aims to examine how the representation of gender is portrayed in relation to sex and power in Charles Bukowski’s novel Women and poetry collection Love is a dog from hell. The theoretical frame of the analysis is based on Judith Butlerʼs queer theory regarding the heterosexual matrix and gender performativity. The analysis consists of a textual comparison where a specific selection of poems is analysed parallel to the novel to see how they interact and how they oppose each other, through a queer reading. The analysis is divided in three parts where the first one discusses the construction of masculinity in Charles Bukowskiʼs protagonist Henry Chinaski and how this is presented differently in the two literary genres. The second part reveals how sex is presented in relation to power and how active and passive women are considered as sexually acceptable. The final part of the analysis discusses how women are portrayed in the novel and in the poetry. Further it demonstrates the consequences for women who do not act as expected in relation to their gender roles. In addition to this, the thesis investigates how the poetry functions as a tool to apply depth to the characters in the novel. It also points out how the sexual relationships work as a way of maintaining the masculine superiority over women. The repetitive way in which the protagonist fails to fulfil his sexual performance points towards an image of Chinaski as queer, something that previous scholarship has failed to notice. In conclusion, this essay shows how a queer reading can work as an instrument to read a text that is generally interpreted as heteronormative, macho and misogynistic. The queer reading in the thesis demonstrates a different interpretation of predetermined gender roles in two of Bukowski’s literary works.

This thesis illustrates how Melodrama and the melodramatic mode have been adapted within contemporary cinema as both a means of commenting on prior LGBTQI representation, and of exposing mainstream audiences to the issues still faced by many within this spectrum. Through my analyses of Carol (2015), Brokeback Mountain (2005), and A Single Man (2009), I examine how filmmakers have drawn on Melodrama as both an aesthetic form, and as a reference to the broader field of generic history and criticism which ground it as a subversive form of societal critique. By focusing specifically on how these three films portray ideological issues of gender, stereotyping, parenthood, aging, and personal shame, my thesis argues that these films are making a commentary on the damaging effects of these discourses on broader society. I also simultaneously question whether the Period Melodrama as a genre can ever fully escape the conservative nature of this form, as well as the implications of continuing to portray those on the LGBTQI spectrum as victims.

Thesis (M.A.)--Miami University, Dept. of English, 2004. / Title from first page of PDF document. Includes bibliographical references (p. 70-72).

Submitted by Leonardo Cavalcante (leo.ocavalcante@gmail.com) on 2018-04-10T17:47:48Z No. of bitstreams: 1 Aquivototal.pdf: 2468381 bytes, checksum: 8f96e778981206f36a1cb075bf76e1d8 (MD5) / Made available in DSpace on 2018-04-10T17:47:49Z (GMT). No. of bitstreams: 1 Aquivototal.pdf: 2468381 bytes, checksum: 8f96e778981206f36a1cb075bf76e1d8 (MD5) Previous issue date: 2016-08-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Based on gender studies, media representation and Queer Theory, this research discusses the construction of identities, bodies and sexualities of trans characters in Pedro Almodovar's films, on the assumption that the filmmaker uses in his work elements that create questions about the conception of subjects, showing new ways of thinking truths about individuals, presented in his films, from slippery and fluid optical that does not hold the intelligibility standards that try to crystallize the social understanding of the bodies, identities and sexual experiences. / Baseado nos estudos de gênero, representação midiática e Teoria Queer, a pesquisa discute a construção das identidades, corpos e sexualidades das personagens trans nos filmes de Pedro Almodóvar. O trabalho parte do pressuposto que o cineasta utiliza em sua obra elementos que criam questionamentos sobre a concepção dos sujeitos, mostrando novas formas de pensar as verdades sobre os indivíduos, apresentados, nas suas películas, a partir de óticas escorregadias e fluidas que não se prendem às normas de inteligibilidade que tentam cristalizar a compreensão social acerca dos corpos, das autoafirmações identitárias e das vivências sexuais. As personagens revelam que determinados saberes tidos como únicos são mais plurais e múltiplos do que as regras normativas tentam impor.

Submitted by Drielly Teixeira Lopes Silveira (driellylopess@gmail.com) on 2018-07-30T05:23:22Z No. of bitstreams: 1 DDrielly_part1 (1).pdf: 1880333 bytes, checksum: 31028c6d7e1ebb39cf89aa52be3cd3af (MD5) / Approved for entry into archive by Aline Aparecida Matias null (alinematias@fclar.unesp.br) on 2018-07-30T11:09:39Z (GMT) No. of bitstreams: 1 silveira_dtl_me_arafcl.pdf: 1880333 bytes, checksum: 31028c6d7e1ebb39cf89aa52be3cd3af (MD5) / Made available in DSpace on 2018-07-30T11:09:39Z (GMT). No. of bitstreams: 1 silveira_dtl_me_arafcl.pdf: 1880333 bytes, checksum: 31028c6d7e1ebb39cf89aa52be3cd3af (MD5) Previous issue date: 2018-05-03 / A experiência transexual é uma temática de especial evidência no contexto acadêmico contemporâneo, sendo descrita como um fenômeno complexo, que pressupõe uma incompatibilidade entre gênero e sexo biológico. Por interrogar o modelo binário sexo/gênero, permite que se questione os discursos científicos envoltos em pressupostos de naturalização dos corpos. A deficiência, fora dos modelos reabilitativos, representaria per si um transgressão da “ordem anatômica”, ainda que seja reconhecida pelo modelo biomédico como o resultado de uma falha, congênita ou adquirida, que afetará o funcionamento “normal” do corpo ou de algumas de suas partes. A percepção de ambos os corpos recebe novos contornos quando de encontro à leitura de Judith Butler, para a qual, o lugar de patologização e abjeção conferido a estas experiências são resultado de práticas discursivas que estabelecem relações de poder que incidem sobre os corpos. Refletindo sobre as múltiplas possibilidades de experiências compreendidas a partir do feminino e considerando a posição de subalternidade conferida a esses corpos diante das normas hegemônicas, este trabalho se propõe a oportunizar um espaço de narrativa e análise para uma experiência pouco explorada academicamente: a experiência subjetiva de mulheres trans deficientes. Focalizando em especial os disability studies e suas possíveis interlocuções com a Teoria Queer como aporte teórico, foram realizadas entrevistas com três mulheres trans deficientes, sendo elas: duas portadoras de deficiência física e uma sensorial. Utilizou-se para a coleta de dados do método de História Oral Temática (Meihy, 1996). As análises de narrativas foram organizadas conforme a metodologia de Análise Textual Discursiva, destacando as categorias que recebem destaque na fala, constituindo 3 eixos de análise: (1) O transito como transgressão: da dificuldade de locomoção ao gênero itinerante. (2) O olhar como fonte de escárnio, reconhecimento e desejo. (3) A mulher como poder. Esta pesquisa possui um caráter qualitativo e exploratório, e tem como pretensão, ampliar e fomentar novas produções e discussões relacionadas às noções de feminilidade, corpo e sexualidade a partir da subjetividade trans em interface com a deficiência. / The transsexual experience is a highlighted theme in the current academic context, being portrayed as a complex phenomenon, which presupposes an incompatibility between gender and biological sex. By questioning the binary sex/gender model, it is allowed to question the scientific speeches wrapped in body naturalization presumptions. Disability, out of rehabilitative model, would represent, per se, a transgressions of the “anatomic order”, even if recognized by the biomedical model as the result of a flaw, either congenital or acquired, that will affect the “normal” functioning of the body or of some of its parts. The perception of both bodies acquire new outlining when facing the reading of Judith Butler, for whom the place of pathologization and abjection conferred to these experiences are the result of speech practices that establish power relations that act upon the bodies. Reflecting upon the multiple possibilities of experiences, understood on the basis of feminine, and considering the subordinate position conferred to these bodies in the face of the hegemonic rules, this work aims to create a space of narrative and analysis for an experience that has been little explored academically: the subjective experience of disabled trans women. Focusing, specially, on the disability studies and its possible interlocutions with the Queer theory as theoretical basis, interviews with three disabled trans women were made, being them: two physically disabled women and a sensorial disabled one. For data collection, we made use of the Thematic Oral History method (Meihy, 1996).The analyses of the narratives were organized according to the Discursive Textual Analysis, highlighting the categories that are prominent in the speech, constituting 3 analysis axes: (1) Transit as transgression: from walking difficulties to the itinerant genre. (2) The eyes as a source of scorn, recognition, and desire. (3) The woman as power. This research has a qualitative and exploratory nature, intending to expand and foment new works and discussions regarding the notions of femininity and sexuality from the interface between transgender subjectivity and disability

This work has the goal of learning about the homosexual experience inside the Inclusive Missionary Church – the first inclusive community of Alagoas located in the district of Poço, in the city of Maceió. Looking at some aspects of a christian morality, this work, through the usage of a case study, problematizes the human conflicts that exist inside the denomination and the process of building of its identity. As of the moral aspect, it is possible to perceive that the speech of the church shows a view of social adequacy, in an attempt of teaching a new perception about the homosexuality. This new perception, a sanctified one, guides the action of the individuals inside this space. The frequent search for social acknowledgment keeps the social actors of this church adapting their actions, all the time, to a christian worldview, reproducing, in many aspects, elements of a heteronormative segment, but meanwhile unlinking themselves from a biological-determinist discourse. Therefore it is possible to see as much elements of control of bodies and behaviors as means of sexual emancipation, especially with the belief of the freedom-of-speech, of the construction of emotional relationships guided by a matter of intimate preference. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho tem como objetivo apreender a vivência homossexual dentro da Igreja Missionária Inclusiva - primeira comunidade cristã inclusiva de Alagoas situada no bairro do Poço, na cidade de Maceió. Observando aspectos de uma moralidade cristã, o trabalho, por meio de um estudo de caso, problematiza os conflitos humanos existentes dentro da denominação e o processo de construção de sua identidade. Quanto ao aspecto moral, constatou-se que o discurso da igreja transmite uma visão de adequação social, na tentativa de imprimir uma nova percepção acerca da homossexualidade. Essa nova percepção, santificada, norteia a ação dos indivíduos dentro desse espaço. A constante busca por reconhecimento social faz com que os atores sociais, desta igreja, estejam a todo o momento adequando suas ações a uma cosmovisão cristã, reproduzindo, em muitos aspectos, elementos de um segmento heteronormativo, mas ao mesmo tempo, desvinculando-se de um discurso biológicodeterminista. Portanto é possível enxergar tanto elementos de controle dos corpos e condutas como também meios de emancipação sexual, sobretudo com a crença da livre-expressão, da construção de relacionamentos afetivos pautados por uma questão de gosto íntimo.

A presente pesquisa busca empreender um mapeamento de produções cinematográficas, nacionais e internacionais, que abordam a transgeneridade. A partir desse procedimento, observamos as regularidades que emergiram desse conjunto de produções. Objetivamos traçar um percurso que inscreve esse esforço num plano micropolítico, uma vez que interroga criticamente as práticas comunicacionais e discursivas do cinema hegemônico. Para tanto, exploramos aproximações e tensionamentos provocados pelos estudos queer considerando, aqui, que é esse conjunto de noções que melhor dá conta de pensar a condição trans enquanto um deslocamento que se impõe ao sistema binário masculino/feminino e, como consequência, ao sistema sexo/gênero. Esse percurso conduzido, ainda, sob um viés discursivo/foucaultiano, traz como implicação um profundo questionamento daquilo que configura o humano ao interrogar os biopoderes, os limites do corpo e os regimes de verdade que o produzem. Desse modo, essa pesquisa guia-se pela seguinte questão: como se configuram os discursos que produzem e expressam os corpos trans no cinema? Partimos das análises dos filmes Meninos Não Choram (1999), Tomboy (2011), Num Ano de 13 Luas (1978), Tirésia (2003), Lado Selvagem (2004), Vera (1987), Tangerine (2015), Paris is Burning (1991) para examinar as regularidades observadas, supondo ser possível interrogar as condições de possibilidade de novas formas de expressar a transgeneridade, no sentido de configurar linhas de fuga significativas para as audiovisualidades. / The present research seeks to undertake a mapping of cinematographic productions, national and international, that deal with transgender characters. From this procedure, we observe the regularities that emerged from this set of productions. We aim to trace a path that inscribes this effort in a micropolitical plan, since it critically questions the communicational and discursive practices of hegemonic cinema. To do so, we explore approximations and tensions provoked by queer studies, considering here it is this set of notions that best account for thinking the trans condition as a displacement that imposes itself on the male / female binary system and, as a consequence, on the sex / gender system . This course, conducted even under a discursive / Foucaultian bias, entails a deep questioning of what constitutes the human being when interrogating biopowers, the limits of the body and the regimes of truth that produce it. Thus, this research is guided by the following question: how are the discourses that produce and express trans bodies in cinema? We start from the analysis of the films Boys Don’t Cry (1999), Tomboy (2011), In a Year of 13 Moons (1978), Tiresia (2003), Wild Side (2004), Vera (1987), Tangerine (2015) and Paris is Burning (1991) to examine observed regularities, assuming that it is possible to interrogate the conditions of possibility of new ways of expressing transgender experiences, in order to configure significant escape lines for audiovisuals.

Reflexões provocativas já foram produzidas na intersecção dos estudos de gênero e sexualidade (na perspectiva pós-estruturalista) com o campo da educação e estudos culturais, que ajudam a mostrar o caráter aprendido dos modos de ser homem e mulher em nossa sociedade. Utilizamos nesta pesquisa a categoria pedagogias de gênero e sexualidade, proposta por Guacira Louro, para analisarmos de que forma diferentes artefatos culturais ensinam e reiteram determinadas normas referentes ao feminino e masculino e como estes mesmos artefatos possibilitam mudanças e possibilidades de subversão das normas. Propomos a análise de entrevistas concedida por Laerte, cartunista que tem ganhado notoriedade e visibilidade midiática por suas experimentações éticas, estéticas e políticas em relação a gênero e sexualidade, discutindo que questionamentos das normas se abrem ou se reproduzem a partir disto por meio da problematização e multiplicação destes conceitos e fragmentação das dicotomias. Tomamos este “caso” como um artefato cultural – Laerte na mídia – e, portanto, como um local privilegiado para lançarmos um olhar a respeito da sociedade brasileira em relação às questões que envolvem gênero, sexualidade e corpo na medida em que isso gera repercussão e muito interesse por parte da imprensa. Também porque se debruça sobre um modo de vida considerado “estranho”, inusitado ou “anormal”. Sendo assim, acreditamos que ao lançarmos nosso olhar para as margens, muito compreendemos sobre o centro e também a respeito da constituição destas fronteiras e dos seus possíveis atravessamentos, ou seja, das possibilidades de transgressão e subversão das normas que constituem o sistema heteronormativo vigente. / Provocative reflections have already been produced in the intersection of gender and sexuality studies (according to post-structuralism perspective) with the education and cultural studies field, which help show the learned character of the ways to be a man and a woman in our society. Gender pedagogies purposed by Guacira Louro were used in this research in order to analyze how different cultural artifacts teach and reiterate particular norms referred to the feminine and the masculine and also how these very artifacts make possible changes and possibilities of norms subversion. Interview analyzes conceived by Laerte, cartoonist who has been gaining media notoriety and visibility due to his ethical, esthetical and political experiences related to gender and sexuality, are purposed, discussing which norm questionings open or reproduce themselves from it through problematisation and multiplication of such concepts as well as the dichotomies fragmentations. This “case” is assumed to be a cultural artifact – Laerte on media – and, therefore, as a privileged place to launch a look about the Brazilian society related to the issues which involve gender, sexuality and body in the media in such extension which generates repercussion and a great interest from the press. It is also because it focuses on a way of life considered “strange”, unusual or even “abnormal”. Thus, it is believed that, once launching our look to the margins, much will be understood about the center and also about the constitution of these boarders and its possible crossings, that is to say, of the transgression and subversion possibilities of the norms which constitute the heteronormative active system.