Contemporary queer critiques are interested in the ways queer politics undergo certain shifts and warn us about their neoliberal/homonationalist turn. In Greece, research in this area is very limited although many events pertaining to LGBTQI+ issues are happening lately (having the first openly gay man as an opposition party leader, the same-sex marriage bill, and EuroPride) which remain unproblematized. From an intersectional and queer feminist perspective, this thesis’ aim is to explore the ways queer activists in Greece understand, address, and negotiate issues pertaining to identity, oppression, and resistance in the formation of queer politics in Greece. Via five semi structured interviews with queer activists and using thematic analysis, it was revealed that participants discussed how certain hierarchies among the queer identities arise, with the cisgender, masculine, white, beautiful, rich, gay man enjoying most privileges alongside the marginalization of trans experiences and the incorporation of Europeanness into queerness. The study examines how these identity intersections reveal new normativities within the queer movement and raise questions about homonationalism and neoliberal LGBTQI+ politics in Greece, creating new and different forms of oppression that require rethinking resistance. The need for an intersectional understanding of identity - oppression – resistance is emphasized, recognizing the interconnectedness of various oppressive systems such as capitalism, patriarchy, neoliberalism, and racism. The thesis suggests that identity-based mobilization should be viewed as an ongoing process rather than an end goal, advocating for a continuous re-evaluation of what it means to be queer in the Greek contex.

Syftet med denna uppsats är att fokusera de queera ögonblicken i J.R.R. Tolkiens trilogi The Lord of the Rings för att visa att det queera finns i kulturen på samma sätt som det icke-queera. När är de två hobbitarna Frodos och Sams relation queer? Vad gör den queer? Hur kan vi förstå denna queerhet i termer av homosocialitet och homoerotik? Uppsatsen är inspirerad av Tiina Rosenbergs queera läsningar, jag använder mig dessutom av Adrienne Richs teori om "lesbisk kontinuitet" och Sedgwicks resonemang om manligt homosocialt begär. Jag har kommit fram till att Frodos och Sams relation rör sig mellan mer och mindre queerhet. Då den inte är statisk kan den inte förstås som renodlat homosocial eller homoerotisk. Däremot kan den ses som en del av en manlig samkönad kontinuitet, vilken inkluderar allt ifrån homosocialitet till homoerotik.

This thesis aim was to find the answer the following research question: What do queer gamers think of the game Monster Prom. The material gathered for this thesis was through a participant observation with four people from the LGBTQIA+ community playing the game Monster Prom and a subsequent focus group interview with these people. The material was analysed using Queer Game Studies research. In this paper I came to the conclusion that representation does matter to queer gamers. According to my interviewees, there is a need for representation in games and that it needs to be diverse and made undramatic. The interviewees brought forward how and why this design of an avatar system gives the player freedom, queer possibilities, and being positively received by queer players. The interviewees also brought forward how and when one should/shouldn't write a story surrounding the representation of queer oppression from a queer player´s point of view.

I will focus on the resistance to white heteronormative depictions of the American family occurring within two contemporary films directed by gay black men—The Skinny, directed by Patrik-Ian Polk, and The Happy Sad, directed by Rodney Evans. These movies complicate understandings of black gay male relationships by humanizing the characters and providing clarity about the motivations behind the decisions these characters make. As opposed to simply associating their queerness and immorality, the directors of these films explore what brings people to the various social positions they occupy. In this way, these directors resist the tendency to pathologize either blackness or queerness (and blackness/queerness at the expense of one another). The films I use do not structure family through the heteronormative model of relationships. Of there is no sight or mention of actual biological family members. Despite these factors, the groups of people presented in these films display their love and affection for each other in ways that resist monolithic narratives about queer kinship. Additionally, I will argue that these narratives regarding black homosexuality are not attempting to fit inside the mold of the racialized patriarchal determinants of the family.

Made available in DSpace on 2016-03-15T19:44:45Z (GMT). No. of bitstreams: 1 Anton Castro Miguez.pdf: 2902339 bytes, checksum: 09ac5e280bc80ac78fc4c99855d956e7 (MD5) Previous issue date: 2014-09-02 / Universidade Presbiteriana Mackenzie / A pesar de los avances presentes en los Parámetros Curriculares Nacionales (PCN), la escuela aún trabaja las cuestiones de géneros y sexualidades desde una perspectiva binaria y esencialista, desde bases heteronormativas, lo que se refleja, también, en la enseñanza/aprendizaje de lenguas extranjeras. Muchas de las verdades que circulan en los discursos escolares/institucionales aún se perciben como datos a-históricos y representación de la naturaleza, aunque las categorías identitárias, según la perspectiva de los estudios queer, son construcciones histórico-culturales, por lo que no hay ni género ni sexualidades naturales, lo que les atribuye carácter transitorio, contingente, inestable y heterogéneo. La propuesta de este trabajo es queerizar la enseñanza/aprendizaje de lenguas extranjeras en el contexto escolar, a partir de una discusión/propuesta teórico-metodológica una lingüística aplicada queer construida por medio de la intersección de los estudios queer y de la lingüística aplicada, en el sentido de: (re)pensar nuevos enfoques para el trabajo con géneros y sexualidades en las clases de lenguas extranjeras, entre ellas, la incorporación del cine queer, presentada y discutida en este trabajo; proponer una nueva perspectiva para la producción de materiales didácticos más consonantes al nuevo rol que desempeñan las lenguas extranjeras en el contexto escolar; bien como señalar la importancia de la introducción de esos temas en la pauta de los currículos de los cursos de formación y capacitación de profesorxs de lenguas. Para tanto, juntamente a la reflexión teórico-metodológica, se ha buscado conocer las percepciones/discursividades de alumnxs de Licenciatura en Letras sobre géneros y sexualidades, a partir de sus intervenciones en un grupo de discusión. Los discursos y percepciones de lxs informantes, a partir de la mediación fílmica propuesta (cine queer), han revelado, a lo largo de las discusiones, dislocamientos y cambios de perspectiva respecto a las cuestiones propuestas. Si, inicialmente, se mostraban aún enredadxs a la lógica de la heteronorma, durante el proceso, fueron dándose cuenta de la fragilidad, inestabilidad y transitoriedad de las categorías identitárias y de la necesidad de problematizar/desconstruir los binarismos y esencialismos aún vigentes. En el último capítulo, presentamos una propuesta de trabajo con la película La mala educación (Pedro Almodóvar, 2004), desde la perspectiva de la lingüística aplicada queer. / Apesar dos avanços presentes nos Parâmetros Curriculares Nacionais (PCN), a escola ainda trabalha as questões de gêneros e sexualidades em uma perspectiva binária e essencialista, em bases heteronormativas, o que se reflete também no ensino de línguas estrangeiras. Muitas das verdades que circulam nos discursos escolares/institucionais ainda são percebidas como dados a-históricos e representação da natureza, embora as categorias identitárias, segundo a perspectiva dos estudos queer, sejam construções histórico-culturais, não havendo, portanto, nem gêneros nem sexualidades naturais, o que lhes atribui caráter transitório, contingente, instável e heterogêneo. A proposta deste trabalho é queerizar o ensino de línguas estrangeiras no contexto da escola regular, a partir de uma discussão/proposta teórico-metodológica uma linguística aplicada queer construída por meio da intersecção e do entrecruzamento dos estudos queer e da linguística aplicada, no sentido de: (re)pensar novas abordagens para o trabalho com gêneros e sexualidades nas aulas de línguas estrangeiras, entre elas a incorporação do cinema queer, apresentada e discutida neste trabalho; propor uma nova perspectiva para a produção de materiais didáticos mais consoantes ao novo papel que desempenham as línguas estrangeiras no contexto escolar; bem como sinalizar a importância da introdução desses temas na pauta dos currículos dos cursos de formação e capacitação de professoras/es de línguas. Para tanto, juntamente à reflexão teórico-metodológica, procurou-se conhecer as percepções/discursividades de alunas e alunos de licenciatura em Letras sobre gêneros e sexualidade, a partir de suas intervenções em um grupo de discussão. Os discursos e percepções das/os informantes, a partir da mediação fílmica proposta (cinema queer), foram revelando, ao longo das discussões, deslocamentos e mudanças de perspectiva em relação às questões propostas. Se, inicialmente, mostravam-se ainda presas/os à lógica da heteronorma, durante o processo, foram percebendo a fragilidade, instabilidade e transitoriedade das categorias identitárias e a necessidade de problematizar/desconstruir os binarismos e essencialismos ainda vigentes. No último capítulo, apresentamos proposta de trabalho com o filme Má educação (Pedro Almodóvar, 2004), desde a perspectiva da linguística aplicada queer.

This research project explores two particular approaches to playwriting, autofiction and collective creation, in order to examine how the dramaturgical process can be “queered” through combining methods of creation in unconventional ways. The thematic content of the resulting theatrical text focuses on the intersection of queer/trans identities and bilingualism, specifically through a Franco-Canadian lens, as well as the notions of utopias and futurities in queer contexts. By employing these two methodologies simultaneously and blurring the lines between the individual and the collective, the texts developed through group writing sessions explore the inherent liminality of queer/trans bilingual identities, both in time and in space. To be queer, non-binary and bilingual is to embody duality, disrupt binaries, and exist in grey areas; this same liminal space is central to my exercise both in process and in content. Thus, the object of this study is queer dramaturgy itself, or in other words, the process of writing “queerly,” not just about queerness. The combination of methodologies transgresses the boundaries of the conventional dramaturgical process and aligns itself with queer Practice as Research theories, proposing approaches to playwriting that “are set against the dominant modes of representation and are shaped through forms that are on the fringe and boundaries of disciplines” (Campbell and Farrier, Queer Dramaturgies, p. 7). This project also investigates what trans and non-binary identity means within Franco-Canadian communities, and the relationship between language and gender identity. Furthermore, notions of queer temporality play an important role in the project, given the complex and often conflicting investments that both queer and Franco-Canadian communities have in history and futurity. Through an analysis of Mani Soleymanlou’s works Un. Deux. Trois. and 2042 as case studies of autofictional theatre, collective creation, and utopian performance, as well as the results from a series of writing sessions conducted with multilingual non-binary and trans participants, this research project aims to shed light on these fascinating intersections of identity and process that have thus far rarely been explored. /// Ce projet de recherche explore deux approches dramaturgiques distinctes, soit l'autofiction et la création collective, afin d'examiner comment le processus dramaturgique peut devenir « queer » en combinant des méthodes de création de manière non conventionnelle. Le contenu thématique du texte théâtral qui en résulte se concentre sur l'intersection des identités queer/trans et du bilinguisme, tout particulièrement dans une perspective franco-canadienne, ainsi que sur les notions d’utopies et de futurs possibles dans des contextes queers. En employant ces deux méthodologies simultanément et en brouillant les lignes entre l'individu et le collectif, les textes développés lors des sessions d'écriture de groupe explorent la liminalité inhérente aux identités bilingues queer/trans, à la fois dans le temps et dans l'espace. Être queer, non-binaire et bilingue, c'est incarner la dualité, remettre en question la binarité et exister dans des zones grises. C’est justement cet espace liminal qui est au cœur de mon projet de recherche, à la fois dans le processus et dans le contenu. Ainsi, l'objet de cette étude est la dramaturgie queer comme telle, ou, en d'autres mots, comment on peut créer d’une manière « queer » en plus d’écrire sur un propos queer. La combinaison des méthodologies transgresse les frontières du processus dramaturgique conventionnel et s'aligne sur les théories de la recherche-création queer (Queer Practice as Research), proposant des approches à la dramaturgie « set against the dominant modes of representation and are shaped through forms that are on the fringe and boundaries of disciplines » (Campbell et Farrier, Queer Dramaturgies, p. 7). Ce projet examine également les notions d'identité trans et non-binaire au sein des communautés franco-canadiennes, ainsi que la relation entre la langue et l'identité de genre. De plus, les notions de temporalité queer jouent un rôle important dans le projet, étant donné les investissements complexes et souvent conflictuels que les communautés queer et franco-canadiennes ont par rapport à l'histoire et à l’avenir. À travers une analyse d’œuvres mises en scène par Mani Soleymanlou (Un. Deux. Trois. et 2042) comme études de cas de théâtre autofictionnel, de création collective et de performance utopique, ainsi que les résultats d'une série de séances d'écriture menées avec des participant∙e∙s plurilingues non-binaires et trans, ce projet de recherche vise à mettre en lumière ces intersections fascinantes de l'identité et des processus créatifs qui ont jusqu'à présent été rarement explorées.

Bisexualitet och pansexualitet har osynliggjorts både inom HBTQ-rörelsen och inom forskningen. Syftet med min uppsats är att undersöka hur kvinnor som har förmågan att attraheras sexuellt och/eller romantiskt av fler än ett kön upplever olika rum och temporaliteter för att förstå osynliggörandet av bi/pansexualitet. Denna undersökning utgår från ett fenomenologiskt perspektiv. För att undersöka detta har jag gjort en intervjustudie med tre kvinnor som orienterar sig som bisexuella och pansexuella. Analysen har visat på att informanterna använder sig av begreppen bisexualitet och pansexualitet som ett verktyg som hjälper dem att navigera mellan rä(t)ta och queera livslinjer. Osynliggörandet av bisexualitet och pansexualitet är ett resultat av att nuet innehar en hegemonisk position i förståelsen av sexuella orienteringar. Det innebär att informanternas sexuella orienteringar förstås av omvärlden utifrån ifall de är i en monogam relation eller ej och vilket kön partnern isåfall har. Jag har även undersökt informanternas rörelse mellan heteronormativa och queera temporaliteter och kommit fram till att det finns möjlighet att följa båda. De bisexuella och pansexuella orienteringarna tillgängliggör till viss del queer temporalitet för informanterna. Vilken temporalitet informanterna följer begränsas även det av det hegemoniska nueteftersom en följer olika livslinjer beroende på om en har partner och vilket kön partnern har. Slutligen har jag kommit fram till att det hegemoniska nuet även påverkar informanternas upplevelser av att röra sig i olika heteronormativa och queera rum. Det är inte helt självklart att de har möjlighet att ta plats i varken heteronormativa eller queera rum eftersom de sällan är formade efter bisexuella och pansexuella kroppar. Det finns olika sorters queera rum, varav några fåtal är formade efter bi/pansexuella kroppar och i de rummen uttryckte informanterna att de kunde känna sig trygga. Således var de hemmavarande där.

This essay provides a queer theoretical, non-biographic reading of Karin Boye's novel Crisis from 1934. The analysis aims to focus on how Christian faith, constituting a major part of the book, can be connected to and be read as a symbol of heteronormativity. Furthermore the analysis describes how the queer aspect in the novel reveals heteronormative and intersectional structures. The investigation is set against previous research on Boye’s literary works, and other queer theoretical texts to show how the protagonist Malin Forst’s queer desire and identity develops as opposed to authoritative voices present in her life.

Cette thèse s’inscrit dans le champ de la géographie des sexualités et contribue plus précisément au champ des géographies queers. Elle étudie la manière dont sont pensés les lieux queers en commençant par les définir, explorant la manière dont ils s’organisent de manière rhizomatique. Les personnes queers créent des lieux à travers des constellations de personnes qui se regroupent autour d’un rapport spécifique au genre et à la sexualité ainsi qu’autour d’un discours politique queer. Après avoir fait l’archéologie de ces milieux, une étude sera menée sur la violence que vivent les personnes queers dans l’espace public jusque dans les espaces privés. La violence systémique est décrite par l’analyse des rapports de domination et des normes. Les violences intracommunautaires sont ensuite étudiées. L’auteur.e propose finalement une critique des espaces queers sécurisés (safe space) pour proposer une autre conception des lieux par la construction d’espaces bienveillants. La méthodologie de la thèse est fondée sur l’observation participante, l’auto-ethnographie ainsi qu’un questionnaire et des entretiens venant compléter les sources. Un accent a été mis sur la réflexivité de la recherche, notamment sur le travail émotionnel que doit faire le chercheur.e face à ce type de terrain. / This thesis is a contribution to the geographies of sexualities and more specifically to queer geographies. It first seeks to understand how queer places are created by the many ways they are defined, though of, and organized in their rhizomatic pattern. Self-defined queer people have indeed a tendency to create places through the gathering of an array of persons who are connected by a particular relationship to gender, sexuality, as well as by the political component of the queer discourse. Focusing next on the “milieux de vie” that emerged from this loose network of places, the research looks at the systematic violence exerted against queer people in the public and private space. This phenomenon is seen and explained through a set of norms and domination patterns occurring at different levels and scales in society. Violence within the communities is finally studied. The author concludes in examining and in offering a critic of the concept of safe space, which lay the ground for the proposal of the construction of espaces bienveillants (derived from the concept of brave place). The study was conducted through participant observations, auto-ethnographic method, on-line surveys and direct conversations. Reflexivity was at the center of the field work, the author insists most notably on the emotional work researcher faces in this type of research.

<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>