Spelling suggestions: "subject:"query literature""
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Match BittenMangus, Paul 27 April 2021 (has links)
No description available.
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Roses and FoxesDelatte, Isabella Imber 29 May 2019 (has links)
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If Lost on the Roads and Other StoriesAlonso, Christopher Rafael 30 May 2018 (has links)
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A Golden Age of Censorship: LGBTQ Young Adult Literature in High School LibrariesOrsborn, Catherine Elizabeth January 2022 (has links)
No description available.
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Chile coliza: cuerpos, espacios discursivos y redes sociales en la literatura y el cine chileno contemporaneo de tematica LGBTQIglesias Pascual, Hector January 2020 (has links)
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As Tall As MonstersBigley, James C., II 16 May 2014 (has links)
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Writing the love of boys: representations of male-male desire in the literature of Murayama Kaita and Edogawa RanpoAngles, Jeffrey Matthew 16 March 2004 (has links)
No description available.
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L de Loca y B de Bugarrón : representación LGBTQ en la producción cultural caribeña (1960-2020)Côté, Olivier 08 1900 (has links)
Mention obtenue: Exceptionelle / Cette thèse s’intéresse à l’inscription des sujets LGBTQ dans les discours dominants et leurs dispositifs dans le cadre de la production culturelle caribéenne récente. Pour ce faire, la recherche se base sur l’autobiographie Antes que anochezca de Reinaldo Arenas; les romans El Rey de La Habana de Pedro Juan Gutiérrez et Masi de Gay Victor; le recueil de nouvelles Mundo cruel de Luis Negrón; la nouvelle « ¡Jum! » de Luis Rafael Sánchez; les poèmes « Young Faggot » et « Surrender » de Faizal (Deen) Forrester; le documentaire Des hommes et des dieux d’Anne Lescot et de Laurence Magloire.
Le point de départ théorique de la thèse st le concept (bio)pouvoir développé par Michel Foucault, soit un réseau de relations de pouvoir omniprésent qui encadre, détermine, crée, définit et limite les sujets à l’aide de discours (tels que l’idéologie ou la religion) et de dispositifs (comme le genre et la sexualité).
Dans un premier temps, la thèse analyse la représentation du corps LGBTQ dans les discours que sont la norme du genre et de la sexualité, la nation et la religion (christianisme et religions syncrétiques afrocaribéennes). Marginalisés par la norme, les corps des sujets LGBTQ sont aussi définis comme étant problématiques par les discours nationaux et religieux.
La thèse traite par la suite de la construction des identités LGBTQ caribéennes, qui sont représentées comme étant fortement dichotomiques et basées sur le rôle sexuel, ainsi que des espaces dans lesquels sont représentés les sujets LGBTQ caribéens. Ceux-ci sont marginaux et fonctionnent comme des hétérotopies.
Finalement, la thèse s’intéresse aux stratégies de survie qui permettent aux sujets LGBTQ caribéens de négocier avec le biopouvoir : la désidentification, l’invisibilité contextuelle et la migration. / This thesis concerns the inscription of LGBTQ subjects in dominant discourses and their apparatus in the context of recent Caribbean cultural production: Antes que anochezca by Reinaldo Arenas, El Rey de La Habana by Pedro Juan Gutiérrez, and Masi by Gary Victor; the collection of short stories Mundo cruel by Luis Negrón; the short story “¡Jum!” by Luis Rafael Sánchez; the poems “Young Faggot” and “Surrender” by Faizal (Deen) Forrester; and finally, the documentary film Des hommes et des dieux by Anne Lescot and Laurence Magloire.
The theorical starting point of this thesis is the concept of (bio)power developed by Michel Foucault: an omnipresent web of power relationships that oversees, determines, creates, defines and limits subjects by means of discourses (such as ideology or religion) and apparatus (like gender and sexuality).
Additionally, the thesis deals with the construction of Caribbean LGBTQ identities, which are represented as strongly dichotomic and based on the sexual role, and with the physical spaces in which Caribbean LGBTQ subjects are represented. These are not only marginal but they function as heterotopies.
Finally, the thesis analyses the survival strategies that allow Caribbean LGBTQ subjects to negotiate with biopower, such as disidentification, (in)visibility, and migration. / Esta tesis se interesa en la inscripción de los sujetos LGBTQ en los discursos dominantes y en sus dispositivos del biopoder en la reciente producción cultural caribeña: Antes que anochezca de Reinaldo Arenas, El Rey de La Habana de Pedro Juan Gutiérrez y Masi de Gay Victor; la colección de cuentos Mundo cruel de Luis Negrón; el cuento “¡Jum!” de Luis Rafael Sánchez; los poemas “Young Faggot” y “Surrender” de Faizal (Deen) Forrester; el documental Des hommes et des dieux de Anne Lescot et de Laurence Magloire.
El punto de partida teórico de esta tesis es el concepto de (bio)poder desarrollado por Foucault, es decir una red de relaciones de poder omnipresente que enmarca, determina, crea, define y limita a los sujetos gracias a discursos (tales como la ideología o la religión) y a dispositivos (como el género y la sexualidad).
Inicialmente la tesis analizará la representación del cuerpo LGBTQ en el discurso de la norma sexual y de género, la nación y la religión (cristianismo y religiones sincréticas afrocaribeñas). Marginalizados por la norma, los cuerpos de los sujetos LGBTQ también son definidos como problemáticos por los discursos nacionales y religiosos.
A continuación, la tesis analiza la construcción de las identidades LGBTQ caribeñas, que son representadas como fuertemente dicotómicas y basadas en el rol sexual, y los espacios físicos en los que son representados los sujetos LGBTQ. Estos son marginales y funcionan como heterotopías.
Finalmente, la tesis deslinda las estrategias de supervivencia que permiten que los sujetos LGBTQ caribeños negocien con el biopoder: la desidentificación, la invisibilidad contextual y la migración.
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Queer genealogies in transnational Barcelona : Maria-Mercè Marçal, Cristina Peri Rossi, and Flavia CompanyTanna, Natasha January 2017 (has links)
This dissertation examines lesbian and queer desire in texts in Catalan and Spanish written in Barcelona, Montevideo, and Buenos Aires from the 1960s to the present. In the texts, desire includes but is not limited to the erotic; it encompasses issues of queer textuality, relationality, and literary transmission. I focus on the works of three authors who have spent the majority of their lives in Barcelona. However, the city appears almost incidentally in their works; the genealogies that the authors trace are transnational. The texts combine literal movement (through exile or diaspora) and a metaphorical sense of being “out of place” that prompts writers to take refuge in writing. I demonstrate that despite depicting affinities beyond the family and nation, the works reveal the persistence of familial and national ties, albeit in spectral or queer ways. Rather than tracing continuous lines of descent that emphasise origins, the works are principally concerned with futurity and fragmentation, as in Michel Foucault’s reading of genealogy. Chapter One on Maria-Mercè Marçal’s La passió segons Renée Vivien (1994) traces a literary genealogy from Sappho to Renée Vivien in fin de siècle Paris to Marçal. The novel represents a merging of literary desire and erotic desire; Marçal’s search for symbolic mothers turns out to be a search for symbolic lovers that is oriented towards the present and future. In Chapter Two, I posit that in Cristina Peri Rossi’s La nave de los locos (1984) “happiness” consists of being open to chance and unpredictability unlike in conventional “happy” scripts in which a valuable life is believed to consist of (heterosexual) marriage, children, and property ownership. In Part II I argue that through fragmentation, allegory, and ambiguity, Peri Rossi’s El libro de mis primos (1969) contests authoritarian discourse without itself becoming a site of hegemonic meaning. In inviting the reader’s collaboration, it ensures authorial legacy. Part I of Chapter Three is an analysis of the temporality of obsession in Flavia Company’s Querida Nélida (1988). I propose that obsession and melancholia may point to a utopian future rather than signalling an entrapment in the past. My study of Melalcor (2000) in Part II suggests that queer forms of relationality that are not centred on procreation and monogamy offer ethical models of sociality. Part III focusses on Company’s return to biological family in Volver antes que ir (2012) and Por mis muertos (2014). The resurgence in these texts of family members who have died signals that just as the queer haunts the family, the family haunts the queer.
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