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[ES] En esta investigación proponemos abordar diferentes vínculos entre sexualidad e informática, a través de una lectura queer de la historia computacional tras una selección de diferentes episodios o casos. Para ello utilizamos la estrategia de una "genealogía queer" como una apropiación desviada de la noción de "genealogía" tal como la estableció Foucault en su lectura de Nietzsche, es decir, como un tipo de metodología, posicionamiento o punto de vista para acercarse críticamente a un objeto en su desarrollo temporal, contraponiéndose a la forma hegemónica en la que ese objeto ha sido tradicionalmente descrito o pensado. En este caso, el modo hegemónico en que se ha abordado la informática y los algoritmos es el de una supuesta neutralidad matemática en relación con los sistemas de sexo/género y la heteronormatividad. Al tratarse de una genealogía, también se supera la lógica lineal y sistemática propia del análisis histórico. La apertura genealógica tolera estiramientos temporales radicales, lo que permite abarcar episodios o casos siguiendo una temporalidad amplia y discontinua. El primer núcleo temporal y situado realiza una lectura sexodisidente a un tipo singular de tecnología informática indígena: los "quipus" andinos, especialmente en torno a su opacidad informática producto de la violencia colonial. El segundo núcleo temporal de los casos se concentra en la primera mitad del siglo XX, cuando el uso informático de los algoritmos computacionales comienza a ser teorizado y aplicado. En primer lugar, abordamos las teorizaciones del matemático y criptógrafo inglés Alan Turing, quien fuera condenado legalmente por su homosexualidad. En este núcleo también revisamos la primera imagen computacional conocida del proyecto SAGE de la fuerza aérea norteamericana, una chica pin-up programada en esos computadores militares y visible en una fotografía polaroid de fines de la década del 50 del siglo XX. El tercer núcleo corresponde a la década de los 80 del siglo XX hasta la actualidad, en que ese uso de la tecnología algorítmica computacional ha alcanzado un desarrollo que podríamos denominar "hegemónico", desde los prototipos computacionales para la creación de perfiles de usuario hasta proyectos recientes que utilizan redes neuronales artificiales para descifrar la sexualidad de personas en base a fotografías de rostro. También las disputas más recientes sobre el alcance de los algoritmos en relación con la política y el arte queer y feminista. / [CA] En aquesta investigació proposem abordar diferents vincles entre sexualitat i informàtica, mitjançant una lectura queer de la història computacional després d'una selecció de diferents episodis o casos. Per això utilitzem l'estratègia d'una "genealogia queer" com una apropiació desviada de la noció de "genealogia" tal com la va establir Foucault en la lectura de Nietzsche, és a dir, com un tipus de metodologia, posicionament o punt de vista per apropar-se críticament a un objecte en el seu desenvolupament temporal, contraposant-se a la forma hegemònica en què aquest objecte ha estat tradicionalment descrit o pensat. En aquest cas, la manera hegemònica en què s'ha abordat la informàtica i els algoritmes és una suposada neutralitat matemàtica en relació amb els sistemes de sexe/gènere i l'heteronormativitat. Com que es tracta d'una genealogia, també se supera la lògica lineal i sistemàtica pròpia de l'anàlisi històrica. L'obertura genealògica tolera estiraments temporals radicals, cosa que permet abastar episodis o casos seguint una temporalitat àmplia i discontínua. El primer nucli temporal i situat realitza una lectura sexodissident a un tipus singular de tecnologia informàtica indígena: els quipus andins, especialment al voltant de la seva opacitat informàtica producte de la violència colonial. El segon nucli temporal dels casos es concentra a la primera meitat del segle XX, quan l'ús informàtic dels algorismes computacionals comença a ser teoritzat i aplicat. En primer lloc, abordem les teoritzacions del matemàtic i criptògraf anglès Alan Turing, que fos condemnat legalment per la seva homosexualitat. En aquest nucli també revisem la primera imatge computacional coneguda del projecte SAGE de la força aèria nord-americana, una noia pin-up programada en aquests computadors militars i visible en una fotografia polaroid de finals de la dècada del 50 del segle XX. El tercer nucli correspon a la dècada dels 80 del segle XX fins a l'actualitat, en què aquest ús de la tecnologia algorítmica computacional ha aconseguit un desenvolupament que podríem anomenar "hegemònic", des dels prototips computacionals per a la creació de perfils d'usuari fins a projectes recents que utilitzen xarxes neuronals artificials per desxifrar la sexualitat de persones sobre la base de fotografies de rostre. També les disputes més recents sobre l'abast dels algorismes en relació a la política i l'art queer i feminista. / [EN] In this research we propose to address different links between sexuality and computing, through a queer reading of computational history after a selection of different episodes or cases. For this we use the strategy of a "queer genealogy" as a misappropriated appropriation of the notion of "genealogy" as established by Foucault in his reading of Nietzsche, that is, as a type of methodology, positioning or point of view to critically approach to an object in its temporal development, opposing the hegemonic way in which that object has traditionally been described or thought. In this case, the hegemonic way in which informatics and algorithms have been approached is that of a supposed mathematical neutrality in relation to sex/gender systems and heteronormativity. As it is a genealogy, the linear and systematic logic of historical analysis is also overcome. The genealogical opening tolerates radical temporal stretching, which makes it possible to cover episodes or cases following a wide and discontinuous temporality. The first temporal and situated nucleus performs a sex-dissident reading of a unique type of indigenous computer technology: the Andean "quipus", especially around their computer opacity as a result of colonial violence. The second temporal nucleus of the cases is concentrated in the first half of the 20th century, when the computer use of computational algorithms begins to be theorized and applied. In the first place, we address the theories of the English mathematician and cryptographer Alan Turing, who was legally convicted of his homosexuality. In this core we also review the first known computational image of the US Air Force's SAGE project, a pin-up girl programmed in those military computers and visible in a polaroid photograph from the late 1950s. The third nucleus corresponds to the 1980s up to the present, in which the use of computational algorithmic technology has reached a development that we could call "hegemonic", from computational prototypes for the creation of user profiles to projects recent ones that use artificial neural networks to decipher the sexuality of people based on photographs of their faces. Also the most recent disputes about the reach of algorithms in relation to queer and feminist politics and art. / Rivas Sanmartín, F. (2022). Una genealogía queer de los algoritmos computacionales [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/187463 / TESIS

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

The aim of this study is to make visible and analyze how male subordination is described and which ideals of masculinity are highlighted as worthy of aspiration in material from internet personality Andrew Tate. The material consists of interviews and podcasts that are available on the internet. The analysis draws on a qualitative content analysis, in which three feminist perspectives are used as an analytical lens for interpreting the material: liberal feminism, radical feminism and queer theory. The results show that male subordination is described as coming from an inverted gender order, a matriarchy, as well as inherent differences between the nature of the sexes that inhibit men. Among these inherent differences is a male sense of duty and a societal view of male value as lower than female. The results also show that violence, dampening of emotions, and money constitute masculinity traits that are highlighted as desirable. Tate's view of male subordination and ideals of masculinity is characterized by a tendentious argument that collides with the three feminist perspectives. Thus, it is possible to understand Tate's approach as anti-feminist, which is consistent with research on, among other things, the Manosphere that Tate can be connected to.

Under the hopeful atmosphere of Turkey's accession to full membership to European Union, Turkey became oriented towards realizing extensive legal and constitutional amendments, as well as juridical reforms in restructuring the contemporary body of law and judicial institutions based on the promise of strengthening access to justice mechanisms and improving human rights laws and practices in Turkey that was shaped by the discourses of democratic governance, rule of law, and economic progress. At the beginning of the second decade of 2000, the affective atmosphere in Turkey abruptly changed by a series of national and international crises, leading into an impasse in the ordinary life in Turkey. This dissertation aims to examine the promise of legal change as the history of the present of law and legal practice in Turkey. Focusing on everyday personal and professional practices of avukats (attorneys) in addressing the legal issues of gender and sexuality, I explore how the narratives of legal change historically inform the aesthetic formation of the contemporary body of law, as well as the differences between ordinary and professional bodies. Building on theories of affect and queer theories, I argue that the law constitutes both a historical site of socio-cultural belonging and an everyday social space within and through which professional bodies become oriented towards generating the possibilities of socio-legal change, depending how their personal and professional experiences and encounters shape their everyday legal practices and how they reside within judicial and professional positionalities in practicing the law. / Doctor of Philosophy / Starting from early 2000s, the contemporary body of law and judicial institutions underwent drastic changes, which accelerated by Turkey's accession to full membership to European Union. Under the discourses of democratic governance, rule of law, and economic progress, Turkey realized extensive legal and constitutional amendments, as well as juridical reforms with an emphasis on strengthening access to justice mechanisms and improving human rights laws and practices in Turkey. A series of national and international crises, which broke out at the begging of the second decade of 2000s, led Turkey to enter into a political and economic deadlock. In this dissertation, I examine the historical meanings attributed to the body and practice of law in discussing how the legal professional bodies are affected from the recent crises. Focusing on everyday personal and professional practices of avukats (attorneys) in addressing the legal issues of gender and sexuality, I explore how the historical narratives concerning legal change shaped the conventions of the form and content of the law, as well as the differences between the personal and professional identities. I argue that law constitutes a historical site in which socio-cultural norms and hierarchies are negotiated and a social space within and through which professional bodies negotiate the possibilities of social change, depending on how they shape their everyday personal and professional practices and how they position themselves within judicial and professional relations.

Thesis advisor: Patrick Proctor / Jacqueline Woodson has been writing for children, young adults, and adults for thirty-two years. She has won numerous national and international awards for her writing for young people. Her books grapple with topics like teen pregnancy and incarceration with sensitivity and compassion. Her young adult literature deserves closer examination for their potential as instructional tools for English teachers. The purpose of this dissertation was to explore the history of African American children’s literature, the nature of Woodson’s contribution to contemporary African American young adult literature, and to make direct links to teaching Woodson’s YA literature in contemporary high school English classrooms. To these ends, this dissertation has three analytic chapters. In Chapter One, I present a history of African American children’s literature to situate Jacqueline Woodson’s work in the tradition of African Americans writing culturally and racially affirming text for Black children. The chapter highlights Black women who were actively writing during the Harlem Renaissance, the Chicago Black Renaissance, and the Black Arts Movement, and whose work undergirds much of Jacqueline Woodson’s success. Specifically, I highlight the works of Jessie Fauset, Effie Lee Newsome, Gwendolyn Brooks, June Jordan, and Virginia Hamilton. In Chapter Two, I analyze a set of young adult literature written by Jacqueline Woodson. Specifically, I analyzed 10 of Woodson’s YA texts with Black girl protagonists through the lenses of Black Feminist Thought, Black Queer Theory, and Black English. I identified three themes that ran through Woodson’s work and were related to the theoretical lenses: (1) claiming and naming oneself, (2) finding community and belonging, and (3) remembering. Finally, in Chapter Three I provide four sample unit plans derived from the analyses in Chapters 1 and 2. The first unit plan uses Woodson’s text as a mentor text for student self-reflection. The second unit pairs Woodson’s text with a text written by Virginia Hamilton to understand the impacts of coal mining. The third unit uses Black Feminist Thought to analyze and compare one of Woodson’s texts with an adult text written by a Black woman. In the final unit plan, students study Woodson’s memoir in verse to understand how authors use their own lived experiences to create stories. / Thesis (PhD) — Boston College, 2022. / Submitted to: Boston College. Lynch School of Education. / Discipline: Teacher Education, Special Education, Curriculum and Instruction.

No / Leadership has proved impossible to define, despite decades of research and a huge number of publications. This article explores managers’ accounts of leadership, and shows that they find it difficult to talk about the topic, offering brief definitions but very little narrative. That which was said/sayable provides insights into what was unsaid/ unsayable. Queer theory facilitates exploration of that which is difficult to talk about, and applying it to the managers’ talk allows articulation of their lay theory of leadership. This is that leaders evoke a homoerotic desire in followers such that followers are seduced into achieving organizational goals. The leader’s body, however, is absent from the scene of seduction, so organizational heteronormativity remains unchallenged. The article concludes by arguing that queer and critical leadership theorists together could turn leadership into a reverse discourse and towards a politics of pleasure at work.

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The diploma thesis The Role of Travesty Show in Media Culture is concerned with a question if we can find some similarities between the way how media presents travesty show and the way how people think and talk about this kind of entertainment. As a research method I chose qualitative content analysis and questionnaire. Theoretical part focuses on explanation of technical terms, history of homosexuality, queer culture, queer theory, travesty show and history. In practical part I will create concrete codes from qualitative content analysis and from these codes I will make categories. Part of practical part is also a questionnaire. In the end of this thesis I will compare the codes from qualitative content analysis with the answers from the questionnaire. And based on this comparison I will find out if there exist any similarities between the way how media presents travesty show and the way how people think and talk about this kind of entertainment.