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yes / There is something queer (by which we mean strange) going on in the scholarly practice of political science. Why are political science scholars continuing to disregard issues of gender and sexuality—and in particular queer theory—in their lecture theatres, seminar rooms, textbooks, and journal articles? Such everyday issues around common human experience are considered by other social scientists to be central to the practice and theory of social relations. In this article we discuss how these commonplace issues are being written out of (or, more accurately, have never been written in to) contemporary political science. First, we present and discuss our findings on citation practice in order to evidence the queerness of what does and does not get cited in political science scholarship. We then go on to critique this practice before suggesting a broader agenda for the analysis of the political based on a queer theoretical approach. / Full text was made available at the end of the publisher's embargo period: 20th Jan 2016

Disney movies are a vehicle for American culture; however, Disney has lagged behind in representing queer people in their films as protagonists. For this reason, critical scholarship is necessary to understand Disney's role in building, replicating or changing culture. Although some critical work on Disney has focused on gender or race, queer theory is underutilized to understand Disney films, especially in the field of communication. Though much research exists on movies from the Disney Renaissance, relatively few have examined the films released in the past decade in a systematic way, focusing on how the movies may be relatable to queer experiences. This analysis combines a queer theory lens and a grounded theory approach to examine where queer people can find their experiences reflected in the most recent Disney movies, even without openly queer protagonists. The study resulted in the formation of six categories that describe instances of queering and queerness in Disney movies: queering of Disney logic, queering of "appropriate" through mature themes, queering of power and violence, villainous queerness, heroic queerness and queer acceptance. Previous literature and the new categories from this study as a whole suggest that the Walt Disney Company is taking small steps to offer more diverse narratives and subvert expectations in ways that allow queer people to read their experiences in the characters on screen. / Master of Arts / Disney movies are a multi-billion dollar industry (Vary, 2020), and the company has taken steps in recent years to feature more diverse storylines and characters in their animated movies. Despite this, there is yet to be an openly queer protagonist in a Disney animated film. With this fact in mind, this study seeks to find places where queer people can still see themselves and their experiences reflected in the Disney films release in the last decade. These instances range from ambiguity that allows audiences to read a character as similar to themselves to moments that question the power structures that push certain people to the margins of society in the first place. Six categories were created after analysis to describe these moments: the queering of Disney logic, the queering of "appropriate" through mature themes, the queering of power and violence, villainous queerness, heroic queerness and queer acceptance. Taken together, these findings and the previous research on Disney suggests the company is slowly moving to open up storylines to allow more people to see their experiences reflected in the movies.

"Coming out" is a unique experience for lesbian, gay, bisexual, and other sexual minority individuals (LGB+), yet it remains ill-defined within scholarship and is individually focused. This study investigates how same-gender couples negotiate relationship visibility and what motivates them to come out to others. A queer theoretical framework was used to explore how partners do outness. To address the needs of the literature, constructivist grounded theory methods were employed in analyzing the data. These findings showed that the majority of couples believed they had a "mutual understanding" of the rules and boundaries in place for relational visibility. In addition, the ways in which different individuals felt compelled to come out or stay in was impacted by their connection to the historical context of the Gay Rights movement. Clinical implications to help clinicians between in assessment and conceptualization in their work with members of the population were determined. / Ph. D. / “Coming out” is a unique experience for lesbian, gay, bisexual, and other sexual minority individuals (LGB+), yet the motivations for why individuals may choose to come out are underexplored. In addition, what it means to come out varies. This study investigates how same-gender couples negotiate their relational visibility and what motivates them to come out to others. To represent the strong influence of history and the oppression faced by LGB+ individuals and communities, a queer theoretical framework was used to guide this study and attend to the influences of power and privilege. These findings showed that the majority of couples believed they had a “mutual understanding” of the rules and boundaries in place for relational visibility and shared motivations in coming out. Clinical implications to help mental health professionals better serve these individuals, couples, and families were determined.

Cette analyse a pour but de dénoncer les mythes créateurs du féminin et du masculin hérités des politiques culturelles sexuelles érigées au creuset de la rencontre coloniale. L’étude de A Married Woman (Manju Kapur), Babyji (Abha Dawesar), Indian Tango (Ananda Devi), trois romans présentant le lesbianisme comme une stratégie féministe d’émancipation, permet de mettre au jour diverses dynamiques discursives, d’exploiter le concept de représentation, et d’interroger les catégories préexistantes. Ces trois romans sont en effet écrits par des femmes participant à la culture indo-hindoue, et proposent des héroïnes à la similarité troublante : brahmines, habitant Delhi et insatisfaites de l’immobilisme liberticide de leur genre. Le préjudice hétéropatriarcal gaine les individus plaqués à l’intersection de leurs appartenances identitaires diverses et superposées : le genre, la culture, la sexualité… Le chemin de ces héroïnes suit ainsi une évolution interrogeant les inventions patriarcales de l’identité de la femme indo-hindoue. Au-delà de la dénonciation des dérives de son essentialisation, c’est sa transgression qui est éblouissante, parce qu’elle est sexuelle et lesbienne, engageant ainsi les possibilités d’une altérité, d’une alternative, d’un devenir différent. Ces textes questionnent alors la poésie et l’efficacité d’une esthétique lesbienne, la validité démiurge d’une utopie lesbienne, et le symbolisme d’un motif qui unit femmes de papier et autrices de chair au sein d’un positionnement récusant la subalternité implicite de catégories oppressives et obsolètes. En s’emparant de l’ipséité, ces narrations introduisent une poétique queer défiant déterminismes, cristallisations, normes et hiérarchies. Elles ouvrent à des possibilités radicales et multiples d’existences, de créations, signalant la matérialité de marginalités subversives qui problématisent la notion même d’individu, envisagée dans sa perspective hypermoderne. / This analysis aims at denouncing the original myths of the feminine and the masculine, inherited of the sexual cultural politics uprighted in the crucible of the colonial encounter. The study of A Married Woman (Manju Kapur), Babyji (Abha Dawesar), Indian Tango (Ananda Devi), three novels presenting lesbianism as a feminist strategy of emancipation, allows to excavate various discursive dynamics, to exploit the concept of representation, and to interrogate the preexisting categories. These three novels are indeed written by women belonging to the Indo-Hindu culture, and offer heroines with troubling similarities: Brahmines, Delhiites and dissatisfied with the repressions and inertia of their gender. The heteropatriarcal prejudice suffocates the individuals tackled at the intersection of their several and overlapping identity belongings: gender, culture, sexuality… These heroines’ paths hence follow an evolution interrogating the patriarchal inventions of the Indo-Hindu woman’s identity. Beyond the exposition and accusation of its essentialization’s deviations, it is its transgression which is dazzling, because it is sexual and lesbian, introducing the possibilities of an alterity, an alternative, a different becoming. These texts thus question the poetry and efficiency of a lesbian aesthetic, the demiurge validity of a lesbian utopia, and the symbolism of a pattern unifying the paper women and the women writers in a positioning rejecting the implicit subalternity of oppressive and obsolete categories. By getting a hold of ipseity, these narrations introduce a queer poetic defying determinisms, crystallizations, norms and hierarchies. They open to radical and multiple possibilities of living and creating, indicating the materiality of subversive marginalities which problematize the very notion of individual, envisioned in its hypermodern perspective.

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

À la fin du XIXème siècle, la médecine prend en charge de manière prégnante le phénomène homosexuel, à l'aune des découvertes en psychopathologie. Le personnage est non seulement identifié physiquement sur la base d'un certain nombre de critères dits scientifiques, mais plus encore, on dresse sa cartographie mentale. Bien que cette classification des comportements sexuels se fasse dans une intention moins punitive que curative, les pratiques sexuelles minoritaires sont encore stigmatisées. Au niveau juridique, les lois françaises sont réputées clémentes puisque les pratiques homosexuelles ne constituent plus un délit dans le code pénal de 1810. L'usage détourné de l’outrage public aux moeurs permet cependant de contrôler les comportements tandis qu’on observe une recrudescence des procès pour outrage aux moeurs en fin de siècle. Notre travail, qui s'inscrit explicitement dans le cadre des Gender studies et de la Queer theory, est d’abord épistémologique : il vise à analyser la construction d’un savoir sur l’homosexualité dans la seconde moitié du xixème siècle à travers le corpus médical,dont le rôle est souvent considéré comme majeur dans les études, et à travers les corpus juridiques et littéraires, parfois minimisés. Nos analyses relèvent également de l’histoire des représentations : il s’agit de proposer une définition de l’esthétique décadente à laquelle nous intégrons le signifiant homosexuel. Notre propos est enfin d’entrer dans l’étude détaillée des textes par le biais de trois thématiques majeures démontrant l’usage décadent d’une homotextualité : la symbolique des fleurs, la figure de l’androgyne et le mythe de Narcisse. / By the end of the 19th century, medicine overwhelmingly took hold of the homosexual phenomenon, basing itself on new findings related to psychopathology. Not only were characters physically identified thanks to a series of so-called scientific criteria, but they were also analysed through mental mapping. Although the aim of the classification of sexual behaviours was to cure rather than punish, the practices of sexual minorities were still stigmatized. As far as the judiciary system was concerned, French laws were considered to be quite lenient in so far as homosexual relationships had no longer been regarded as offences since the 1810 penal code. Nevertheless, the distorted use of the affront to public decency enabled to control people's behaviours and, by the end of the century, an increase of the trials focusing on cases of indecent exposure could be noticed. Our work, that definitely ascribes itself within the field of Gender Studies and Queer theory, is first and foremost epistemological and seeks to analyze how a body of expertise about homosexuality emerged in the second half of the 19th century, through the medical corpus that turned out to be prevalent in the studies that were conducted then, as well as through both legal and literary texts, although they were quite overlooked then. Our analyses also pertain to the history of representations, as we offer to define the aesthetics of decadence by adding a signifier: homosexuality. Finally, we also plan on scrutinizing texts by relying on three main themes that are meant to emphasize the decadent use of a homotextuality : the symbol of flowers, the figure of the androgyne and the myth of Narcissus.

In the following dissertation, I consider how the legal challenges faced by LGBTI refugees might compel reflection on and revision to traditional conceptions of citizenship in the United States. Specifically, I explore the question of how queer refugees and asylum seekers might alter – or queer – the meaning of “citizenship” in the United States. This project contributes to the conversation about citizenship in the field of rhetoric in multiple ways: (1) It highlights tensions between the cultural construction of citizenship and its legal parameters, (2) It expands rhetorical citizenship scholarship through attention to the intersection of identification, marginalization, and the political imaginary, and (3) It reveals tensions between norms of civic and sexual identity. It does this by tracing rhetorical precedent through a case study of sexual orientation and gender identity asylum in the United States. I argue that LGBTI refugees and asylees can shape a queered discourse of citizenship, but that the discourse produced is limited based on narrow definitions of sexual orientation and identity categories. To make this argument, I analyze the precedent-setting case involving Fidel Armando Toboso-Alfonso, in which I address how the establishment of that case as precedent set in place norms of sexual identity that persist in the adjudication of LGBTI asylum cases today. Next, I look to the U.S. Citizenship and Immigration training module for handling LGBTI asylum claims in order to make sense of the ways the norms set forth in the precedent-setting case have become codified and interrogated in current efforts to adjudicate LGBTI asylum claims. Finally, I compare visual representations of LGBTI asylum seekers to other refugees in order to understand how photographs of LGBTI asylum seekers fit within or rupture the genre of refugee photography. Taken together, these case studies provide insight into how citizenship is discursively imagined when access to citizen status is predicated on simultaneous normative and non-normative performances of sexual identity.

“Textual Glory Holes” examines a particular online fan community called a kink meme, in which fans exchange sexually-charged fanfiction as gifts. In this essay, I argue that, not only does the genre of fanfiction help to create and sustain the concept of kink, but that kink as a category is an interpellation of, experimentation with, and performance of the eroticism of genre in fanfiction. Furthermore, the kink meme community constitutes itself by performing this fannish erotics for each other in fiction and in sexualized feedback, resulting in a community that embraces the pleasures of this performance but sometimes distances itself from the power and political implications of the performance. Moments when fans do not distance themselves from this erotics of genre—one of unearthing and understanding diverse and diffuse pleasures—hold the potential to become what Audre Lorde calls “creative energy empowered,” a shared pleasure that can “lessen the threat of difference.” / text