Racial Queer is a qualitative study of Multiracial college students with a critical ethnographic component. The design methods, grounded in Critical Race Methodology and Feminist Thought (both theories that inform Critical Ethnography), include: 1) 25 semi-structured interviews of Multiracial students, 2) of which 5 were expanded into case studies, 3) 3 focus groups, 4) observations of the sole registered student organization for Multiracial students on Central University’s campus, 5) field notes and 6) document analysis. The dissertation examines the following question: How do Multiracial students understand and experience their racialized identities within a large, public, tier-one research university in Texas? In addition, it addresses the following sub-questions: How do Multiracial students experience their racialized identities in their everyday interactions with others, in relation to their own self-perceptions and in response to the way others perceive them to be? How do Multiracial students’ positionalities, as they relate to power, privilege, phenotype and status, guide their behavior in different contexts and situations? Using Holland et al.’s (1998) social practice theory of self and identity, Chicana Feminist Theory, and tenets of Queer Theory, this study illustrates how Multiracial college students utilize agency as racial queers to construct and negotiate their identities within a context where identity is both self-constructed and produced for them. I introduce the term, racial queer, to frame the unconventional space of the Multiracial individual. I use this term not to convey sexuality, but to convey the parallels of queerness (both as a term of empowerment and derogation) as they pertain to being Multiracial. In other words, queerness denotes a unique individuality as well as a deviation from the norm (Sullivan, 2003; Warner, 1993; Gamson, 2000). The primary purpose of this study is to illustrate the agentic ways in which Multiracial college students come to understand and experience the complexity of their racialized identity production. Preliminary findings suggest the need to expand the scope of racial discourses to include Multiracial experiences and for further study of Multiracial students. Their counter-narratives access an otherwise invisible student population, providing an opportunity to broaden critical discourses around education and race. / text

Scholarship on the cultural status of the child in America has taken diverse and fruitful forms, yet there exists a significant ellipsis within theories of filmic spectatorship regarding cinematic children. This study engages the child figure's relation to the cinematic apparatus and analyzes spectator responses to the child's presentation as a desiring subject and desired object. Within contemporary American culture, the child figure generates at once a mise-en-scène of desire and a mise-en-abime of potential stigmatization, self-abjection and shame. The vexed relation to the image of the child that characterizes the contemporary adult citizen and, more pointedly, the adult spectator, is a symptom of the contradictory discourses of childhood at play in contemporary American media and within its political bodies. The Columbine shootings, the murder of child beauty queen JonBenet Ramsey, the Catholic Church scandals, many well-publicized child abductions, and countless occurrences over the past decade have produced a climate of moral panic over children's endangerment. Yet, more than ever, the eroticization of children's bodies has inundated cinematic and other media productions, generating anxieties within the adult spectator concerning the propriety of gazing at children. Juvenile desires suggests that the dissonances produced by the contradictory signposts of moral panic and sexual objectification have too often given rise to a homophobically polarizing model of the adult spectator: one the one hand, the ostensibly heterosexual spectator whose relation to the child image is aesthetically distanced, moral, and nostalgic; and on the other, a perverse, likely homosexual spectator whose relation is libidinal, regressive, and genitally oriented. As a theoretical intervention and a reception study, this dissertation examines the term pedophilia as one both culturally over-determined and critically under-investigated. The deployment of the term pedophilia has the rhetorical effect of reducing the complex relations sustained among adult spectators and children to a space of inarticulate abjection or criminality. The dissertation proposes that a deconstructive queer theory can unsettle the recalcitrant association of pedophilia with homosexual pathology, and thereby afford a complex and nuanced account of the roles cinematic children play in generating visual and narrative pleasure across gendered and sexually oriented subject positions. / text

The first decade of this century marked a moment of hypervisibility for lesbians and bisexual women on British television. During this time, however, lesbian hypervisibility was coded repeatedly as hyperfemininity. When the BBC and ITV adapted Sarah Waters’s novels for television, how, I ask, did the screen versions balance the demands of pop visual culture with the novels’ complex, unconventional – and in some cases subversive – representations of lesbianism? I pursue this question with an interdisciplinary methodology drawn from queer and feminist theories, cultural and media studies, and film adaptation theory. Chapter Two looks back to Jeanette Winterson’s Oranges Are Not the Only Fruit (BBC 1990). I examine this text – the first BBC television serial to feature a lesbian protagonist – to establish a vocabulary for discussing the page-to-screen adaptation of queer identities throughout this dissertation. Chapter Three investigates Waters’s first novel Tipping the Velvet (1998) and its complex intertextual relationship with Andrew Davies’s serialized version (BBC 2002). I also examine responses to the serial in the British press, tracing the ways in which dominant cultural forces seek to domesticate non-normative instances of gender and sexuality. Chapter Four examines Waters’s novel Fingersmith (2002) in relation to Peter Ransley’s adaptation (BBC 2005) to situate adaptations of Waters’s retro-Victorian texts amid the genre of television and film adaptations of Jane Austen novels. I argue that Ransley’s serial interrogates the notion of Austen as a “conservative icon” (Cartmell 24) and queers the Austen adaptation genre itself. To conclude this study I address Davies’s television film (ITV 2008) of Waters’s second novel Affinity (1999). In this chapter I examine how the adaptation depicts the disruptive lesbian at the centre of the text. I argue in particular that by casting an actress who does not conform to dominant televisual norms of femininity, the adaptation is able to create a powerful audiovisual transgendered moment which adds to the novel’s destabilization of Victorian hierarchies of gender and class. This chapter considers, finally, how Tipping the Velvet, Fingersmith and Affinity have contributed to lesbian visibility on British television. / Thesis (Ph.D, English) -- Queen's University, 2009-05-27 11:26:42.504

Drawing on my own process of entry into local queer, lesbian and feminist public cultures, I argue that a powerful relationship between feminist and lesbian existence can be felt and that this sensibility bears influence on the way queer erotic and politicized identities emerge in relation to one another. These affective links remain frequently unacknowledged and/or are actively repudiated due to popular accounts of feminist genealogy whereby second wave lesbian-feminist positions are rendered fundamentally incompatible with contemporary queer/third wave feminist ones. I challenge this narrative by building on select early articulations of radical lesbian feminism to show that when affirmed consciously, the sense that lesbianism and feminism are interconnected constitutes a “woman-identified experience” and an opportunity to bear witness to the unrealized possibilities of second-wave radical feminism in the present. I conclude that politicized “lesbian” and/or “woman” identification remain indispensable strategic sites from which to observe and confront heteropatriarchy.

This thesis foregrounds a question unanswered in queer theory�s account of the ongoing reproduction of heteronormativity. In Gender Trouble, Judith Butler asks "From where does the performative draw its force, and what happens to the performative whose task it is to undo" that discursively legitimated enacting? (Bodies That Matter 224-5). While queer theory offers a compelling account of how the normative fictions of identity privilege heterosexuality, the first part of Butler�s question remains relatively under-theorised. This thesis addresses this gap and argues that to understand the source of performative authority, we must address the intimate relationship between gay identity and commodity culture. Thus, I investigate the connections between the marketing industry, an historically politicised gay press, and a lesbian and gay politics imagined through the paradigm of identity, and argue that they combine in a citational feedback loop to performatively produce gay identity as the "ideal consumer." I then undertake case studies of two media texts, the website Gay.com and the television series Queer Eye for the Straight Guy, in order to demonstrate how the white, male, middle-class gay aesthete functions hegemonically as gayness in culture. My analysis then turns to the second part of Butler�s question -"what happens to the performative whose task it is to undo?"- and examines the consequences of the absence of an analysis of commodity culture for the notion of queer. To that end, I suggest that alongside their repetitions of gay normativity, both Gay.com and Queer Eye perform queer possibility. However, the case studies I undertake, along with the critical reception of Queer Eye and the internet technologies behind Gay.com, suggests that these media texts fall short of the promise of queerness. This apparent failure to disturb heteronormative reproduction is connected in these critiques to each text�s commercial imperatives. This thesis argues that such critiques tend to rely on determinations of the authenticity of queer performance, and emphasise veracity over queer theory�s potential to exploit the critical potential of deliberate indeterminacy. I argue, instead, that a key part of queer theory�s contingency is its capacity to respond to the changing performative contexts of the normative repetitions it seeks to undo. To put this more simply: If consumer desire defines contemporary gayness, then it is with consumer desire that queer theory must contend. It is precisely the indeterminacy of queer that enables such shifts in its strategies of subversion. Recognition of how queer�s indeterminacy enables those subversive moves returns us to the importance to queer theory of a sustained consideration of the constitutive capacities of commodity culture. What I suggest in this thesis is that if we do no ask "From where does the performance draw its force?" then we cannot answer "And what happens to the performative whose task it is to undo?" the normative framework of identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

This thesis argues that the work of the artist David McDiarmid is to be read as an enactment of late twentieth century gay male and queer politics. It will analyse how both the idea and the cultural specificity of ???America??? impacted on the work of this Australian artist resident in New York from 1979 to 1987. The thesis examines how African American music, The Beats, notions of ???hip??? and ???cool???, street art and graffiti, the underground dance club Paradise Garage, street cruising and gay male urban culture influenced the sensibility and the materiality of the artist???s work. McDiarmid???s cultural practice of dress and adornment, it is proposed, forms an essential part of his creative oeuvre and of the ???queer worldmaking??? which is the driver of his creative achievements. The thesis proposes that McDiarmid was a Proto-queer artist before the politics of queer emerged in the 1980s and that his work, including his own life-as-art practices of dress and adornment, enact a mobile rather than fixed gay male identity.

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.

This study explores the relationship between ideals of motherhood and heterosexual normativity, from the perspective of women at the margins of these discourses. The title, In the shadow of Motherhood, illustrates the overriding power of the image of motherhood to marginalise alternative experiences. The concept of motherhood, like that of Family, has traditionally signalled the reproduction of the normative; it does not usually encompass the critical scrutiny that would allow for diverse experiences of mothering. Theoretically, the study is located within the fields of feminist sociology and inclusive family studies in productive dialogue with queer notions of gender and sexuality. Methodologically, it is inspired by narrative analysis and consists of in-depth interviews with eight lesbian, bisexual and heterosexual women grappling with different experiences of motherhood and mothering practices. Some of them identify as mothers while others do not, but by not being biogenetic mothers within a heterosexual relationship they share the position of being outside of what is often considered normal, natural and desirable. The analysis reveals a considerable variation in the positions, experiences and identities of the participants, particularly in regards to changes over time, which cannot be reduced to binary categories such as heterosexual/lesbian, biological/non-biological, mother/childless or voluntary/involuntary childlessness. The analysis also exposes a deep tension between ideologies of motherhood and lived experiences of care practices. Furthermore, from the perspective of the participants, the boundaries between inclusion and exclusion reinforce and challenge each other, creating spaces of both individual and collective resistance. The study illuminates the need to shift the location of these experiences from the margins to the centre not only in sociological research of family and gender, but also within feminist sociology.