A presente tese analisa a relação do movimento LGBT (Lésbicas, Gays, Bissexuais, Travestis e Transexuais) com o Governo Federal mediada pela estrutura de participação política centrada no Conselho Nacional de Combate à Discriminação de LGBTs (CNCD/LGBT) e nas Conferências Nacionais LGBT. A partir da abordagem teórica marxista o trabalho problematiza questões referentes aos estudos de gênero e sexualidade próprios do pósestruturalismo e da teoria queer. Articulando alguns conceitos centrais destas correntes teóricas no interior da problemática da totalidade, própria ao marxismo, e ao conceito de Estado Integral ou Ampliado de Antônio Gramsci, o movimento LGBT é considerado como processo de constituição de sujeito “para si”. No curso de seu desenvolvimento este sujeito passa a atuar na arena da sociedade política sob a lógica da parceria e colaboração com o Estado. O objetivo do estudo é avaliar se a relação entre movimento e governo, por meio da participação em espaços institucionais que atuam como aparelhos hegemônicos, é caracterizada pelo consenso ativo de quadros e lideranças LGBTs junto ao bloco que governou o país entre 2003 e 2016, constituindo-se em relação de hegemonia. A metodologia utilizada abarcou análise quali-quantitativa, tomando como base publicações da ABGLT, em particular as que trabalham com o conceito de Advocacy, entrevistas em profundidade com atores chave que ocupam posições centrais na estrutura participativa em questão e a realização de censo com participantes do V Congresso Nacional da ABGLT, constituindo banco de dados para análise estatística Os resultados do estudo indicam que o processo de institucionalização do movimento, aprofundado pela atuação nos espaços participativos, incide na sua relação com o governo de modo a afastar do campo de ação do grupo subalterno a lógica do conflito. Os espaços de participação atuam como meio de organização, mobilização e definição de pautas, canalizando para si e neutralizando insatisfações e críticas da população LGBT frente às ações do poder público. O trânsito de quadros entre espaços da sociedade civil e da sociedade política marca o transformismo de lideranças e intelectuais do movimento. Sob tais condições o governo exerceu sua hegemonia política sobre o movimento LGBT por meio dos espaços participativos criado no Estado. / This dissertation analyzes the connection between the LGBT movement (Lesbians, Gays, Bisexuals and Transgenders) and the Federal Government mediated by the structure of political participation focused on the National Council Against the Discrimination of LGBTs and on the LGBT National Conferences. Therefore, this text, based on the Marxist theoretical approach, analyzes issues concerning gender and sexuality studies typical of poststructuralism and of the queer theory. By articulating some essential concepts of these theoretical approaches within the issue of totality, typical of Marxism and of Antônio Gramsci’s Integral or Extended State matters, the LGBT movement is considered a process of subject formation “for itself”. Throughout the development of this subject, he or she starts to act in our society’s political arena under the logic of partnership and cooperation along with the State. Thus, the aim of this study is to evaluate if this connection between the LGBT movement and the government, via the participation of the movement in institutional environments that act like hegemonic sets, is, in fact, characterized by the active consensus of LGBT leaderships that worked along with the group who ruled the country between 2003 and 2016, forming itself in a relationship of hegemony. The methodology adopted used qualiquantitative analysis, taking as its base the publications of ABGLT, specially the ones that deal with the concept of Advocacy, interviews with artists who are in important positions regarding the participative structure analyzed in this dissertation, as well as the achievement of census with participants of the V ABGLT National Congress, which constituted a data bank for statistical analysis The results of this study show that the process of the institutionalization of the movement, stronger due to its acting in participative environments, incise in its relationship to the government, thus alienating the logic of conflict from the group's acting field. These participative environments act like a means of organization, mobilization and definition of agendas, canalizing to themselves as well as neutralizing insatisfaction or criticism that might come from the LGBT population regarding the actions before the State. The transition between civil and political society environments mark the transformation of the movement's leaderships as well as its intellectuals. Under these conditions, the government carried out its political hegemony over the LGBT movement via the participative environments created within the State.

Considerando que tanto a música quanto a escola contribuem para a constituição de nossas identidades, este trabalho teve como objetivo investigar os discursos de licenciandos/as em música acerca da diversidade de gênero e sexualidade, em suas relações com a música. Os objetivos específicos propostos foram: identificar/visibilizar quais significados sobre gênero e sexualidade estão sendo compartilhados, naturalizados e legitimados; identificar/visibilizar como esses significados circulam; e identificar/visibilizar por quem esses significados são compartilhados. Adotando uma abordagem qualitativa, utilizei como ferramenta para a produção do material empírico a entrevista semiestruturada com licenciandos/as em música de quatro instituições de ensino superior de Curitiba-PR. Para a realização da análise do material empírico produzido na relação com o/as participantes, foram utilizadas algumas estratégias da teoria fundamentada nos dados. No que se refere à perspectiva analítica, recorri às formulações dos estudos feministas e da teoria queer. A investigação realizada permitiu dizer que os sentidos partilhados pelo/as licenciando/as trouxeram divergentes formas de significação da diversidade de gênero e sexualidade, as quais posicionam os sujeitos em distintos lugares. Reconhecer essas divergentes formas de significação é assumir que nas redes de representação a “realidade” terá muitas versões e que os processos de conhecer são construídos social e culturalmente. Os saberes que compõem os sistemas de significação do/as licenciado/as sobre a diversidade de gênero e sexualidade não foram reconhecidos como tendo sido constituídos em seus cursos de licenciatura em música. O silêncio sobre a articulação música/gênero/sexualidade nos espaços acadêmicos atravessou a percepção do/as licenciando/as em música. Esse silêncio configura um discurso que invisibiliza outros modos de ser para além da matriz hétero-cis-normativa. / Considering that both music and school contribute to the constitution of our identities, the aim of this thesis was to investigate the discourses of bachelor in music education students about gender and sexuality diversity, and its relations with music. More specifically, it aimed: to identify/make visible meanings of gender and sexuality that are being shared, naturalised, and legitimated; to identify/make visible how those meanings circulate; and to identify/make visible by whom these meanings are shared. Adopting a qualitative approach, the empirical material was produced through semi-structured interviews with four music education students from four higher education institutions from Curitiba-PR, Brazil. The empirical material was analysed using some of the strategies of grounded theory and further interpreted based on ideas from the field of feminist studies and the queer theory. The meanings shared by the music education students revealed divergent ways of making sense of gender and sexuality diversity, ways that locate people in distinct places. To recognize these divergent ways of sense making is to assume that, in the representation networks, “reality” will have multiple versions and the processes of knowing are socially and culturally constructed. The knowledge that constitutes the students’ systems of meaning about gender and sexuality diversity was not recognized as being constructed through their undergraduate courses. The silence about the interaction between music, gender and sexuality in the higher education settings goes through the students’ perception. This silence configures a discourse that makes invisible other ways of being beyond the hetero-cis-normative matrix.

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Praxis queer s'intéresse à l'utilisation de pratiques artistiques au sein du militantisme queer. La réflexion s'organise en trois axes : artistique, militant, et quotidien. L'axe artistique analyse les techniques d'invention de soi, de subversion des normes corporelles, sexuelles et de genre. Les militant-es établissent des jeux entre la performativité et la performance. L'axe militant met en évidence l'utilisation de l'art en tant qu'outil de lutte queer, ce qui questionne les stratégies de lutte et l'efficience politique de l'art. Le troisième axe se concentre sur les pratiques quotidiennes de résistance. Ces pratiques sont analysées à la fois sous l'angle de la micropolitique et de la performance artistique, questionnant les limites de l'art. Certains thèmes transversaux se retrouvent dans ces trois axes : la performance, l'enjeu des archives au sein des luttes queers, l'utilisation militante des nouvelles technologies et la figure du cyborg. De nouveaux enjeux du militantisme queer, comme les affects, l'écologie et l'anticapitalisme, sont abordés. Cette thèse est un geste militant. Elle s'adresse autant au monde universitaire qu'aux activistes et elle correspond à un engagement personnel. Elle se base sur des entretiens réalisés avec des militant-es de France et d'Espagne. Ces entretiens sont utilisés de façon à valoriser les savoirs militants et à les mettre en parallèle du savoir "légitime" que représentent les auteur-es comme Judith Butler, Jack Halberstam, Paul Preciado ou Amélia Jones. Les outils de l'histoire des arts sont utilisés pour analyser des actions militantes. La dimension politique ou militante des oeuvres est systématiquement analysée. / Praxis queer questions the use of artistic practices in queer activism. The reflection is organized around three lines of thought : artistic, militant, and daily life resistance. The artistic axis analyses the techniques of self-invention and subversion of corporal, sexual and gender norms. Activists establish games between performativity and performance. The militant axis highlights the use of art as a tool of queer activism, which interrogates the strategies of struggle and the political efficiency of art. The third axis focuses on daily life resistance practices. These practices are analysed from both a micropolitical and artistic performance point of view, questioning the limits of art. Some cross-disciplinary themes can be found in these three areas : performance, the issue of archives in queer struggles, the militant use of new technologies and the figure of the cyborg. New issues of queer activism, such as effects, ecology and anticapitalism, are discussed. This thesis is a militant act. It is dedicated to academics as well as activists and is a personal involvement. It is based on interviews with activists from France and Spain. These interviews are analysed in such a way that it enhances militant knowledge and put it in parallel with the "legitimate" knowledge represented by authors such as Judith Butler, Jack Halberstam, Paul Preciado or Amelia Jones. The tools of art history are used to analyse militant actions. The political or militant dimension of works is systematically analysed.

<p>This is a qualitative study about how young men in the age of 16-18 years can construct their masculinity. How do these young men describe a “real man”? What are their thoughts about themselves as adults? The purpose of this study includes a gender perspective in surroundings that cope with the sport football. To answer this study, six young men in the age of 16-18 years, whom are active football players in different levels, have been interviewed. The findings showed that the young men seemed to construct their masculinity in cooperation with the surroundings and the nearest family members seemed to have a very strong influence of the boy’s development to become a man. The results even indicated that the young men construct their masculinity by distancing themselves from what seems not to be masculine, for example male homosexuals.</p>

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This is a qualitative study about how young men in the age of 16-18 years can construct their masculinity. How do these young men describe a “real man”? What are their thoughts about themselves as adults? The purpose of this study includes a gender perspective in surroundings that cope with the sport football. To answer this study, six young men in the age of 16-18 years, whom are active football players in different levels, have been interviewed. The findings showed that the young men seemed to construct their masculinity in cooperation with the surroundings and the nearest family members seemed to have a very strong influence of the boy’s development to become a man. The results even indicated that the young men construct their masculinity by distancing themselves from what seems not to be masculine, for example male homosexuals.

This study focuses on single peoples construction of their lifes in relation to normative heterosexual coupledom. It is based on five interviews made with single women and men at the age of 24 to 51 who live by themselves. The queer theory which puts the heteronormativity in question is used as a theoretical framework. Discourse psychology functions as an analytic approach. It focuses on the use of language in the construction of reality in a world of determinant discourses. The thesis shows how the life of singles is made understandable where the interviewee´s constructs their reality by either creating their own life's as possible ways of living and distance themselves from coupledom or by striving for the twosome way of living. This is done by a construction of gender and age performance as different in the single and the twosome life. It also shows paradoxes where discourses of advantage independence meet discourses that construct twosome relationships as the only place for the development of real masculinity or of a special form of preferable femininity. The construction of gender and age as performed different in the single and the couple life provides an understanding of the interviewee's creation of self-image in relation to normative heterosexual coupledom.

This monograph on the œuvre of contemporary American author and multimedia artist Shelley Jackson addresses the question of how literary works employ language to evoke sense impressions. Gilles Deleuze’s notion of aesthetic percepts is drawn on to develop a theory of literary phantom sensations which is then tested on the work of Jackson and related authors.  Although imperceptible as such, it is argued that percepts are made perceptible in art in sense-specific forms as phantom sensations. “Phantom” is not meant to indicate a pale shadow of real sensations but the intensely perceived realness of phantom limb phenomena, in accordance with Deleuze’s understanding of the virtual as real but not actual. For the sake of clarity, literary phantom sensations are divided into phantom smells, tastes, touches, sights and sounds, with a chapter devoted to each in turn. It is found that different phantom sensations serve different functions in Jackson’s work, correlated to the cultural history of the senses as outlined by recent sensory scholarship.  Phantom smells are associated with Deleuze’s concept of becoming due to their liminality. Phantom tastes contribute to an aesthetics of distaste in which shades of disgust are cultivated and drawn upon for literary effect. Phantom touch creates conceptual intimacy and invites the reader to handle words like toys in a game. Phantom sight is turned back upon itself in an anatomy of the eye. Phantom hearing is associated with forms of ventriloquism in which it is unclear who is speaking through whom and in which language itself throws its voice. However, it is also found that all phantom sensations similarly serve to create a material and affective connection between the body of the reader and the body of the text. Throughout the dissertation, Jackson’s work is read against and alongside that of other writers such as Djuna Barnes, Neil Bartlett, Brigid Brophy and Leonora Carrington. Together these form a trajectory termed minor writing for queers to come, which is meant to indicate that aesthetic and sexual-political  radicalism go hand in hand.  Furthermore, Jackson’s work is described as a form of body writing informed by feminist body art and écriture féminine. Specifically, Jackson takes her cue from early modern anatomical blazons and describes living bodies in pieces.  Her work is also described as object writing: a literary equivalent to surrealist object art.  A central method for making words more like things is to arrange her texts spatially rather than temporally, as exemplified by her electronic hypertexts.

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