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The institution of sport has an extensive history of heterosexism, and homophobia, making sport a problematic and unsafe space for gay-identified males. The lack of representation of gay athletes in professional sports highlights the risks associated with openly identifying one’s sexual identity within athletic settings, as gay-identified players often are faced with discrimination and harassment. As a result, gay-identified athletes may choose not to be open about their sexual identity or leave sports altogether as a way to avoid being subjected to discrimination and marginalization within athletics. Grounded in queer theory, and engaging in phenomenology and arts-informed inquiry, this study seeks to explore the ways in which gay-identified males involved in sport negotiate their identies and masculinities. After each participant was interviewed, he wrote a letter to his past self as a way to share what he had come to learn about his process of coming into his own identity and negotiating masculinity. The study interrogates how gay males experience team-based competitive sports differently than individually-based sports and personal fitness activities. Additionally, it explores the personal process of defining and embracing masculinity. Deconstructing the definition of hegemonic masculinity, this study explores how masculinity can be understood in multiple ways. Changing the heterosexist and homophobic discourse that informs the organization of sport on multiple levels creates more opportunities for gay-identified athletes to be welcomed into the arena of sport and safely access the benefits associated with competitive sports and healthy active living activities. This study brings light to the emotional and psychosocial consequences that stem from homophobia and heterosexism’s dominance in our society. The perpetual discrimination and marginalization faced by those who identify as gay males highlights the need for social work’s involvement in justice-oriented research and practice as a way to bring greater equality and equity into our communities. / Thesis / Master of Social Work (MSW)

[pt] Considerando os processos de normalização de performances de gênero e sexualidade no contexto familiar, o presente trabalho se debruça sobre as histórias de vida de pessoas que se identificam como LGBTQIA+ acerca de suas experiências com seus familiares. Inserido nas investigações atuais da Linguística Aplicada, a partir da Análise de Narrativa – a qual tem buscado compreender, dentre outras coisas, os processos de produção de vulnerabilidade e subalternidade em práticas sociais e discursivas – buscase compreender os processos de construção identitária, performances, bem como os respectivos discursos que lhes dão suporte. Em um viés metodológico de pesquisa qualitativa e interpretativa, foram gerados dados em situação de entrevista com homens e mulheres cujas performances correspondem ao espectro de sexualidades supracitado. Destas, optou-se por analisar as narrativas de três participantxs. Para isso, foram mobilizadas discussões e ferramental teórico-analítico próprio à Análise de Narrativa, às análises sobre estigma de Goffman (1963) e à Linguística Queer. A análise se dá a partir da divisão laminar em três partes. Na primeira lâmina, busca-se mostrar como identidades são indexadas em relações de sequencialidade na produção de causalidade e por avaliações de modo a produzir a família como uma instituição repressora. Na segunda, pautado no trabalho de face, busca-se mostrar como ocorre a negociação do estigma na interação. Por fim, busca-se mostrar quais sistemas de coerência atuam na construção dessas histórias. A partir disso foi possível compreender como performances identitárias não alinhadas a ideias cis-heteronormativas desencadeiam processos de controle, regulação e repressão. / [en] Taking into account the processes of normalization of experiences of gender and sexuality in the family context, the present work focuses on the life stories of people who identify themselves as LGBTQIA+ regarding their life experiences with their family. As part in the contemporary researches of Applied Linguistics – which has been intending to understand the processes of production of vulnerability and subalternity in discursive and social practices – the processes of identity construction (performance) in these narratives as well as the respective discourses that support it are investigated. In a qualitative and interpretative research methodological bias, data were generated through interview with men and women whose performances correspond to the above-mentioned spectrum of sexualities; for the analysis it was chosen the narratives of three participants. For this, it was mobilized discussions and tools proper to the Narrative Analysis, Intercultural Sociolinguistics and Queer Linguistics. The analysis follows the laminar division in three parts. In the first, it is intent to demonstrate how identities are indexed through sequential relations in the production of causality and through evaluations in order to produce the family as a repressive institution. In the second, based on the face work, we seek to show how a stigma negotiation occurs in the interaction. Finally, based on lexical choices and evaluative sequences, it is intent to show how the Discourse of Repression is indexed in the narratives. From this, it was possible to understand how identity performances not coherent with cis-heternormative values triggered process of control, regulation and repression.

[pt] Nesta dissertação, tenho por objetivo analisar, refletir e gerar entendimentos acerca das vivências de pessoas LGBTQIA+, sublinhando suas experiências em ambientes institucionais como: escola, família e igreja. A partir da Análise de Narrativas (Linde, 1993; Moita Lopes, 2001; Bastos, 2005; Bamberg, 2006; Georgakopoulou, 2006; Bastos; Biar, 2015; Biar; Orton; Bastos, 2021) irei direcionar o meu olhar para as possíveis situações de micro violências e estigmatização vividas por indivíduos por conta de suas orientações sexuais; observando, na construção narrativa, como isto afeta e/ou afetou suas trajetórias e identidades. Esta pesquisa está situada no campo da Linguística Aplicada Contemporânea (Moita Lopes et al., 2006; 2013), com interfaces com a Linguística Queer (Borba, 2014; 2015; 2019), a qual entende que o uso da linguagem está relacionado às práticas sociais e a como construímos e entendemos quem somos e a nossa sexualidade. Além disso, também recorro à Teoria Queer (Butler, 2003 [1990], Foucault, 2020 [1976]; Sedgwick, 1985; 2007 [1990]; Milani; Woff, 2015; Miskolci, 2020; Louro, 2007; 2020). O paradigma qualitativo (Denzin; Lincoln, 2006) orienta a metodologia do estudo, o qual será desenvolvido a partir dos dados gerados em entrevistas conversacionais (Mishler, 1986) realizadas com pessoas da comunidade LGBTQIA+. Ao final desta pesquisa, algumas das possíveis reflexões geradas nos levam a entender como as práticas homofóbicas são normalizadas nos discursos como forma de brincadeira e regulamentação dos corpos, gerando desconforto e até mesmo um sentimento de solidão em especial por conta da falta de amparo em ambientes institucionais. / [en] In this dissertation, I aim to analyze, reflect and generate understanding about the experiences of LGBTQIA+ people, emphasizing their experiences in institutional environments such as school, family, and church. Based on Narrative Analysis (Linde, 1993; Moita Lopes, 2001; Bastos, 2005; Bamberg, 2006; Georgakopoulou, 2006; Bastos; Biar, 2015; Biar; Orton; Bastos, 2021) I will direct my gaze to the possible situations of micro-violence and stigmatization experienced by individuals because of their sexual orientations; observing, in the narrative construction, how this affects and/or affected their trajectories and identities. This research is situated in the field of Contemporary Applied Linguistics (Moita Lopes et al., 2006; 2013), with interfaces with Queer Linguistics (Borba, 2014; 2015; 2019), which understands that the use of language is related to social practices and how we construct and understand who we are and our sexuality. In addition, I also draw on Queer Theory ((Butler, 2003 [1990], Foucault, 2020 [1976]; Sedgwick, 1985; 2007 [1990]; Milani; Woff, 2015; Miskolci, 2020; Louro, 2007; 2020; Miskolci, 2020;). The qualitative paradigm (Denzin; Lincoln, 2006) guides the study s methodology, which will be developed from the data generated in conversational interviews (Mishler, 1986) conducted with people from the LGBTQIA+ community. At the end of this research, some possible reflections lead us to understand how homophobic practices are normalized in discourses as a form of jokes and regulation of bodies, generating discomfort and even a feeling of loneliness, mainly because of the lack of support in institutional environments.

This thesis examines how the aesthetic and queer themes in E. W. Hornung’s Raffles stories have been transmediated in the TV-series Raffles. Hornung’s Raffles stories were not only immensely popular in their time, but were also a reflection of the fin-de-siècle and of the cultural role aestheticism played in the late Victorian society. Though a number of adaptations were made in the early 20th century, none of them adapted Hornung’s original stories to the same extent as the 1975-77 Yorkshire TV-series.  In this study, material such as original scripts, notes, and correspondence from screenwriter Philip Mackie’s personal collection are examined from an adaptation theoretical perspective in relation to Hornung’s books and the finished TV-series. At the same time, a queer reading of the screenplays and of the televised series is made and compared to previous academic queer readings of Hornung’s stories. The adaptation is discussed in context with the time period in which it was produced and with the various factors that have formed it, such as financial restraints and medium related conventions.  The study demonstrates that both aesthetic and queer themes that correspond to those found in Hornung’s stories can be found in the TV-series. It argues that the political climate of the 1970s both restrained how Raffles and Bunny’s relationship was portrayed in the series but also allowed for a more faithful adaptation of Hornung’s stories, including their aesthetic and queer themes, than had previously been possible.

This dissertation establishes a category of early Soviet “exodic” literature, which consists of works published in Yiddish or Russian between 1917 and 1935. Reading together texts by Peretz Markish, Andrei Platonov, Moyshe Kulbak, Ilya Ilf and Evgeny Petrov, Yiddish texts are placed on equal footing with Russian texts to underscore the singular role of Jews in the early Soviet period and demonstrate shared anxieties and practices of resistance to hegemony among groups seemingly separated by language and culture. These anxieties and modes of resistance are what make the Soviet exodic a literature of revolution as it grapples with the complexity of the Soviet period and Soviet identity formation. Drawing upon political theorist Michael Walzer and his text Exodus and Revolution as well as the critical response from Edward Said, this dissertation uses the biblical book of Exodus as a theoretical matrix for the identification and elaboration of narrative sequences and thematic material that constitute a revolutionary genre and applies it to the study of early Soviet literature. Because they are written and published between 1917 and 1935, exodic texts are positioned between the Bolshevik Revolution and the crystallization of high Stalinism. Therefore, they are situated within what is commonly known as the “interwar period.” Such a definition relies upon absence (the absence of war). The Soviet exodic provides this historical moment and its attending texts a positive definition in deference to the revolutionary framework that guides it. This dissertation also considers how the texts enact revolution with the help of critical and queer theory, most notably Sara Ahmed’s Queer Phenomenology and Mary Rubenstein’s Pantheologies. These theoretical supports serve to articulate the various queer—that is, non-normative—ways that the selected texts engage pluralism to resist ideological regimes and forces of control as they re-evaluate social and political categories and norms. Queer theory also serves to express the entanglement of self, other, and place, and in so doing, brings ecological anxieties to the fore. Resistance in the Soviet exodic thus takes shape through the queering or misalignment of categories like space, language, or gender performance, and culminates in the figure of the Soviet trickster, who, by means of their unfinalizability, is the embodiment of revolution.

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Working at the intersection of queer feminist affect studies and queer Indigenous studies, this thesis focuses on theorizations and enactments of queer Indigenous joy in Billy-Ray Belcourt's A History of My Brief Body, Gregory Scofield's Love Medicine and One Song, and Joshua Whitehead's Jonny Appleseed. It explores how these contemporary texts uniquely emphasize the relational queer Indigenous body’s tenacious capacity for care and love in order to enact more breathable, collective, and ultimately joyful modes of embodied life, even amid the stifling settler colonial present. I argue that, in doing so, these authors foster joy as a rebellious and healing affective orientation that opposes injurious colonial constructions of queer Indigenous embodiment and contributes to the future-bearing project of radical Indigenous resurgence. By examining these authors' invaluable interventions with joy, which is largely an under-acknowledged positive affect, this thesis aims to convey why the young but burgeoning field of queer Indigenous literature merits far more critical attention than it has received thus far.

[pt] Hoje, muito se discute sobre a preservação de arte contemporânea; já não se trata de um assunto incomum para os profissionais do campo. Porém, conciliar o exercício da conservação-restauração com o modus operandi característico da produção artística contemporânea permanece sendo um trabalho repleto de complexidade, visto que esta última tem como uma de suas premissas básicas elaborar situações específicas que, em sua maioria, desafiam os cânones da teoria da produção de conhecimento e da prática da preservação cultural. Em outras palavras: a natureza dos trabalhos de arte contemporânea convocam a revisões epistemológicas da arte, suas áreas afins – como a conservação-restauração – e, consequentemente, do próprio mundo real enquanto coletividade construída. Na presente dissertação, a proposta é analisar, sob esta abordagem, a importância do potencial transformador da arte atual e de quais formas ele pode – ou não – ser preservado/mantido, tomando como estudo de caso a exposição Queermuseu: cartografias da diferença na arte brasileira, seus embates e desdobramentos no espaço-tempo, que engendraram uma série de contribuições para a discussão acerca do lugar da arte e da preservação cultural na sociedade. / [en] Today, much is discussed about the preservation of contemporary art; it is no longer an uncommon subject for professionals in the field. However, reconciling the exercise of conservation-restoration with the characteristic modus operandi of contemporary artistic production remains a work full of complexity, since the latter has as one of its basic premises the elaboration of specific situations that, for the most part, defy the canons of the theory of knowledge production and the practice of cultural preservation. In other words: the nature of works of contemporary art call for epistemological revisions of art, its related areas – such as conservation-restoration – and, consequently, the real world itself as a constructed collectivity. In the present dissertation, the proposal is to analyze, under this approach, the importance of the transforming potential of current art and in what ways it can – or cannot – be preserved/maintained, taking as a case study the exhibition Queermuseu: cartografias da diferença na arte brasileira, its clashes and developments in space-time, which engendered a series of contributions to the discussion about the place of art and cultural preservation in society.

This research project explores two particular approaches to playwriting, autofiction and collective creation, in order to examine how the dramaturgical process can be “queered” through combining methods of creation in unconventional ways. The thematic content of the resulting theatrical text focuses on the intersection of queer/trans identities and bilingualism, specifically through a Franco-Canadian lens, as well as the notions of utopias and futurities in queer contexts. By employing these two methodologies simultaneously and blurring the lines between the individual and the collective, the texts developed through group writing sessions explore the inherent liminality of queer/trans bilingual identities, both in time and in space. To be queer, non-binary and bilingual is to embody duality, disrupt binaries, and exist in grey areas; this same liminal space is central to my exercise both in process and in content. Thus, the object of this study is queer dramaturgy itself, or in other words, the process of writing “queerly,” not just about queerness. The combination of methodologies transgresses the boundaries of the conventional dramaturgical process and aligns itself with queer Practice as Research theories, proposing approaches to playwriting that “are set against the dominant modes of representation and are shaped through forms that are on the fringe and boundaries of disciplines” (Campbell and Farrier, Queer Dramaturgies, p. 7). This project also investigates what trans and non-binary identity means within Franco-Canadian communities, and the relationship between language and gender identity. Furthermore, notions of queer temporality play an important role in the project, given the complex and often conflicting investments that both queer and Franco-Canadian communities have in history and futurity. Through an analysis of Mani Soleymanlou’s works Un. Deux. Trois. and 2042 as case studies of autofictional theatre, collective creation, and utopian performance, as well as the results from a series of writing sessions conducted with multilingual non-binary and trans participants, this research project aims to shed light on these fascinating intersections of identity and process that have thus far rarely been explored. /// Ce projet de recherche explore deux approches dramaturgiques distinctes, soit l'autofiction et la création collective, afin d'examiner comment le processus dramaturgique peut devenir « queer » en combinant des méthodes de création de manière non conventionnelle. Le contenu thématique du texte théâtral qui en résulte se concentre sur l'intersection des identités queer/trans et du bilinguisme, tout particulièrement dans une perspective franco-canadienne, ainsi que sur les notions d’utopies et de futurs possibles dans des contextes queers. En employant ces deux méthodologies simultanément et en brouillant les lignes entre l'individu et le collectif, les textes développés lors des sessions d'écriture de groupe explorent la liminalité inhérente aux identités bilingues queer/trans, à la fois dans le temps et dans l'espace. Être queer, non-binaire et bilingue, c'est incarner la dualité, remettre en question la binarité et exister dans des zones grises. C’est justement cet espace liminal qui est au cœur de mon projet de recherche, à la fois dans le processus et dans le contenu. Ainsi, l'objet de cette étude est la dramaturgie queer comme telle, ou, en d'autres mots, comment on peut créer d’une manière « queer » en plus d’écrire sur un propos queer. La combinaison des méthodologies transgresse les frontières du processus dramaturgique conventionnel et s'aligne sur les théories de la recherche-création queer (Queer Practice as Research), proposant des approches à la dramaturgie « set against the dominant modes of representation and are shaped through forms that are on the fringe and boundaries of disciplines » (Campbell et Farrier, Queer Dramaturgies, p. 7). Ce projet examine également les notions d'identité trans et non-binaire au sein des communautés franco-canadiennes, ainsi que la relation entre la langue et l'identité de genre. De plus, les notions de temporalité queer jouent un rôle important dans le projet, étant donné les investissements complexes et souvent conflictuels que les communautés queer et franco-canadiennes ont par rapport à l'histoire et à l’avenir. À travers une analyse d’œuvres mises en scène par Mani Soleymanlou (Un. Deux. Trois. et 2042) comme études de cas de théâtre autofictionnel, de création collective et de performance utopique, ainsi que les résultats d'une série de séances d'écriture menées avec des participant∙e∙s plurilingues non-binaires et trans, ce projet de recherche vise à mettre en lumière ces intersections fascinantes de l'identité et des processus créatifs qui ont jusqu'à présent été rarement explorées.