Esta tese tem como objetivo principal apresentar Princesa (1994), de Fernanda Farias de Albuquerque e Maurizio Jannelli. Embora escrito a quatro mãos, o texto nasce de uma narrativa em três vozes, dentro do cárcere romano de Rebbibia: Fernanda Farias, uma transexual brasileira; Maurizio Jannelli, um ex-terrorista italiano; Giovanni Tamponi, um ex-assaltante de bancos de origem sarda. Princesa narra a história de múltiplos trânsitos entre cidades, países, identidades, gêneros, consciências, contextos e corpos e, devido à sua particular gênese criativa, de conteúdo, de edição e de publicação, encontra-se em uma zona fronteiriça, o que nos levou a realizar, de forma semelhante, longas e intricadas viagens pela teoria literária. Assim, para o estudo da obra, recorremos à noção de entrelugar, com base nos pressupostos de Santiago (1971), Bhabha (1998) e à teoria da tradução, de Santos (2002); de autoria, gênero e nacionalidade literária; de dialogismo com obras pertencentes tanto ao sistema literário italiano quanto brasileiro; e, por último, nos apoiamos nos estudos da teoria queer, bem como nos Estudos Culturais e Pós-Coloniais, na medida em que a narrativa entrelaça a história da transformação de um corpo, para além dos limites do sexo e do gênero, com questões como pertencimento, Estado-Nação e migrações contemporâneas. / This thesis main objective is to introduce Princesa (1994), written by Fernanda Farias de Albuquerque e Maurizio Jannelli. Although it was written by four hands, the text stems off a narrative of three voices, inside Rome´s prison of Rebbibia: Fernanda Farias, a Brazilian transsexual; Maurizio Janelli, an Italian ex-terrorist; Giovanni Tamponi, a former Sardinian bank robber. Princesa narrates the story of multiple transits between cities, countries, identities, genders, consciences, contexts and bodies and, due to its particular creative genesis, of content, edition and publication, lies on a borderland, which makes us realize, in a similar way, long and intricated journeys through literary theory. Therefore, for the study of this work we resort to the notion of in-between, based on the assumptions of Santiago (1971), Bhabha (1998) and on the theory of translation of Santos (2002); on authorship, genres and literary nationalities; on dialogism with titles belonging to the Italian literature system as to the Brazilian; and lastly, support ourselves on the study of the queer theory, as to the Postcolonial and Cultural Studies, and as far as the narrative interweaves the story of the transformation of a body, to beyond the limits of gender, with matters as belonging,Nation state and contemporary migration.

Este trabalho tem como propósito lançar uma reflexão sobre as maneiras pelas quais os usos descontextualizados da roupa podem consistir em uma subversão do sistema, sobretudo por meio das práticas de crossdressing. A moda, aqui, foi analisada em dois movimentos: o primeiro, que consiste no reforço ao modelo binário de gênero; e o segundo, em que se aproveita de fissuras oriundas da própria norma para causar-lhe perturbações. A partir de referenciais teóricometodológicos feministas e queer, foram realizadas investigações qualitativas, como entrevistas e pesquisas de campo, que possibilitaram uma perspectiva dos sujeitos como provisórios e cambiantes, contribuindo para que suas narrativas fossem compreendidas de maneira mais ampla e menos limitada. A roupa, no contexto do crossdressing, foi observada como parte fundamental da construção das subjetividades e da imagem feminina à qual as crossdressers aspiram, denunciando precisamente o caráter construído da naturalidade dos gêneros que encontra endosso na moda. Ainda que parte dos discursos de produção da normalidade, a vestimenta encerra inumeráveis possibilidades de (r)existência que desestabilizam e desmantelam hegemonias / This research aims to propose a reflection on the ways through which the decontextualized uses of clothing can consist in a subversion of the system, especially through crossdressing practices. Hence fashion was analyzed in two movements: the first, which consists in reinforcing the binary gender model; and the second, in which it takes advantage of the cracks originating from the very norm in order to disturb it. From feminist and queer theoretical-methodological frameworks, qualitative inquiries such as interviews and fieldwork were carried out, which permitted a perspective of the subjects as provisional and mutable, allowing their narratives to be comprehended in a wider and less constrained manner. Clothing, within the crossdressing context, was seen as a fundamental part in the construction of the subjectivities and of the feminine image to which crossdressers aspire. That way, it precisely exposes the fabricated character of gender, which finds support in fashion. Though being part of the production of normality discourses, clothes encompass numberless possibilities of (r)existence that destabilize and dismantle hegemonies

Essa dissertação percorre a obra da escritora francesa, Violette Leduc, elaborando uma reflexão crítica a partir das noções de performatividade e performance, tal como conceituadas por Judith Butler. O núcleo da investigação proposta é a maneira como tais noções operam na obra leduciana, sobretudo sua trilogia autobiográfica, composta pelos livros La bâtarde, La folie en tête e La chasse à lamour. A partir da lente da crítica feminista, com especial atenção aos estudos queer (sem, no entanto, esquecer as vertentes críticas que os precedem), a análise da obra de Leduc torna-se, também, uma discussão sobre poder, gêneros, sexualidades e potências da linguagem literária. As narradoras-personagens dos livros de Leduc constantemente se debruçam sobre a própria obra da autora e a tomam para si: reescrevem os livros publicados como ficcionais, denunciam suas estratégias criativas, falam sobre os impasses do exercício da escrita, desestabilizam a obra de Violette Leduc, transformando-a constantemente. Para além disso, há na literatura leduciana um questionamento recorrente das estruturas sociais, culturais e políticas que regulam os gêneros, os desejos e as práticas sexuais. Tanto a lesbiandade, a bissexualidade, a heterossexualidade, a fluidez dos desejos e das possibilidades para sua práxis quanto as feminilidades e masculinidades, são temas narrados e explorados ao longo de toda a trilogia autobiográfica e também dos romances. Tais indagações culminam em transformações na própria escrita literária, revelando como característica central da literatura leduciana a relação simbiótica entre criação (performance) e citação (performatividade). / The following dissertation explores the work of french writer, Violette Leduc through Judith Butlers definition for both gender performativity and performance notions. The investigations core is the part such notions play in Leducs work, especially her autobiographical trilogy, which comprehends the novels La bâtarde, La folie en tête and La chasse à lamour. This research views Leducs work from the feminist criticism perspective, with special attention to queer studies (but without losing account of the critical thinking that preceded it). The result is an literary analysis that transforms into a discussion of various themes, such as power, genders, sexualities and the different potentials for literary language. Leducs autobiographical protagonist-narrators constantly address Leducs own literary work and claim their ownership over it: they rewrite Leducs fiction and also denounce their creative strategies as well as her impasses with literary writing. The result is a narrator that destabilizes Violette Leducs work, persistently transforming it. Beyond that, in the leducian literature there is a recurrent interrogation of social, political and cultural structures that regulate genders, desires and sexual practices. Lesbianhood, bissexuality, heterossexuality, feminility and masculinity as well as desire and its practical potentialities are themes explored throughout the entire autobiographical trilogy and also in the fictional work. Such inquiries result in transformations on the very literary writing, revealing a key aspect of Leducs literature: the symbiotic relationship established between creation (performance) and citation (performativity).

M.A. (Clinical Psychology) / Same-sex marriage is legally recognized in South Africa and thereby casting gay men as acceptable sexual citizens. Gay men who choose not to marry are subject to further sexual discrimination. To explore the constructions and social meanings of gay men in same-sex marriage, four self-identified gay men who had been married for at least a year were interviewed. Guided by a social constructionist epistemology, discourse analysis of these interviews exposed the effects of language in the shaping of identities. The analysis found that the married gay man positions himself as a ‘decent’ sexual subject and assumes the heterosexist ideology of marriage, which discriminates the single gay man as amoral and ‘deviant’. The married gay men used the discourses of healing, othering, protection, rights and playing straight that entrenched heteronormativity as a moral and sexual authority thereby reinforcing homophobic prejudice. Policy and socio-political recommendations were made to address the legal concept of equality from a Queer Theoretical perspective and for the training of psychologists to include critical engagement with gay subjectivity and the gay cultural world.

This paper aims to examine how sexuality is represented in six children's books who claims to be either norm critical and/or queer. I am using a qualitative method that consist of text and picture analysis designed by Stuart Hall, to examine what discourses and norms that the childrens depicts. I will also aid in the queer theoretical perspective to visualize and point out the heteronormative power structures and how they can be understood. The theoretical concepts like parenting, birth giving, biological aspect, family and stereotypes. The results of this paper shows that with help of theory, method and analysis that it is possible to determine that only one of the six chosen children's books is norm-critical and queer. The rest of the children's books shows more or less heteronormative structures and patterns that goes against the claimed norm-criticaland queer perception of the books. Not only are these five children's books recreating heteronormative structure, they are also cnhancing them. According to international research there seems to exist a trend within western children's literature whereas some sexualities are censored and placed in pecking order acoring to society's norms and values. Lastly it is therefore of crucial importance that pedagogues active in preschool continuously remain critical, analytical and evaluative toward the material they aim to acquire and use.

This thesis provides the first extensive queer reading of a 'Golden Age' British detective fiction writer. The aim of this thesis is to assess queer potential in texts published by Agatha Christie between 1920 and 1952. Human identity can be read as self-consciously constructed in Christie's novels, which were written in a context of two world wars, advances in technology and communication, and what Michel Foucault called the 'medicalization' of Western culture. The self-conscious stereotyping in Christie's prose undermines her texts' conservative appeal to the status quo. Chapter One justifies this project's critique of identity essentialism in the texts by considering the manufacturing of 'Agatha Christie' as a widely-read celebrity author. Reading Christie's authorial identity as something established and refined through a market-driven response to readers' expectations and a conscious engagement with earlier forms of detective fiction provides space for reading identity itself as a stylized, performative, and sometimes parodic theme within the texts. In subsequent chapters, employing theoretical insights from Eve Kosofsky Sedgwick, Judith Butler, and Lee Edelman, I explore Christie's participation in contemporary debates surrounding masculinity, femininity, and the importance of the family in shaping individual identity. Finally, I consider Christie's reputation in the twenty-first century by exploring nostalgic television adaptations of her work. Comparing the presentation of 'queer' characters in the literary texts to the adaptations' use of explicit homosexual themes and characters, I conclude that there is a stronger potential for 'queering' identity in the former. As the first full queer reading of a 'Golden Age' detective novelist, this thesis expands queer notions of archive and canonicity: few scholars to date have considered mainstream literary texts without overt LGBTQ+ themes or characters from a queer perspective. Given Christie's global reach and appeal, locating queerness in her texts means understanding queerness as fundamental to everyday culture. This means engaging with a subversive potential in twentieth century middlebrow conservatism.

This paper takes a look at the phenomenon slash fan fiction. Slash is a genre which often focuses on romantic and sexual relationships between same-sex characters, most of whom are men. It is not unusual that these characters are not homosexual in their original stories. The objective of this paper is to study why some women read and write slash fan fiction, with the focus on slash as a source of pleasure and as a source of identification. While the methodology employed is empirical, the theoretical framework consists of Henry Jenkins and Shoshanna Green as the main researchers on fandom and slash, and queer theory with Judith Butler as the main source. This is a rather small study, consisting of interviews with only four women. The findings suggest that the participants at times do identify with the different characters in slash stories, however they do more frequently take pleasure in just being a bystander and being able to experiment with the gender stereotypes regarding men.

This thesis contains an analysis of transgender characters in games. The method for selecting the characters was based on the importance of the character in the game with the requirement that the game must have sold at least half a million units. The goal was to analyse well-known characters in gaming history to get an overview of how the game industry has represented transgender in games. Out of 102 characters only six of them met the requirements and have been analysed with the use of queer theory. Gender and how the characters break the norms of what is feminine and what is masculine is in focus. In the analysis, the characters are examined through their mannerism, design, personality and dialogue. The analysis is then summarized into identifiable patterns. The result of this thesis is a better understanding of how transgender characters are portrayed in the game industry.

Modern writers like Djuna Barnes allow for the post-modern fluidity and explosion of sex and gender without finalizing either in a fixed form. Whereas the classical, archetypal androgyne is made up of two halves, one man and one woman; the deconstructed androgynous figure is not constituted of oppositional terms which would reflect an essential and unimpeachable truth. I reveal the way Djuna Barnes’ Nightwood not only thematizes the fluid androgyne, but also cleverly verbalizes David Wood’s perpetual and un-dischargable “debt” to extra-discursivity while poetically critiquing gender “appropriateness,” societal constraints, and the constitution of identity. Barnes presents a decentralized, ungrounded and non-prescribed world in Nightwood not only through her cross-dressing and androgynous characters, but also in her poetics, her assertion of the open-ended quality of language, and a strong imperative to negotiate our physical existence in a world of fluid gender and sexual boundaries.

Submitted by Fabio Sobreira Campos da Costa (fabio.sobreira@ufpe.br) on 2016-04-13T13:11:03Z No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Gabriela Guimarães PPGDH.pdf: 1397132 bytes, checksum: 4e76652a449b9f10423732b679019793 (MD5) / Made available in DSpace on 2016-04-13T13:11:03Z (GMT). No. of bitstreams: 2 license_rdf: 1232 bytes, checksum: 66e71c371cc565284e70f40736c94386 (MD5) Gabriela Guimarães PPGDH.pdf: 1397132 bytes, checksum: 4e76652a449b9f10423732b679019793 (MD5) Previous issue date: 2015-02-25 / FACEPE / A presente dissertação tem por objetivo investigar, sob a ótica queer desenvolvida pela filósofa Judith Butler, os sentidos subjacentes à adoção por pessoas do mesmo sexo na realidade brasileira, tendo como foco de análise o primeiro caso processado e julgado no Tribunal de Justiça do Estado de Pernambuco (2007-2008). A partir dos estudos sobre os efeitos da matriz bioparental e heteronormativa na adoção, buscamos realizar a (re)leitura da história da adoção no Brasil, compreendendo os significados – religiosos, morais, sociais – que a prática ocupou ao longo do tempo. Paralelamente, desenvolvemos uma série de problematizações sobre identidades, homossexualidade e heterossexualidade e sobre o questionamento em Butler (2003a) se o parentesco está adstrito aos termos de uma matriz heterossexual legitimadora. Consideramos, segundo Teixeira Filho (2010) que a sobreposição dos laços de sangue hierarquiza os vínculos de filiação ao sustentar uma “essência” humana em procriar e continuar existindo através dos filhos, pondo em evidência os valores heteroreferentes dos papéis sociais de gênero que essa naturalização implica. Tal referência, reiterada/recitada na adoção, operaria uma série de efeitos, desde a expectativa de (hetero)normalização de casais do mesmo sexo à sua tentativa de docilização, por meio do uso reiterado do termo homoafetividade. Assim, o trabalho pretende realizar uma leitura, a partir de uma perspectiva interdisciplinar em direitos humanos, dos termos do debate no processo judicial em análise, com atenção à articulação entre as vozes dos pretendentes à adoção, das crianças, da equipe interprofissional e multidisciplinar, do Ministério Público e do órgão julgador. Por conseguinte, quer-se questionar em que medida, especialmente no âmbito da adoção conjunta por dois homens em análise, o parentesco é tido como heterossexual ou, no mínimo, adstrito aos termos da heterossexualidade normativa. / This dissertation aims to investigate, under Judith Butler’s queer lenses, the meanings underlying the adoption by a same sex couple in the Brazilian reality through the study of the first case prosecuted and judged in the Court of the State of Pernambuco (2007-2008). Inspired by studies on the effects of bioparental and heteronormative matrix in adoption practices, we seek to achieve a (re) reading of the history of adoption in Brazil, comprehending the meanings – religious, moral, social – revolved around this practice over time. At the same time, we problematized topics such as identities, homosexuality and heterosexuality, as well as Butler’s questioning of whether kinship is always bounded to the terms of a legitimizing heterosexual matrix. We believe that, as Teixeira Filho (2010) has clearly explained, the coincidence of blood ties ranks the bonds of belonging by sustaining a human "essence" to procreate and a desire to remain alive through the lives of their children. This naturalization implies the heteronormativity of social gender roles values. Such reference, repeated / recited in the adoption process, probably operates a number of effects from the expectation of (hetero) standardization of same-sex couples to the attempt of highlighting the docilization of these couples through the exhaustive use of the term “homoafetividade”. From an interdisciplinary perspective on human rights, this work pursues a different reading about the terms of the debate in the judicial process under review, with attention to the relation between the voices of the couple who applied for the adoption of the children, the judicial interprofessional and multidisciplinary team, the prosecutor and the judge. Therefore, we hope to discuss to what extent, especially in the context of the same sex joint adoption, is kinship always considered heterosexual or at least attached to the terms of normative heterosexuality.