Dissertations / Theses on the topic 'Gender fluid'

This dissertation addresses the paucity of representation of gender fluid identity within contemporary imagery. An examination of historical and socio-political structures inherent in modern Western society serves as a foundational position for a broader exploration of differently gendered communities globally. The case is made for contemporary art to be encouraged as a tool for the emancipation of subjugated gender fluid identities. Examples of contemporary gender fluid visual art and artists are presented to illustrate the ability of art to enable agency within the broader gender fluid community. Finally, a commentary on my own artwork is presented and discussed in relation to the research and conclusions advanced within this dissertation.

Despite the proliferation of material and discursive resistance by both trans people and trans studies, the emergence and experience of being trans/gender/sexual is still deeply embedded in and oftentimes constrained by a medical “treatment” paradigm, typically conceived as the need to intervene in a perceived misalignment between the sexed body and the gendered mind; the solving of the wrong body. This wrong body narrative (WBN) has extended beyond medical boundaries to become an explanatory model for why trans people exist at all, immersing itself in a range of features associated with trans experience. “Gender dysphoria” is situated as the negative trans affect, the trigger for gendered medical interventions into the body. As trans scholars have argued, this has the potential to institute a politics of ressentiment in trans discourse; where trans people become self-defined by an attachment to being unwell (Heyes & Latham, 2018). And, for trans masculine encounters with medicine, the WBN also reinforces a belief in testosterone as a man’s hormone, and as the sole actor in a binary transition into manhood. This thesis draws on thirty qualitative interviews with trans/gender/sexual men and trans and non- binary exogenous testosterone users living in Australia. Alongside the reflections of my own testosterone use, I centre trans masculine people’s experiences of their bodies and lives to theorise trans and non-binary people’s relation to testosterone, away from the WBN and its totalising explanation of trans gender existence. I do so by drawing upon work within science and technology studies (STS) that approaches reality as multiple, as formed in practice and emerging from encounters between phenomena. This allows us to understand trans gender relations with medicine and the body as creative experiments with embodied subjectivities, without getting trapped inside the binary and essentialising aspects of the WBN. This thesis argues that framing exogenous testosterone use as a creative rather than corrective practice has a number of conceptual and practical advantages. First, it enables us to situate the increased visibility of trans masculine gender practices in relation to broader cultural and historical changes surrounding the body, gender and medical activism. Secondly, it intervenes in the politics of ressentiment associated with the WBN and discourses of gender dysphoria that trans scholars have begun to discuss. Transition can be situated as a vital socio-technological experiment, rather than the medical correction of an innate pathology. Finally, it enables a better understanding of non-binary identities and practices that refuse discourses of binary gender on which the WBN is based. No longer a means of aligning an internal male gender identity with an external body, testosterone use becomes a practice, one that is shifted away from an internal identity dictating specific actions, and as a way of unmaking gender. In re-framing these features of trans experience new potentials arise. Possibilities for new coalitions, for new practices and experiences and new ways of more fully or comfortably holding trans bodies and lives emerge.

This study examines the representation of gender performativity through the influence of reality television in Suzanne Collins’ trilogy: The Hunger Games, Catching Fire, and Mockingjay. Using Judith Butler’s theory of gender performativity and media and communication theories to construct my critical framework, this study examines the development of the protagonist Katniss Everdeen’s performance over the course of the trilogy. For each novel, this research explores a specific role Katniss is assigned and how the role is influenced by gender interpretation and the presence of cameras. The study examines how Katniss’ performance and interpretation of gender change with each role. Additionally, the concept of liminality, or the ambiguous space of transition, is explored with regards to how Katniss navigates her way between performance and reality. This trilogy satirizes contemporary culture’s obsession with reality television, and this study provides an understanding of how performativity plays a significant role in our everyday lives.

/ˈfluːɪd/ is a project that explores the retail part of the fashion world. By creating an inclusive shopping experience, this project aims to escape the binary world of clothing stores. Working with second-hand pieces, the goal is not to create new garments, but to give everyone access to the full spectrum of clothes. In that way, /ˈfluːɪd/ aspires to provide a safe place which inspires self-expression and stimulates individuality as well as a sense of togetherness. Fluidity being the core concept, the proposal addresses different matters, such as gender, size and audacity. To implement gender fluidity, there will not be any gender categorization, but the clothes will be sorted by colors only. Getting rid of the existing labels and producing a new flexible size chart will initiate a personalized experience and harmonize the systems between the different brands. Designing /ˈfluːɪd/ is designing both an experience and a physical space, to provide a place which encourages anyone to express themself in public.

C-paper Abstract

Title: Fluidity and Solidity in Marilynne Robinson’s Housekeeping

Author: Linda Lindqvist

The purpose of this essay is to show that fluidity and solidity constitute a central tension on all levels in Housekeeping, and how this tension leads to a choice of either a fluid or a solid lifestyle and view of the world. I focus on fluidity and solidity in gender roles, in memories, in dreams, in nature, and in different perceptions of reality. By taking a closer look at Ruth’s first-person narration (seeing fluidity as not resisting deformation, while solidity resists deformation), we find that the characters in Housekeeping have fluid and solid traits, but that there is no reality that allows mixed manifestations of these. This results in repression of either fluidity or solidity, which creates tension and feelings of loss. Ruth chooses a fluid lifestyle, thus her memories and dreams become mixed with her present, and this also leads her to become a transient, outside gender roles and traditional small town society. Transience in this novel questions all distinctions conventionally made between dream and reality; male and female. In conclusion, this essay highlights how tension between fluidity and solidity is generated on all levels in Housekeeping, and how this leads to either fluid or solid lifestyles since the characters follow a cultural code that dictates a choice between them.

Brain aging is a heterogeneous phenomenon, and this thesis illustrates how the course of aging can vary within individuals over time and between individuals as a function of age, sex, and genetic variability. We used two contrasts from magnetic resonance imaging (MRI), namely spin-lattice T1-weighted imaging, and quantitative susceptibility mapping (QSM) from gradient-echo images, to picture the aging brain, by means of morphometric measures and brain-iron concentrations. Within each study, the same rigorous imaging acquisitioning protocols were used over large samples sizes of 167-183 individuals, which contribute to the uniqueness of the studies. Most of the current knowledge about the aging brain rests on the foundation of cross-sectional age-related differences, and studies I and III contribute to current knowledge with longitudinal designs to investigate individual rates of change. The importance of genetic variation in relation to regional brain changes was addressed with a specific emphasis on functional polymorphisms involved in pro-inflammatory responses. These studies further shed light on the importance of bi-directional relations between structural integrity and maintained cognitive abilities over time. Study II is the largest study to date to have quantitative susceptibility estimates examined in healthy adults, and the first in-vivo report to show a lowering in overall subcortical brain iron estimates in women from midlife to old age. Studies I and III are unique by examining longitudinal differences in anatomical brain regions using high resolution images from a 4 Tesla scanner. Peripheral vascular risk factors were not strong determinants of either brain- or cognitive changes in the studied samples. The results are discussed in the context of cognitive reserve, the brain maintenance hypothesis, and potential influences of hormones, inflammation and oxidative stress.

Aim. To highlight how girlfags and guydykes describe their identities and their experience and interpretation of the identity labels. Background and previous studies. The sexual minority identity of girlfags and guydykes are sometimes perceived as provocative in their contradictory labels. There is little to no previous research on the identities and what is known is mostly presented on internet blogs and forums. The identities seemingly involve aspects on sexual orientation, gender and sexual practice. Research related to sexual minorities, non-normative sex, LGBT and the risk of ill-health with identifying as a sexual minority is presented. Method. Semi-structured interviews in a method of choice was applied to this study so as to ease contact with a sexual minority group. Participants were sought through a Facebook © forum, with a total of eleven interviews with two guydykes and nine girlfags, through video call (2), phone call (1), in person (1), email (6), email with sound files (1). The data was analysed with content analysis. Results and analysis. The results were extensive and had to be delimited. The results were analysed in a sexual constructionist setting using the concept of the heterosexual matrix (Butler, 1990) and the concepts of gender/sex sexuality and nurturance and eroticism presented in van Anders’ (2015) Sexual Configurations Theory (SCT). Three main categories were presented; A play on gender, Sexuality and Orientation, and Identity. Conclusions. There is pride portrayed in the girlfag and guydykes identities. The identity breaks norms regarding gender and sexuality and even sexual orientation within an LGBT context. The results indicate that further research on transgender issues and relational and social aspects of the identities is needed. Keywords: autoandrophilia, gender identity, genderqueer, girlfag, guydyke, homosexuality, LGBT, non-normative, sexual minorities, lesbian man, queer.

Recent statistics have shown that Violence Against Women (VAW) affects one in three women worldwide. Not only is the issue prevalent at a global scale, it is embedded in the societal fabric of South Africa. Women and girls disproportionately experience public and private environments as unsafe due to the fear or threat of violence against them. Thus, limiting their movement, use and occupation of space. In essence, such instances of violence infringe upon a women’s human rights. In 1996, two years after South Africa became a democracy, it was necessary to manifest physically through architecture the symbolic significance of South Africa’s Constitution. An opportunity for architectural intervention is identified at the Constitution Hill Precinct. The aim is to make more visible and practical advocacy of women’s rights through establishing an association of the Precinct as a safe space for women. The study, through mixed qualitative methods, explores the feminist notion of safe space to understand safety, as both a practical and social construct, is integral to reflect the lived experiences of women. Design principles to guide the architectural intervention are subsequently synthetized from primarily theoretical informants, followed by conceptual, contextual and programmatic informants. The result is the translation of safe space into an architecture of lived experience; where the threat of fear or violence does not intimidate nor limit the occupation and use of space by women; but fosters spaces of empowerment, healing and upliftment. By programming underutilized in-between spaces along the East-West thoroughfare of the Precinct, through a transformative approach towards heritage, the advocacy for women’s rights is made visible and attains an association as a place where women are received and celebrated. Focus is placed on the Western edge of the Precinct to explore social and public programmes in support of women and the community at large. The existing parking lot structures, identified as lost space, are adapted to reflect an architectural intent of safe space and become spaces of meaning and contribution towards the Precinct. Finally, technical resolution of the project stems from the conceptual intentions of the design intervention; expressing a transformative approach between old and new.
Mini Dissertation (MArch (Prof))--University of Pretoria, 2020.
Architecture
MArch (Prof)
Unrestricted

Предмет истраживања у овом раду представља одређивање чворишних тачакаоко којих се образује идентитет у поетици Растка Петровића. Циљ је доказивања тезеда његово стваралаштво антиципира савремено схватање и разумевање идентитетакао конструкције, која се одвија унутар дискурса моћи, а он настоји да регулишеидентификацијске процесе унутар субјекта. Дело Растка Петровића указује начињеницу да идентитет представља сложену и динамичну мрежу сачињену одидентитетских конституената који се непрекидно укрштају, те се на местима укрштајаобразују амбивалентне субјекатске позиције из којих аутор исповеда своју онтолошкустрепњу и свест о конститутивној амбиваленцији. Укључивањем методолошкихпремиса из области студија културе (маргинализација, трансгресија, лиминалност) упроучавање аутентичних авангардних поетичких стратегија Растка Петровића, указалисмо на чињеницу да је аутор трагајући за собом остваривао своје поетско биће. На тајначин образовао се хибридни и лиминални идентитет у динамичком пољуантагонистичких дискурса, који се непрекидно међусобно пресецају.Реч је, дакле, о томе да поетичко-естетско-филозофско исходиштестваралаштва Растка Петровића чини идеја да се биће (оно што јесте), као иконституенти његовог идентитета (пол, род, раса, нација, класна, верска ипрофесионална припадност...) разумевају као процесуалне категорије које сунепрекидно изложене променама. Петровић, заправо, отвара пут савременомантиесенцијалном тумачењу бића као флукса (оно што је ток и што се мења) унутарсимболичких мрежа, односно дискурзивних пракси. На тај начин, ствара се могућностда се појам, односно концепт идентитета тумачи као стратегијски и позицијски, те је уПетровићевом делу идентитет увек релационо конструисан и изратито обележен не-припадањем. Истовремено, идентитет сугерише истост и подржава неки обликзаједништва који варљиво испуњава онтолошку празнину.Овај рад своје методолошко утемељење проналази у претпоставци да јеплуралитет у теоријским приступима и критичким праксама нужан, управо због2сложености и амбивалентности појма идентитет, који је интердисциплинаран по свомедосегу. Истовремено, овај рад се бави различитим аспектима идентитета са циљем дасе сачува и истакне свест о интеракцији између конституената идентитета и теоријско-критичких пракси које се њима баве. У фокусу нашег истраживања налази се културни,родни и наративни идентитет, тачније, модуси њихових конструкција. У том смислу,ова студија доказује да поетика, али и живот Растка Петровића представљајупарадигму културолошке и родне лиминалности. Сходно томе, путујући моделегзистенције показује се као пресудан у творби идентитета који се формира каохибридни, услед седиментације различитих култура.Исцрпна анлиза родног идентитета, односно маскулинитета, истичесубверзивни потенцијал Петровићевог дела у односу на патријархалнуфалогоцентричну бинарну културолошку матрицу. Растко Петровић несумњивоисказује свест о идеолошком карактеру родне улоге која му је намењена, те је процес„постајања“ мушкарцем изузетно сложен, обележен противуречностима и стрепњом.Посебан комплекс питања која се нужно намећу када је у питању ауторефлексијапредставља језик, јер је писац принуђен да доказ властитог постојања тражи у језику, упојмовима који су такође производ дискурса који не одобрава алтернативну мушкост.Тумачење наративног иденитета као ипсеитета које смо користили у раду,дакле, упознавање и конституисање себе као метакатегоријалног Другог, маркирало језначај културног дијалога коме је Растко Петровић несумњиво стремио. У питању једијалог у коме припадници мањинских/маргиналних култура и субкултура постајуравноправни саговорници. Истовремено, размена културних дарова обезбеђивала бипотенцијал за, из данашње перспективе посматрано, повлашћен статус агенса устварању сопствене културе, као и активно учешће у мапирању културе у свету.
Predmet istraživanja u ovom radu predstavlja određivanje čvorišnih tačakaoko kojih se obrazuje identitet u poetici Rastka Petrovića. Cilj je dokazivanja tezeda njegovo stvaralaštvo anticipira savremeno shvatanje i razumevanje identitetakao konstrukcije, koja se odvija unutar diskursa moći, a on nastoji da regulišeidentifikacijske procese unutar subjekta. Delo Rastka Petrovića ukazuje načinjenicu da identitet predstavlja složenu i dinamičnu mrežu sačinjenu odidentitetskih konstituenata koji se neprekidno ukrštaju, te se na mestima ukrštajaobrazuju ambivalentne subjekatske pozicije iz kojih autor ispoveda svoju ontološkustrepnju i svest o konstitutivnoj ambivalenciji. Uključivanjem metodološkihpremisa iz oblasti studija kulture (marginalizacija, transgresija, liminalnost) uproučavanje autentičnih avangardnih poetičkih strategija Rastka Petrovića, ukazalismo na činjenicu da je autor tragajući za sobom ostvarivao svoje poetsko biće. Na tajnačin obrazovao se hibridni i liminalni identitet u dinamičkom poljuantagonističkih diskursa, koji se neprekidno međusobno presecaju.Reč je, dakle, o tome da poetičko-estetsko-filozofsko ishodištestvaralaštva Rastka Petrovića čini ideja da se biće (ono što jeste), kao ikonstituenti njegovog identiteta (pol, rod, rasa, nacija, klasna, verska iprofesionalna pripadnost...) razumevaju kao procesualne kategorije koje suneprekidno izložene promenama. Petrović, zapravo, otvara put savremenomantiesencijalnom tumačenju bića kao fluksa (ono što je tok i što se menja) unutarsimboličkih mreža, odnosno diskurzivnih praksi. Na taj način, stvara se mogućnostda se pojam, odnosno koncept identiteta tumači kao strategijski i pozicijski, te je uPetrovićevom delu identitet uvek relaciono konstruisan i izratito obeležen ne-pripadanjem. Istovremeno, identitet sugeriše istost i podržava neki oblikzajedništva koji varljivo ispunjava ontološku prazninu.Ovaj rad svoje metodološko utemeljenje pronalazi u pretpostavci da jepluralitet u teorijskim pristupima i kritičkim praksama nužan, upravo zbog2složenosti i ambivalentnosti pojma identitet, koji je interdisciplinaran po svomedosegu. Istovremeno, ovaj rad se bavi različitim aspektima identiteta sa ciljem dase sačuva i istakne svest o interakciji između konstituenata identiteta i teorijsko-kritičkih praksi koje se njima bave. U fokusu našeg istraživanja nalazi se kulturni,rodni i narativni identitet, tačnije, modusi njihovih konstrukcija. U tom smislu,ova studija dokazuje da poetika, ali i život Rastka Petrovića predstavljajuparadigmu kulturološke i rodne liminalnosti. Shodno tome, putujući modelegzistencije pokazuje se kao presudan u tvorbi identiteta koji se formira kaohibridni, usled sedimentacije različitih kultura.Iscrpna anliza rodnog identiteta, odnosno maskuliniteta, ističesubverzivni potencijal Petrovićevog dela u odnosu na patrijarhalnufalogocentričnu binarnu kulturološku matricu. Rastko Petrović nesumnjivoiskazuje svest o ideološkom karakteru rodne uloge koja mu je namenjena, te je proces„postajanja“ muškarcem izuzetno složen, obeležen protivurečnostima i strepnjom.Poseban kompleks pitanja koja se nužno nameću kada je u pitanju autorefleksijapredstavlja jezik, jer je pisac prinuđen da dokaz vlastitog postojanja traži u jeziku, upojmovima koji su takođe proizvod diskursa koji ne odobrava alternativnu muškost.Tumačenje narativnog ideniteta kao ipseiteta koje smo koristili u radu,dakle, upoznavanje i konstituisanje sebe kao metakategorijalnog Drugog, markiralo jeznačaj kulturnog dijaloga kome je Rastko Petrović nesumnjivo stremio. U pitanju jedijalog u kome pripadnici manjinskih/marginalnih kultura i subkultura postajuravnopravni sagovornici. Istovremeno, razmena kulturnih darova obezbeđivala bipotencijal za, iz današnje perspektive posmatrano, povlašćen status agensa ustvaranju sopstvene kulture, kao i aktivno učešće u mapiranju kulture u svetu.
This thesis aims to determine the crucial points of identity formation in RastkoPetrović’s poetics with the intention to verify the idea that Rastko Petrović’s workanticipates the modern understanding of identity as a construct which emerges from thediscourse of power with its identificational processes within the subject. Rastko Petrović’soeuvre is an excellent example of the fact that identity represents a complex and dynamicnetwork of identity constituents that constantly intertwine, and, in the places where thecontacts happen, they form ambivalent subject positions from which the author narrates hisontological fear and the awareness of the constitutive ambivalence. By including some ofthe methodological premises from the field of cultural studies (such as marginalization,transgression, liminality) into the research of Petrović’s authentic avant-garde poeticstrategies, the thesis shows that, while searching for his inner self, Petrović was epitomizinghis poetical self, thus forming a hybrid and liminal identity in the dynamic field ofantagonistic discourses that constantly intersect.Therefore, we can say that the poetic, philosophical and aesthetic sources ofPetrović’s work are found in the idea that self (what is), as well as the constituents of hisidentity (sex, gender, race, nation, class, religious beliefs, professional orientation…) areunderstood as processing cathegories constantly exposed to changes. What is more, it canbe said that Rastko Petrović clears the path for the modern, antiessetialist interpretations ofself as flux (that which is a flow, which changes constantly) within the symbolic network, i.e.discoursive practices. In this way, arises the possiblity of interpretation of the notion, or theidea of identity, as strategic, or positional, meaning that in Petrović’s works identity isalways relationally constructed and strongly marked by non-belonging. At the same time,identity means sameness and supports at least some kind of unity feebly fulfilling theonthological void.Methodological foundation of this thesis is found in the assumption that the pluralityin critical and theoretical approaches is necessary, precisely because of the complexity andambivalence of identity, the term whose scope and range are interdisciplinary positioned. Atthe same time, the thesis examines various aspects of identity with the objective topreserve and enhance the awareness about the interaction between the constituents of4identity and theoretical and critical practices that deal with it. Cultural, gender and narrativeidentities or, more precisely, the modes of their constructions, form the central part of thethesis. In this sense, this thesis shows that the poetics, but also the life of Rastko Petrović,represent a paradigm of cultural and gender liminality, while the life on the constant moveproves to be crucial in the creation of identity which is formed as a hybrid one because ofmany layers coming from various cultures. A detailed analysis of gender identity or, moreprecisely, masculinity, stresses the subversive potential of Petrović’s work when juxtaposedto patriarchal, logocentric, binary cultural matrix. Rastko Petrović expresses an awareness ofthe ideological character of the gender role he was assigned with; therefore, the process of“becoming” a man is a highly complex one, marked with contradictions and fear. A separatecluster of questions that inevitably appear with introspection is found in language, sincewriter is compelled to search for the proofs of his existence in the language and in thenotions which are also a product of discourse that does not approve of the alternativemasculinity.The interpretation of narrative identity as ipseity, used in this work, as well as theintroduction and constitution of self as a meta-categorical Other, marked the importance ofcultural dialog which Rastko Petrović undoubtedly strived for. It is a dialog where themembers of minority cultures and subcultures are equal participants. At the same time, theexchange of cultural gifts provides the potential for a privileged status of agens in creationof one’s own culture, and also in active mapping of the world culture.

碩士
高雄師範大學
性別教育研究所
98
The research studies unrecognizable gender and sexual identifications following the postmodern and feminist paradigm to challenge conventional education and guidance theory of questioning adolescents prevailing in Taiwan. Based on the findings of DeAngelis (2002), the researcher agrees that there are more and more young people pausing in - “questioning”- the lingering category. Related studies, however, are rare which instead deserve more expansive and in-depth inquiry. The researcher interviewed five adolescents born in 1980s on their sexual identities and sexualities of “questioning.” Specifically, the researcher strived to figure out how questioning adolescents construct their uncertain, fluid, flexible, yet unrecognizable gender and sexual identifications. The results showed that most participants lack a sense of belonging to stable gender/sexual category. As a result, these adolescents are likely to keep searching gender/sexual identities. They just selective used established category. The result reveals that scholars and practitioners should apply the notion of “fluxion” and “variation” to reframe the way we study gender/sexual identities. Under the current binary structure of sex/gender category, interviewees expressed that they experienced uncertainty, confusion, ambiguousness, and even questions about mainstream gender/sexual identity discourse. Thus, if they are apt to apply a rather fluid frame of gender/sexualities or transgender identities, adolescents may feel more comfortable and clear about their gender identity. Using the fluid and variable gender/sexual theory to interpret participants’indentifications may be a more appropriate approach. Accordingly, the researcher suggests that to pay respect to personal fluid gender/sexual experience, researcher advises that “fluxion,” which stands for the fluid gender, sexualities and identity, is a better term to describe adolescents’ status of gender identifications than is “questioning.”Moreover, scholars and practitioners should be advised that identifying gender/sexual identity is an attitude rather than a stage of life. We need to support adolescents to search for their identities. Practitioners should treat the gender/sexual identifications itself as a kind of exploration.

碩士
國立中正大學
外國文學所
95
In the Octavia E. Butler’s Lilith’s Brood, Butler creates brand new human beings whose gender is fluid. However, new human beings’ fluid gender troubles human resisters in the story because most of them still think gender has to be stable. However, what makes new human beings’ gender fluid? In order to answer this question, this thesis divides into five parts. In the first part, the background of story and author will be introduced. In second part, the discussion focuses on human resisters’ gender is hailed by the interpellation of stable gender and as hailed subjects, they will regulate every subject whose gender is different from theirs. In the third part, by presenting interpellation of stable gender and medical knowledge which support the very interpellation cannot hail or stabilize new human beings’ gender, new human beings’ fluid gender will be shown. In the fourth part, the discussion will reveal that new human beings’ fluid gender is the caused by their unstable body. In the discussion, the youngest generation of new human beings’ unstable body and fluid gender will be examined. In the final part, it will summary the points made in former parts.

Many scholars in the field believe that identities are fluid without question. Butler’s “fluidity of identities,” for instance, describes the numerous variations in gender identities that denaturalize gender, but not consider its racial dimensions (179). Butler analyzes drag performance as a model to show how gender identities are fluid, suggesting agency and social mobility in everyday life. But what is most striking to me about fluidity of identities is the assumption that everyone has fluid identities with scarcely any regard for how racialized stereotypes fix identities (Hall 1997, 258). Fixity is the repetition of colonial power over racialized subjects rendering them without agency and access (Bhabha 94). Fixity uses stereotyping, which is a process of constructing “composite images” about groups of people, and that hold certain identities within “symbolic boundaries” (Brantlinger 306). As a result, this dissertation challenges the universality in a fluidity of identities by examining three case studies in Caribbean racialized gender identities, often thought to be fluid because of multi-ethnicity, but discriminate against, and erase blackness or “Africanness,” in race theories of “whitening” (blanquemiento), “darkening” (negreado), color-casting, and colonial stereotypes of “miscegenation” throughout Latin America and the Caribbean. Through performance analyses of three black and "miscegenated" Anglophone Caribbean performers Denise “Saucy Wow” Belfon in Trinidad carnival crossdressing, Carlene “The Dancehall Queen” Smith in Jamaican dancehall transvestism, and Staceyann Chin in American performance poetry with racialized “androgyny,” I examine the figures of Creole, La Mulata, Dougla and “half-Chiney” by these women in their performance genres in order to investigate whether identities are as fluid as Butler suggests, and to chart their fixities. Focusing on fluidity alone risks denying inequalities and the lack of social mobility restricting access to marginalized people. Belfon, Smith and Chin manipulate racialized “drag” by simultaneously crossing race and gender in masquerade traditions of Trinidad carnival, Jamaican dancehall, and in the orality and embodiment in American performance poetry in performances I call black liminal displacements, defined as self-stereotyping and self-caricaturing. However fluid racialized gender identities may appear to be, I argue that racialized gender identities are not definitively fluid because racial stereotypes fix identities.
text

Leung Yee Fong, Vivian.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 159-169).
Acknowledgments --- p.i
Legend for figures --- p.ii
Legend for tables --- p.v
List of abbreviations --- p.vii
Abstract --- p.viii
Chapter Ch 1 --- Introduction --- p.1
Chapter 1.1 --- Embryology --- p.1
Chapter 1.1.1 --- Embryology of amniotic cavity --- p.1
Chapter 1.1.2 --- Embryology of kidney and bladder --- p.3
Chapter Ch 2 --- Background: What is already known about amniotic fluid volume? --- p.7
Chapter 2.1 --- Normal physiology --- p.7
Chapter 2.1.1 --- The origin of amniotic fluid: Where does it come from? --- p.8
Chapter 2.1.2 --- Where does the amniotic fluid go? How reabsorbed? --- p.14
Chapter 2.1.3 --- How is amniotic fluid volume controlled? --- p.18
Chapter 2.2 --- Abnormal physiology --- p.26
Chapter 2.2.1 --- Too much liquor: polyhydramnios --- p.26
Chapter 2.2.2 --- Too little liquor: oligohydramnios --- p.28
Chapter 2.2.3 --- Diseases and gender differences that may be related to parity and amniotic fluid volume --- p.30
Chapter 2.3 --- Techniques of measuring amniotic fluid volume --- p.32
Chapter 2.3.1 --- History --- p.32
Chapter 2.3.2 --- Current most popular technique: amniotic fluid index --- p.38
Chapter 2.4 --- Summary of what is known and not yet known about amniotic fluid volume --- p.48
Chapter Ch 3 --- Aims of this study --- p.49
Chapter Ch4 --- Method --- p.50
Chapter 4.1 --- Equipment --- p.50
Chapter 4.2 --- Subject selection criteria --- p.50
Chapter 4.2.1 --- Criteria --- p.50
Chapter 4.2.2 --- Total number of subjects studied --- p.51
Chapter 4.2.3 --- Total number of subjects selected fulfilling all criteria --- p.51
Chapter 4.2.4 --- Subject preparation --- p.52
Chapter 4.3 --- Technique --- p.53
Chapter 4.3.1 --- "Standard measurement of BPD， AC, FL and EFW" --- p.53
Chapter 4.3.2 --- Standard measurement of Doppler --- p.54
Chapter 4.3.3 --- Amniotic fluid index --- p.55
Chapter 4.3.4 --- Bladder volume --- p.59
Chapter 4.3.5 --- Fetal renal pelvis --- p.61
Chapter 4.3.6 --- Intra-observer error techniques and calculation --- p.63
Chapter 4.4 --- Techniques used in analysis --- p.65
Chapter Ch5 --- Results --- p.67
Chapter 5.1 --- Fetal parameters --- p.68
Chapter 5.1.1 --- Fetal biparietal diameter (BPD) --- p.68
Chapter 5.1.2 --- Fetal abdominal circumference (AC) --- p.69
Chapter 5.1.3 --- Fetal femur length (FL) --- p.70
Chapter 5.1.4 --- Pulsatility index values of umbilical artery --- p.71
Chapter 5.1.5 --- Birth weight (BW) --- p.74
Chapter 5.1.6 --- Estimated fetal weight --- p.76
Chapter 5.2 --- Amniotic fluid index --- p.79
Chapter 5.2.1 --- Amniotic fluid index-overall --- p.79
Chapter 5.2.2 --- Amniotic fluid index-male and female --- p.81
Chapter 5.2.3 --- The ten segments of amniotic fluid index distribution --- p.83
Chapter 5.2.4 --- Amniotic fluid index relationship to estimated fetal weight --- p.86
Chapter 5.2.5 --- Amniotic fluid index with gravidity and parity --- p.89
Chapter 5.2.6 --- Amniotic fluid index with estimated fetal weight of different parity (best fit line) for both male and female --- p.93
Chapter 5.3 --- Fetal urinary bladder volume (BV) --- p.96
Chapter 5.3.1 --- Bladder volume-overall --- p.96
Chapter 5.3.2 --- Bladder volume-male and female --- p.97
Chapter 5.3.3 --- Bladder volume with estimated fetal weight- overall --- p.100
Chapter 5.3.4 --- Bladder volume with estimated fetal weight in both male and female --- p.101
Chapter 5.3.5 --- Bladder volume with gravidity and parity --- p.103
Chapter 5.3.6 --- Bladder volume with amniotic fluid index --- p.105
Chapter 5.4 --- Anteroposterior diameter of the fetal renal pelvis --- p.106
Chapter 5.5 --- Hydronephrosis index values --- p.107
Chapter Ch 6 --- Discussion --- p.108
Chapter 6.1 --- Review of the study --- p.108
Chapter 6.2 --- Discussion on subject --- p.111
Chapter 6.2.1 --- Gestational age chosen --- p.111
Chapter 6.2.2 --- Subject preparation --- p.112
Chapter 6.3 --- Discussion of method --- p.114
Chapter 6.3.1 --- Equipment --- p.114
Chapter 6.3.2 --- Technique --- p.117
Chapter 6.4 --- Discussion on results --- p.128
Chapter 6.4.1 --- Normality of population --- p.128
Chapter 6.4.2 --- Low birth weight/ IUGR in Chinese and Caucasian --- p.129
Chapter 6.4.3 --- Cut-off points to detect oligohydramnios and polyhydramnios --- p.132
Chapter 6.4.4 --- Amniotic fluid index-relationship with fetal weight --- p.143
Chapter 6.4.5 --- Amniotic fluid index-relationship to parity --- p.145
Chapter 6.4.6 --- "Relationship between gender, estimated fetal weight and amniotic fluid index" --- p.147
Chapter 6.4.7 --- Parity and cut-off points for oligohydramnios and polyhydramnios --- p.150
Chapter 6.4.8 --- Relationship of amniotic fluid volume to urinary function --- p.152
Chapter Ch 7 --- Conclusions --- p.157
References --- p.159

Partendo dalla raccolta di da 35 storie di vita di soggettività trans sul territorio italiano, il lavoro si articola in di due parti: la prima introduce il tema della ricerca, traccia le coordinate teoriche generali e il metodo che ha guidato il lavoro empirico. L’obiettivo della prima parte è quello permette a chi scrive di posizionarsi all’interno di un pensiero queer in cui i soggetti e le soggettivazioni appaiono fluide, instabili e sempre in divenire. Per questa ragione è stato importante riflettere su come raccogliere i dati tenendo insieme la fluidità come qualità intrinseca dell’oggetto di indagine con la necessità di conformarsi al rigore scientifico. Il lavoro apre una riflessione inoltre su quella che può essere definita queerizzazione del metodo di indagine intendendo con questo anche un particolare modo di approcciarsi al queer che include il considerarlo al tempo stesso un approccio teorico, una prospettiva politica, una forma di auto identificazione o di assemblaggi di pratiche del sé. La seconda parte presenta l’analisi delle storie di vita che costituiscono il cuore del lavoro di ricerca; l’ascolto delle narrazioni si è costituito come un lungo e coinvolgente lavoro sul campo. L’analisi si suddivide a sua volta in due parti. Nella prima (cap. 2) si privilegia quella parte della narrazione in cui il soggetto si riconosce, riflette su se stesso e sul proprio desiderio in relazione ad ambiti di vita più affettivamente densi come la famiglia e il gruppo dei pari a scuola. Si tratteggia qui il percorso di autodefinizione caratterizzato dalla scoperta della propria unicità e di ciò che si ritiene essere la “verità” su se stessi. Nella seconda parte (cap. 3), invece, si approfondisce la tensione tra aspetti più prettamente normativi e prescrittivi e il percorso di soggettivazione inteso come affermazione di sé nel sociale. Si descrivono inoltre le forme della resistenza e della negoziazione che permeano l’esperienza sociale dei soggetti trans.

Relatório de estágio de mestrado em Média Interativos
Esta dissertação é enquadrada pela temática do Género, tendo como objetivo estudar as manifestações dos discursos e das representações de género na cultura popular, mais concretamente das personagens 3D em filmes de animação e videojogos. Apesar do desenvolvimento dos Estudos de Género, este assunto foi ainda pouco trabalhado em Portugal. Pretende-se, assim, questionar se estes personagens são marcados pela tradicional concepção binária do género (masculino versus feminino) ou se haverá espaço para alguma fluidez, para um terceiro género ou para a neutralidade de género. Para a grande maioria de nós, o género é composto por duas e apenas duas categorias, masculino e feminino, e a transição de uma para a outra é ainda um tabu social e académico. Se o facto de haver elementos da nossa sociedade que anseiam por pertencer a uma categoria sexual e de género dentro da qual não nasceram, tal é ainda visto como não-natural; o facto de existirem muitos outros que não se identificam com nenhuma delas, ou com uma mistura das duas é praticamente impensável e inaceitável. Este trabalho, na sua componente teórico-reflexiva, parte de uma extensa e diversa quantidade de perspectivas e estudos sobre papéis tradicionais de género, discursos de género, género e sexualidade, transgressão de género e género na cultura popular. O estudo empírico é uma análise de representações de género em personagens 3D mainstream, enquadrado pela oposição binário e fluído. Metodologicamente, o corpus é constituído por dezasseis personagens individuais, de múltiplos filmes de animação e videojogos. A análise qualitativa destes personagens, baseia-se em nove categorias que permitem perceber o modo como o género é construído nos mesmos, e posterior comparação. O objetivo deste estudo é assim interrogar e perceber se é possível haver uma total transgressão das normas de género; se é possível passar do binário ao fluído, ou se as convenções de género persistem.
This dissertation lies within the subject of gender, and its goal is to study gender discourses and representations in pop culture, particularly those of 3D characters, present in animated movies and videogames. Despite the advances of Gender Studies, this subject isn’t afforded the necessary attention I Portugal. This work means to question whether these characters are built on the binary principle (masculinity versus femininity), or if there is room for some degree of fluidity. For most of us, gender is built upon two and only two categories, male and female (or masculine and feminine), and the transition from one to the other is still somewhat a social and academic taboo. If the fact that there are some elements of society that wish to belong to a sexual and gender category in which they were not born in, is still seen as unnatural, the existence of many other that identify as neither or a mixture of both is virtually unthinkable and unacceptable. This study includes an extensive and diverse amount of, theoretical and reflexive, information about traditional gender roles, gendered discourses, gender and sexuality, gender transgression and gender in pop culture, that allow me to proceed to an analysis of gender representations in mainstream 3D characters. To make such an analysis I created, based on all information gathered, nine qualitative gender categories, and analysed sixteen individual characters, featured in animated movies and videogames, that are later compared and discussed. The purpose of this analysis is to understand if a complete transgression to traditional gender roles is possible; if it is possible to go from binary to fluid, or if the traditional gender roles persist.

Human thermal environments constitute complex combinations of various interacting thermal factors. The transient and non-uniform nature of those thermal factors further increases the complexity of the thermal comfort problem. The conventional approach to the thermal comfort problem has been simplifying the problem and providing steady thermal environments which would satisfy the majority of the people in a given space. However, several problems emerged with this approach. People became finely tuned to the narrow range of conditions and developed expectations for the same conditions which made them uncomfortable when there were slight deviations from those conditions. Also, the steady approach didn't solve the comfort problem because, in practice, people move between spaces, and thermal conditions such as metabolic rate, surface temperatures, airflow speed and direction vary in a typical day. A human subject test was designed to determine the transient relationship between the people and their environments. In the first part, thermal perceptions of people were taken during various metabolic rate conditions. In the second and the third parts, transient conditions of different thermal factors were created. Various combinations of airflow frequencies, airflow location around the body, metabolic rate, and room temperatures were tested for their individual and interaction effects of providing thermal comfort. The concept of Localized Dynamic Airflow was proposed in which room airflow was simply redirected to different parts of the body with a varying airflow speed. Results showed that males and females respond differently to the thermal conditions. The room temperatures they found neutral were significantly different. People‟s thermal comfort during transient metabolic conditions was similar to high metabolic conditions. This heightened response extended into the next ten minutes after the high metabolic conditions ended. Test results suggested that people tolerate higher temperatures during transient environmental conditions. The average response was for comfortable even during the high temperature (83°F) and high metabolic rate (4 met) conditions. Low energy use of the localized dynamic airflow and the increased room temperatures has significant potential for monetary savings.

The dissertation connects areas of critical-animal studies and feminist studies over the question of picturing bodies of animals and women including visual violence. In particular it addresses the use of mentioned picturing methods by an animal rights movement. I understand women and animals to be marginalised groups in patriarchal society on which is represented the power of hegemonic masculinity by denigrating, violent and sexual representation, even though each group has its specifics. The method of representation serves as means of confirmation and embedding of hegemonic masculinity, anthropocentric system built on binary oppositions man/woman, human/animal, and with them related discourse of difference. The aim of the dissertation is to point out common characteristics of denigrating representation including violence (with sexual meaning) on animals and women who are reduced to objects, on which visualisation of violence is socially accepted. The initial point comes from feminist theories of Carol J. Adams and her concept of absent referent. Further it works with concept of intersectionality and fluid identity according to Rosi Braidotti, which enables consideration of assigning a claim of personal identity also to animals. From the methodological position, the dissertation is based on...