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1
Rodgers, Jessica. "Australian queer student activists' media representations of queer." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/41528/1/Jessica_Rodgers_Thesis.pdf.
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Queer student activists are a visible aspect of Australian tertiary communities. Institutionally there are a number of organisations and tools representing and serving gay, lesbian, bisexual, transgender, intersex and ‘otherwise queer identifying’ (GLBTIQ) students. ‘Queer’ is a contentious term with meanings ranging from a complex deconstructive academic theory to a term for ‘gay’. Despite the institutional applications, the definition remains unclear and under debate. In this thesis I examine queer student activists’ production of print media, a previously under-researched area. In queer communities, print media provides crucial grounding for a model of queer. Central to identity formation and activism, this media is a site of textuality for the construction and circulation of discourses of queer student media. Thus, I investigate the various ways Australian queer student activists construct queer, queer identity, and queer activism in their print media. I use discourse analysis, participant observation and semi-structured interviews to enable a thorough investigation of both the process and the products of queer student media. My findings demonstrate that queer student activists’ politics are grounded in a range of ideologies drawing from Marxism, Feminism, Gay Liberation, Anti-assimilation and Queer Theory. Grounded in queer theoretical perspectives of performativity this research makes relatively new links between Queer Theory and Media Studies in its study of the production contexts of queer student media. In doing so, I show how the university context informs student articulations of queer, proving the necessity to locate research within its social-cultural setting. My research reveals that, much like Queer Theory, these representations of queer are rich with paradox. I argue that queer student activists are actually theorising queer. I call for a reconceptualisation of Queer Theory and question the current barriers between who is considered a ‘theorist’ of queer and who is an ‘activist’. If we can think about ‘theory’ as encompassing the work of activists, what implications might this have for politics and analysis?
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Whitworth, Colin. "BLESS OUR HEARTS: TOWARDS A MODEL FOR QUEER ORAL HISTORY." OpenSIUC, 2020. https://opensiuc.lib.siu.edu/dissertations/1792.
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This dissertation offers an outlined proposal and a model for practicing queer oral history—a nuancing of oral history praxis. Queer oral history is rooted in performance studies’ call to consider everyday texts alongside Dwight Conquergood’s (1985) articulations of ethical and dialogic performance of the other. I propose that queer oral history exists as an alternative praxis to traditional oral history; in order for this distinction to emerge, a practitioner must accept two charges. The first is a commitment to destabilizing oral history through the inclusion of other diverse methodological practices. Further, the researcher must welcome the ethical imperative to reflexively question subjectivity through their own role in constructing an oral history. Queer oral history demands of its practitioners a different set of goals that grow from traditional oral history, but also carefully complicate the practice of oral history as a methodology in order to address the in-between role of the subject-researcher. This placement within the gaps—the in-between—renders queer oral history theoretically queer, opening up possibilities beyond simply an oral history about queer themes. Because of its focus on commitments as a way to lead practice, queer oral history could prove useful for other person-based qualitative research methods. In order to propose queer oral history, this document traces one specific performance—Bless Our Hearts: An Oral History of the Queer South—from intellectual inception through scripting, staging, performance, and reperformance. Offering theoretical precepts, a completed script, and deep discussions of choices in scripting and embodiment, this dissertation offers a model that shows one queer oral history—about the intersections of queer and Southern identities—as it moves from interview process to complete performance project.
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Charteris, Charlotte May. "The queer cultures of 1930s prose." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610805.
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Powers, Julie Rae. "Queer in the Holler." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1461086849.
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Cauley, Catherine S. "Queering the WAC: The World War II Military Experience of Queer Women." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2062.
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The demands of WWII mobilization led to the creation of the first standing women's army in the US known as the Women's Army Corps (WAC). An unintended consequence of this was that the WAC provided queer women with an environment with which to explore their gender and sexuality while also giving them the cover of respectability and service that protected them from harsh societal repercussions. They could eschew family for their military careers. They could wear masculine clothing, exhibit a masculine demeanor, and engage in a homosocial environment without being seen as subversive to the American way of life. Quite the contrary: the outside world saw them as helping to protect their country. This paper looks at the life of one such queer soldier, Dorothee Gore. Dorothee's letters, journals, and memorabilia demonstrate that for many lesbians of her generation, service in the WACS during WWII was a time of relatively open camaraderie and acceptance by straight society.
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Carroll, Michael Jeffrey. "Preserving Queer Legacies in Archives and Art." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/582084.
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Art HistoryM.A.
Queer artists have engaged archives throughout modern and contemporary American art, but art historical discourse of their work has centered the writing of Jacques Derrida and Michel Foucault to theorize these spaces without considering archival scholarship. This text takes up Gabriel Martinez’s Archive series as a case study to critique archival selection theory and better understand how prejudice has affected the preservation of queer folx’s collections. Martinez’s series is situated amongst other Western artworks that center archival records and queer themes throughout the last century. This section places his artwork in dialogue with other artists for whom the archive is the subject of their artwork. The artworks detailed exemplify the multiplicity of ways that queer folx critique and interpret the histories preserved in these institutions. Following this survey of art is an analysis of how archival records are selected for preservation and the inherent subjectivity of this task. Pedagogical writing on archival selection by Frank Boles, Richard Cox, and James O’Toole are consulted to better understand how archivists working in the field are taught to handle this type of work. Most of their writing is focused on traditional archives and fails to articulate the challenges facing counterarchives, spaces formed to compensate for the erasure of queer persons in traditional institutions. This review of archival scholarship ends with a critique of how queer counterarchives have fallen short of their inclusive aims. The final section of this text is dedicated to a close study of Martinez’s Archive series. His photographs document the Harry R. Eberlin photograph collection and the John J. Wilcox, Jr. Archives in Philadelphia. The historical context of the Eberlin collection and the founding of its host repository are presented in conjunction with Archive series because Martinez’s compositions are inseparable from these histories. Philadelphia queer culture in the 1970s and 1980s is revealed through the retelling of these histories and by examining who was visualized in the images themselves. These images of bars and events simultaneously reveal the gender and racial disparity of patronage within these spaces and exemplify long-standing tensions in the city’s queer spaces. Lastly, this text posits a practice called “pseudo-processing” where artists document and preserve facsimiles of archival records to question the divisions of archival labor from that of an artist performing comparable tasks.
Temple University--Theses
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Wakimoto, Diana Kiyo. "Queer community archives in California since 1950." Thesis, Queensland University of Technology, 2012. https://eprints.qut.edu.au/53189/1/Diana_Wakimoto_Thesis.pdf.
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Purpose: This study provides insight into the histories and current statuses of queer community archives in California and explores what the archives profession can learn from the queer community archives and archivists. Through the construction of histories of three community archives (GLBT Historical Society; Lavender Library, Archives, and Cultural Exchange of Sacramento, Inc.; and ONE National Gay & Lesbian Archives), the study discovered why these independent, community-based archives were created, the issues that influenced their evolution, and the similarities and differences among them. Additionally, it compared the community archives to institutional archives which collect queer materials to explore the similarities and differences among the archives and determine possible implications for the archives profession.
Significance: The study contributes to the literature in several significant ways: it is the first in-depth comparative history of the queer community archives; it adds to the cross-disciplinary research in archives and history; it contributes to the current debates on the nature of the archives and the role of the professional archivist; and it has implications for changing archival practice.
Methodology: This study used social constructionism for epistemological positioning and new social history theory for theoretical framework. Information was gathered through seven oral history interviews with community archivists and volunteers and from materials in the archives’ collections. This evidence was used to construct the histories of the archives and determine their current statuses.
The institutional archives used in the comparisons are the: University of California, Berkeley’s Bancroft Library; University of California, Santa Cruz’s Special Collections and University Archives; and San Francisco Public Library’s James C. Hormel Gay and Lesbian Center. The collection policies, finding aids, and archival collections related to the queer communities at the institutional and community archives were compared to determine commonalities and differences among the archives.
Findings: The findings revealed striking similarities in the histories of the community archives and important implications for the archives’ survival and their relevancy to the archives profession. Each archives was started by an individual or small group collecting materials to preserve history that would otherwise have been lost as institutional archives were not collecting queer materials. These private collections grew and became the basis for the community archives. The community archives differ in their staffing models, circulation policies, and descriptive practices. The community archives have grown to incorporate more public programming functions than most institutional archives. While in the past, the community archives had little connection to institutional archives, today they have varying degrees of partnerships. However, the historical lack of collecting queer materials by institutional archives makes some members of the communities reluctant to donate materials to institutional archives or collaborate with them. All three queer community archives are currently managed by professionally trained and educated archivists and face financial issues impacting their continued survival. The similarities and differences between the community and institutional archives include differences in collection policies, language differences in the finding aids, and differing levels of relationships between the archives. However, they share similar sensitivity in the use of language in describing the queer communities and overlap in the types of materials collected.
Implications: This study supports previous research on community archives showing that communities take the preservation of history into their own hands when ignored by mainstream archives (Flinn, 2007; Flinn & Stevens, 2009; Nestle, 1990). Based on the study’s findings, institutional archivists could learn from their community archivist counterparts better ways to become involved in and relevant to the communities whose records they possess. This study also expands the understanding of history of the queer communities to include in-depth research into the archives which preserve and make available material for constructing history. Furthermore, this study supports reflective practice for archivists, especially in terms of descriptions used in finding aids. It also supports changes in graduate education for archives students to enable archivists in the United States to be more fully cognizant of community archives and able to engage in collaborative, international projects. Through this more activist role of the archivists, partnerships between the community and institutional archives would be built to establish more collaborative, respectful relationships with the communities in this post-custodial age of the archives (Stevens, Flinn, & Shepherd, 2010). Including community archives in discussions of archival practice and theory is one way of ensuring archives represent and serve a diversity of voices.
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Choate, Evan Wallace. ""Unborn and unbegot" : Richard III, Edward II, Richard II, and queer history." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44878.
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In my thesis, I treat Shakespeare’s Richard III, Marlowe’s Edward II, and Shakespeare’s Richard II as a queer sequence of history plays, or a kind of co-authored triptych, by reading their influences on each other and focusing on the iterative elements of their writing of history. I describe in my thesis how the queer affects, desires, and pleasures in these plays are integral to a History – the shared knowledge and impressions of a British national past – from which they are and have been systematically excluded.
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Shamsavari, Sina. "Gay comics and queer male comics in America : history, conventions and challenges." Thesis, King's College London (University of London), 2015. https://kclpure.kcl.ac.uk/portal/en/theses/gay-comics-and-queer-male-alternative-comics-in-america(710bfb57-7e92-4806-9a9c-c13f51a2cdcc).html.
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This thesis is focused on American gay male comics and queer alternative comics. I argue that the field of gay male comics production is dominated by two key genres: gay porno comics and gay ghetto comics. The conventions and characteristics of these genres help to construct and reinforce a dominant gay male habitus that is both sexual and social. Drawing on interviews as well as close readings of a number of case studies, I discuss the ways in which alternative queer cartoonists respond to the conventions of these genres, and create alternative representations of gay identity, community, and sex. I argue ultimately that the field of gay male comics production is not entirely homogenous, and that the queer male alternative comics that appear from roughly 1990 onwards are distinctive. The gay male comics of the First Wave (from the 1970s to 1990) are concerned with constructing and consolidating a sense of gay identity and community as relatively unified and stable. While sometimes critical of gay culture, as a whole they ultimately affirm the ideal of a unified gay community. In contrast, the queer male alternative comics that emerged as part of the Second Wave (starting around 1990) are far more concerned with questioning the normative, dominant values of mainstream gay culture, and challenging the identities, tastes and practices associated with the dominant gay habitus. Nevertheless because the gay ghetto and gay porno genres have been so dominant, queer alternative cartoonists position themselves in various different relationships to one or other genre. While some do abandon the genre conventions of gay porno and gay ghetto comics, more often queer alternative cartoonists take up some of these genre conventions and adapt, challenge, or subvert them in subtle ways.
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Damron, Jason Gary. "Transgressing Sexuality: An Interdisciplinary Study of Economic History, Anthropology, and Queer Theory." PDXScholar, 2012. https://pdxscholar.library.pdx.edu/open_access_etds/622.
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This interdisciplinary thesis examines the concept of sexuality through lenses provided by economic history, anthropology, and queer theory. A close reading reveals historical parallels from the late 1800s between concepts of a desiring, utility-maximizing economic subject on the one hand, and a desiring, carnally decisive sexological subject on the other. Social constructionists have persuasively argued that social and economic elites deploy the discourse of sexuality as a technique of discipline and social control in class- and gender-based struggles. Although prior scholarship discusses how contemporary ideas of sexuality reflect this origin, many anthropologists and queer theorists continue to use "sexuality" uncritically when crafting local, material accounts of sex, pleasure, affection, intimacy, and human agency. In this thesis, I show that other economic, political, and intellectual pathways emerge when sexuality is deliberately dis-ordered. I argued that contemporary research aspires to formulate new ideas about bodies and pleasures. It fails to do so adequately when relying on sexuality as a master narrative.
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Aramphongphan, Paisid. "Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467507.
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This dissertation examines the intersection of art, dance, and queer sociality though Andy Warhol, Jack Smith, and their lesser-known contemporary, Fred Herko, a dancer and choreographer. Traversing art history, dance studies, and queer theory, this study uses analyses of movement, gestures, and embodiment as a bridge between the artistic and the social. In film, photography, and dance, these artists not only made art as queer artists, but their work stemmed from the form of sociality of their communities—the social and creative labor spent on seemingly unproductive ends, such as lounging together on a sofa, posing in performative-social studio sessions, or dancing in an improvised performance-party. Gestures and embodied experience became both the site of the art, and the site of the production of queer subjectivity in this watershed decade for art and queer histories. To unpack their cultural significance, I draw on the work of anthropologist Marcel Mauss on “techniques of the body,” and recent scholarship on embodiment and subjectivity. I propose queer gestures as dances of “inefficiency” in the Maussian sense, that is, as techniques of the body that do not confirm or sustain the social scripts of somatic norms. Given the contemporaneous debates about work, leisure, and alienation in the 1960s, inefficient techniques—as represented in the recurrent motif of the recumbent, languorous male body, for example—can also be read as a critique of industrial efficiency and heteronormative definitions of (re)productivity. Through this focus on bodily techniques, I open up a dialogue between this “underground” body of work with contemporaneous artistic milieus in which the body played an important role, including in 1960s sculpture, proto-feminist practices, postmodern dance, photography, and experimental theater.
Throughout I also foreground the intertwinement of dance culture and queer culture. Drawing on Eve Kosofsky Sedgwick’s reading of the psychoanalyst Melanie Klein, this study interprets artistic practices through a reparative lens, drawing together a queer repertoire made up of inefficient moves—just as the artists’ engagements with, and making of, dance culture and queer culture were reparative: an accretive practice of assemblage for imaginative and embodied sustenance.History of Art and Architecture
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Reardon-Smith, Hannah. "Sounding Kin: A Queer-Feminist Thinking of Free Improvisation." Thesis, Griffith University, 2021. http://hdl.handle.net/10072/410449.
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This artistic research is an emergent, situated thinking of freely improvised musicking through the lens of queer and feminist theory. It pursues a post-qualitative inquiry founded in collaboratively thinking-with a series of companions: myself as an artist and as a queer feminist, my musicking and thinking communities, six conversation companions, and six companion texts. Along with these companion-thinkers, I explore three entangled points of inquiry: “unmastering” the habits of institutional musicking and the persistent presence of the master-Man; interrogating the notion of “freedom” in free improvisation, its history and its situated meaning for a queer-feminist white settler musicker on stolen, unceded Aboriginal land; and the possibilities of collaboration founded in notions of contamination, interdependence, changing and being changed. Thinking-with companions and with musicking is explored as a curious and iterative practice, with voices and ideas arising recurrently throughout the text. Free improvisation is a generative site for soundmaking as kinmaking—musickin: intimacy formed via contact and exchange. The sweaty concept of “free”, however, becomes a prompt to reckon with complicity. By staying with this trouble, the queer-feminist free improviser practices response-able musicking in contaminated human and more-than-human collaborations.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Grimmer, Carolin. "On Longing and Belonging: the promise of queer community in Berlin. : A qualitative study of queer loneliness and community building in Berlin." Thesis, Linköpings universitet, Tema Genus, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-172349.
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Many queers are drawn to ‘the city’, as an (imagined) more progressive, and queered space. Its urbanity may offer anonymity as well as community. A major city means both the presence of diversity, of other queers, as well as possibly a queered understanding of ‘the city’ itself, with rich queer histories and cultures ingrained into the public and private realm. But then again, the realities within the city of Berlin is often a different one. Finding community that works, a multitude of exclusions plus the need for safer spaces make it harder to connect and are part of the experience of queer community. I try to understand the queerness within the feeling of yearning, of trying to find a place where one belongs and connect it with the feelings of disappointment and loneliness. I conducted interviews following a semi-guided structure. In their analysis, I hope to understand how urban queer loneliness is experienced and understood.
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Tang, GVGK. "The Surprise of a Knight: Excavating Material Legacies through Early Queer Film." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/567974.
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HistoryM.A.
Absent provenance or any background information, and with both implicit and explicit barriers to access within the archival space, how can we hypothesize—or critically fabulate—queer material legacies? The first—or earliest extant—American film to explicitly depict “queer” sex is The Surprise of a Knight (1929). By synthesizing perspectives on archives, material culture, queer identity, film, the Internet and pornography, this paper treats Surprise as an entry point into a discussion of public history and sexuality—revealing current issues with processing erotic materials and their impact on queer historiographies. This study outlines the problems presented by Surprise and explores contingencies for historical contextualization—methods public historians (archivists and interpreters alike) may adapt to fit similar materials within a broader history of film and queer identity. It explores current methods and future conundrums for best practices in the preservation of (born-digital) pornography, and concludes with impressions from potential audiences and present-day content producers as a means of envisioning new avenues of queer grassroots history-making.
Temple University--Theses
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Radesky, Caroline. "Feeling historical: same-sex desire and historical imaginaries, 1880-1920." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/7016.
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“Feeling Historical,” examines why history has played such a central role in the construction of queer identities by analyzing how same-sex desiring individuals, particularly elite white individuals, in the U.S. looked to history to construct and navigate their own sexual identities. My project begins in the late nineteenth-century U.S., when history took on new cultural significance in the United States. Americans, previously more preoccupied with the future than the past, became engrossed in finding truth in history and origins. Parallel to this preoccupation with the past was the emergence of modern notions of sexual identity and the rise of the new sexual science of “sexology.” For sexologists, same-sex desire was new, a product of modernity and degeneration in which the sexually deviant fell behind on the evolutionary ladder. “Feeling Historical” analyzes the cultural and racialized work of white queer individuals who pushed back against such pathologizing discourse, arguing that their sexual affinities were not something aberrant, connected to degenerate desires of the racial other. Instead, they positioned themselves as rooted in a complex whitewashed transnational and transhistorical past. Mobilizing the past to construct their present, these individuals often drew on orientalist histories of great ancient civilizations in which they believed same-sex desire was accepted and even celebrated. They did so to not only counter the homophobic violence they experienced in their own time but to also reclaim their privileged racial identities. Much cultural work went into the construction of such a queer history. Using an interdisciplinary framework linking history, memory studies, queer theory, performance studies, visual culture studies, and critical race studies, I examine how these individuals appropriated examples of same-sex desire in the history, literature, and art of Ancient Greece, Italy, and the Middle East with imperialist understandings of such cultures. I ask which histories they found useful, and how gender, race, class, and ethnicity informed their historical reclamations. Through acts of history writing, auto-biography, performance, sexual tourism, and the creation of queer archives, I argue that such same-sex desiring individuals used history to not only navigate their identities and carve out spaces in a hostile world where they could survive and even thrive, but also reclaim their racial privilege by fashioning a queer identity based on a past that positioned queerness as inherently white.
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Lvovsky, Anna. "Queer Expertise: Urban Policing and the Construction of Public Knowledge About Homosexuality, 1920–1970." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463142.
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This dissertation tracks how urban police tactics against homosexuality participated in the construction, ratification, and dissemination of authoritative public knowledge about gay men in the United States in the twentieth century. Focusing on three prominent sites of anti-homosexual policing—the enforcement of state liquor regulations, plainclothes decoy campaigns to make solicitation arrests, and clandestine surveillance of public bathrooms—it examines how municipal police availed themselves of competing bodies of social scientific information about homosexuality in order to bolster their enforcement efforts, taking into account such variable factors as the statutes authorizing their arrests, the humors of the courts, and their need to maintain public legitimacy. Lending the authority of the state to their preferred paradigms for understanding sexual deviance, and attaching direct legal penalties to anyone who tried to disagree, the police influenced whether—and when—new scientific research about homosexual men reached the mainstream public and was embraced as authoritative. Even as vice squads’ anti-homosexual campaigns allowed them to amass increasingly sophisticated and rarefied insights into the urban gay world, however, police officers consistently denied their reliance on any “expert” knowledge about homosexuality in court, legitimating their tactics on the basis of public’s ostensibly shared knowledge about gay men. Tracking the history of urban vice policing alongside the shifting landscape of popular knowledge about homosexuality, this project examines both the ambivalent place of “expertise” in public debates about sexual deviance in the United States, and the multifaceted origins and repercussions of the lay public’s evolving knowledge about gay communities in the twentieth century.American Studies
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Fichera, Giorgio. "Caravage queer : l'histoire de l'art face aux sexualités." Electronic Thesis or Diss., Paris, EHESS, 2023. http://www.theses.fr/2023EHES0170.
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Le topos de l’homosexualité chez Caravage et celui de l’homoérotisme associé à sa première production picturale posent des questions à l’histoire de l’art. Ce travail contribue à la critique de l’épistémologie hétéro-patriarcale encore largement naturalisée dans les études de l’image pour les époques anciennes. Pour ce faire, il a fallu un retour aux catégories historiques et anthropologiques déployées pour déterminer des sexualités non conformes, problématisant en particulier l’héritage binarisé homo-hétéro du XIXe siècle. En opposition aux spéculations biographiques et à l’application littérale de la psychanalyse, ce travail met à profit un anachronisme queer, moins normatif et plus affectif, en continuité avec une histoire de l’art faite au présent. L’analyse du corpus homoérotique caravagesque et sa mise en perspective dans une tradition figurative élargie permet de voir le travail de l’image qui défait le genre et questionne le sujet-regardant. Elle permet de montrer comment l’articulation historiographique identité-acte travaille la représentation (de peinture) plus qu’elle ne la détermine, et comment l’autonomie du visuel trouble la présence, le poids et la structuration du régime discursif – aussi bien l’ancien que celui de l’historiographie actuelleThe topos of homosexuality and homoerotism that is associated with Caravaggio’s initial paintings poses a number of questions for Art History. My research contributes to the critique of the hetero-patriarchal epistemology that remains widely naturalised in the study of images from ages past. To elaborate this critique, I have returned to historical and anthropological categories in order to determine the evolution of non-conforming sexualities, notably problematising the binary heritage “homo-hetero” of the 19th century in contemporary texts on Caravaggio. In opposition to biographical speculation and the literal application of psychoanalytic theory to Caravaggio’s life and painting, my work draws on the anachronism of queer theory, which is less normative and more affective, in line with a current elaboration of art history. The analysis of Caravaggio’s homoerotic corpus and its insertion into a wider tradition of figurative art allows us to see how the work of the image undoes categories (both that of art history and those pertaining to gender) to question the subject who is looking. It further shows how the historiographic articulation of act and identity works through the representation (in painting) more than it determines it, and how this autonomy of the visual troubles the presence, structure and weight of the discursive regime–as much in past as in contemporary historiographies
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Capó, Julio Jr. "It's not queer to be gay : Miami and the emergence of the gay rights movement, 1945-1995." FIU Digital Commons, 2011. https://digitalcommons.fiu.edu/etd/2036.
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This work chronicles how queer individuals politicized their same-sex desires from the post-World War II era to the mid-1990s. Using Miami as a site of exploration, this work demonstrates the shift from understanding homosexuality as a same-sex "desire" to a distinct form of "civil rights." It argues that by no means was it inevitable that queer issues entered the American political mainstream.
This project pays particular attention to Miami's Cuban exile community, as it managed to garner great socio-political power in the city. Like others in the city's power structure, Miami's Cuban exiles were also fundamentally traditionalists. Together, these phenomena crystallized into a matrix of obstacles that stunted the growth of the gay rights movement. This work demonstrates the historical dynamics of sexuality and politics by contextualizing immigration, ethnicity, race, consumerism, and Cold War domestic and foreign policy.
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Wagner, Adam J. ""Still Happier Landscapes Beyond:" Queer Spirituality and Utopia in Bayard Taylor's Joseph and His Friend." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1555422335940903.
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Diver, Andrew Patrick. "A queer history of Chinese migration : Singapore, San Francisco, and mainland China, c.1850 - the present." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709192.
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Vider, Stephen Joshua. "No Place Like Home: A Cultural History of Gay Domesticity, 1948-1982." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11078.
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No Place Like Home: A Cultural History of Gay Domesticity, 1948-1982, explores the development of gay male domestic spaces and their representation in American culture, from the publication of the first Kinsey Report to the AIDS epidemic. Through archival research, and analysis of periodicals, books, and film, it shows that gay men frequently experienced their homes as key sites in the construction of sexual identities, relationships, and communities. Social scientists, journalists, and filmmakers of the 1950s and 60s typically depicted gay men as outsiders, if not threats, to the ideal heterosexual household, either anti-domestic (lonely figures who lurked city streets, bathrooms, and bars in search of a one-night stand), or hyper-domestic (prissy interior decorators whose work alienated "real" men from their homes). Such images, however, overlooked the actual range of social and political possibilities gay men found in the supposed privacy of apartments and houses. No Place Like Home uncovers these domestic performances in order to reconsider the evolution of gay culture and domesticity in the postwar period. Each chapter advances chronologically while tracing the lineage of five tropes of gay male home-making: (1) the interior decorator; (2) homosexual marriage; (3) camp humor and cooking; (4) communes; and (5) vacation homes. In practice and representation, domesticity provided a stage for gay men and their observers to negotiate social anxieties around masculinity and sexuality, and debate conventional conceptions of home and family.
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Leggett, MI. "Official Rebrand and the Importance of Queer Adornment." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1513361488674258.
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Huebenthal, Jan. "Injury & Resistance: Centering HIV/AIDS Histories in Times of Queer Equality." W&M ScholarWorks, 2019. https://scholarworks.wm.edu/etd/1563898925.
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Using methods of critical queer genealogy and discourse analysis, Injury & Resistance historicizes the HIV/AIDS epidemic through four lenses—activism, criminalization, memory, and “post-AIDS” queer health—in national and transnational U.S. locales from 1987 to the present. Unlike in the 1980s, when white middle-class gay men were the most visible demographic of what was known as the “gay plague,” today’s American AIDS epidemic is becoming more and more racialized. And unlike 30 years ago, HIV today is a chronic condition that is effectively treatable with antiretroviral drug regimens. Concurrent with the medical survivability of HIV/AIDS, queer Americans have won legal rights to marry, serve openly in the military, and adopt and raise children. Meanwhile, however, for many the AIDS crisis has remained just that: a crisis. If current patterns persist, today one in two African American gay men will become HIV-positive within his lifetime—amidst a healthcare landscape in which racial, regional, and socioeconomic disparities abound. To date, little scholarly work has attended to how the epidemic’s American histories, having fueled an LGBT politics of individual “equality,” have in fact produced these stark simultaneities in which HIV is a chronic reality for some but has remained an emergency for others. Indebted to Michel Foucault, Injury & Resistance historicizes this evolution through a queer “history of the present” that explores the non-linear and asynchronous motions between and among AIDS past and HIV present. In the absence of a multitemporal critique, I argue, we risk ceding the urgency of HIV/AIDS to the past and preclude confronting what is an ongoing public health epidemic. Sources include oral histories from the ACT UP Oral History Project, memoirs of survival, activist photography, medical science statistics and publications, public health campaigns, newspaper records, and documentary film, as well as archival holdings from the Smithsonian National Archive Center, the Archiv der Sozialen Bewegungen (Archive of Social Movements) in Hamburg, Germany, the Special Collections at the James Branch Cabell Library at Virginia Commonwealth University (VCU), and the New York Public Library, among others. This diverse body of sources re-contextualizes national and transnational U.S. AIDS histories that anticipate an ongoing crisis with peculiar dualities: yesterday yet today, ghostly yet present, and acute yet chronic. Arranged loosely from past to present, the four chapters and epilogue present evidence, readings, theories, and speculations, listening for past and present echoes of HIV/AIDS histories that reverberate in experiential chasms between injury and resistance. Chapters present a critical genealogy of feminist activism in the New York chapter of the AIDS Coalition to Unleash Power (ACT UP) from 1987 to 1993, explore a 1987 West German court case against African American ex-soldier Linwood Boyette for alleged HIV transmission, trace Derridean hauntology and queer temporalities in two AIDS memoirs and the National AIDS Memorial Grove, place narratives of “post-AIDS” queer health in relation to neoliberal LGBT rights politics, and consider Uganda’s 2011 “Kill the Gays Bill” as a transcultural circulation of U.S. anti-queer affect and violence. Throughout, this dissertation insists that the ongoing HIV/AIDS crisis, with its rich histories of resistance and dissent, must again become cornerstones of contemporary queer culture and politics.
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Garel, Stefan Jack. "Queer bodies and settlements : the pertinence of queer theory in the fields of queer history and trans politics, disability and 'curative education', quantum physics and experimental art : an interdisciplinary and transnational account of three socio-cultural and filmic research projects." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/55613.
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What is queer? What is queer? What is queer theory? Where can it go from here? This thesis sets out to explore the origins and influences of queer theory before investigating the present and the future spaces (ie, bodies and settlements) it can potentially move into. Three distinct experiments of fieldwork and ethnographic filmmaking test the truths and potentialities of queer theory when relating to queer bodies and settlements. That is to say that each chapter balances a film and its supporting text by embracing the value and urgency of practice led research. The first chapter questions queer history and details the importance of emerging trans politics in the post-gender, leftist, avant-garde, queer activist and militant space of Bologna. Queer bodies, case one: transgender and transsexual perspectives. Settlements, case one: Bologna and Lido di Classe (Italy). The second chapter considers the interface between disability theory and queer theory with particular attention paid to the practical theory of ‘curative education’. Defined by Rudolf Steiner in 1922 and further developed by Karl König with the foundation of the Camphill movement in 1944, curative education privileges the social model over the medical model in the field of disability so that disability is in fact ability. Queer bodies, case two: learning differences and disabilities perspectives. Settlements, case two: Berlin (Germany), Chatou and La Rochelle (France), Barry and Glasallt Fawr (Wales, United Kingdom). The third chapter uses queer perspectives to promote the relevance of quantum physics to the human body, thus involving contemporary dance, physical theatre and the arts more generally to address and redress the chiasm between science and technology on the one hand, and arts, humanities and socio-cultural sciences on the other. Queer bodies, case three: the inescapably queer reality of the physical world. Settlements, case three: multiple locations in Tuscany (Italy), and Thamesmead, London (England, United Kingdom). This thesis brings notions of queer and otherness deceptively close to notions of the self. Otherness and queerness become mirrors in which our own queerness comes into view.
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Broman, Martin. ""Kom in! För här kommer ingen ut..." : En mikrohistorisk undersökning av Pontus Wikners liv som homosexuell." Thesis, Högskolan för lärande och kommunikation, Högskolan i Jönköping, HLK, Ämnesforskning, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-36094.
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During the 19th century, the Swedish society implemented a new criminal law which made homosexual acts punishable with hard labour for up to two years. What’s even more notably is that the penal formulation equated these homosexual acts with bestiality. Contemporary with this implementation, an academic man named Pontus Wikner lived. Professor of philosophy, married to a girl named Ida and with two baby boys he carried a huge secret with him for his entire life - he was a homosexual. The purpose of the study was to figure out how Pontus Wikners self-image as a homosexual was in his lifetime in relation to the current laws and norms within the society, but also in relation to topics such as personal beliefs and his close relations. In order to fulfil the purpose, a qualitative, micro historic study has been implemented - with a thematic structure in order to answer the questions. What emerged as the study took shape was that Pontus Wikner did by no means life a simple or nonproblematic life. In the public sphere he was an highly regarded academic within the area of philosophy and religious philosophy. In the private sphere, Wikner lived a different life. In his confessions and diares, Wikner told the story that not many knew about his life in the private sphere. These writings were given out posthumously, and told the story of Wikners hidden life. Wikners self-image as a homosexual seems to be pretty clear. Never did Wikner feel as much love as he did in his close relations with other men. It was within these relations that he found himself dearly happy. His writings showed an internal struggle of large proportions. In relations to current theories wihtin masculinity and queer theory, the analysis has lit an old problem with new perspectives. The definition of homosexuality as we know it today did not yet exist, therefor the concept of queer and masculinity helped to show how Pontus Wikner was not only a homosexual. He was also in some definitions a queer persona as he showed a deep insight within his confessions and diaries with his own problems, but also a will to help, guide and protect his peers within the society to give them a more worthy life than he lived.
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Denning, Catherine. "Departing from History: Sharon Hayes, Reenactment and Archival Practice in Contemporary Art." Thesis, University of Oregon, 2016. http://hdl.handle.net/1794/19726.
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This thesis addresses reenactment and archival practice in the work of Sharon Hayes, a mid-career multi-media artist renowned for her use of archival documents to pose questions about history, politics, and speech. I do this through analyses of two of Hayes’s projects: the series In the Near Future (2005-2009) and a series of projects the artist refers to as “love addresses.” While these projects appropriate and repeat historical documents, Hayes’s work is especially interesting for the way it emphasizes difference over authenticity and explores the ways meaning shifts across temporal, geographic, and social contexts.
In contrast to scholars who argue that Hayes’s practice is nostalgic and serves to decontextualize and depoliticize history, my thesis argues that the pedagogical aspects of Hayes’s work and her performative engagements with historical material are deeply political and contextual. My thesis demonstrates that Hayes’s distinctive contribution is to model historical agency and imagine alternative futures.
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Poston, Lance E. "Queer Bedfellows: Huey Newton, Homophobia, and Black Activism in Cold War America." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1337961685.
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Talley, Jodie. "A Queer Miracle in Georgia: The Origins of Gay-Affirming Religion in the South." unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-07312006-142224/.
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Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Duane Corpis, committee chair; Cliff Kuhn, committee member. Electronic text (168 p.). Description based on contents viewed Apr. 30, 2007. Includes bibliographical references (p. 167-168).
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Silver, Erin. "Sites unseen and scenes unsighted: histories of feminist and queer alternative art spaces, ca. 1970-2012." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=119481.
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Histories of North American feminist, queer, and queer feminist art can be traced in relation to a history of the institutions, organizations, and structures that have helped to secure and legitimize feminist and queer art practices. My dissertation provides a queer feminist historiographical analysis of key feminist and queer alternative art spaces in three North American cities, in an effort to both affirm their enduring historical significance and to delineate the ways by which the present day histories of past queer and feminist practices support or challenge the dominant narrative lens through which the histories have come to be read. With focus on the 1970s feminist art movement in Los Angeles, the underground queer art communities formed in New York City in the 1980s and continuing into the mid-2000s, and the burgeoning queer feminist cultural communities working in the present day in Montreal, I show how the socio-political conditions of each place have resulted in divergent paths among the institutions. Putting each history into dialogue with contemporary queer feminist initiatives and interventions, I demonstrate how queer feminism can work, in the present day, both to secure the historical significance of these spaces and to critically engage histories of exclusion as integral to their continued relevance.On peut retracer l'histoire de l'art féministe, de l'art queer ainsi que de l'art queer et féministe en Amérique du Nord à travers une histoire des institutions, des organisations et des structures qui ont contribué à garantir et légitimer les pratiques d'art queer et féministe. Ma thèse offre une analyse historiographique queer et féministe des espaces d'art alternatifs, féministes et queer clés dans trois villes nord-américaines, de manière à affirmer leur portée historique tout en délimitant les façons par lesquelles l'histoire actuelle des pratiques queer et féministes du passé soutient ou remet en question l'optique du discours dominant à travers laquelle cette histoire en est venue à être lue. En me concentrant sur le mouvement artistique féministe des années 1970 à Los Angeles, sur les communautés underground d'art queer formées à New York dans les années 1980 jusqu'à la première moitié des années 2000 et sur les communautés culturelles queer et féministes émergeantes aujourd'hui à Montréal, je démontre comment les conditions socio-politiques présentes dans chaque ville ont mené les institutions dans des trajectoires divergentes. En engageant chaque histoire dans un dialogue avec des initiatives et interventions féministes et queer contemporaines, je démontre comment le féminisme queer peut présentement participer tant à assurer l'importance historique de ces espaces qu'à aborder, de façon critique, les histoires d'exclusion comme étant une partie intégrante de leur pertinence continue.
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Coretto, Elizabeth A. ""The Fountain Pen and the Typewriter": The Rise of the Homophile Press in the 1950s and 1960s." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495032110826066.
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Partow, Tara. "Choreographing Diaspora: The Queer Gesture and Racialized Excess of Mohammad Khordadian." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/988.
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Mohammad Khordadian is a gay, Iranian American dancer and entertainer who immigrated to the United States from Iran shortly after the 1979 revolution. Since his arrival to the United States, Khordadian has produced countless instructional and presentational dance videos which garnered enormous popularity among diasporic Iranians and Iranians in Iran alike. I locate a tension between his adoration by the public and the immense anxiety that male Iranian dancers can induce in other Iranians. Khordadian invokes the historical evolution of the archetypal Iranian male dancer/entertainers written about in Persian literature and poetry --the 12 to 16-year-old, handsome boys with older lovers. As Orientalists linked these sinful relationships to male homosociality and sexual repression in Islam, the memory of the male dancer has been repressed out of an Iranian desire to fold into the pale of Western modernity. Khordadian, with his over-the-top gestures (what I will call “queer gestures”), the transnational circulation of these gestures through instructional videos, and his lived experience as a gay Iranian man, transgresses the boundaries set by heteronormativity and Orientalism. However, this is not without a myriad of complications.
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Sahlström, Signe. "Bakom signaturerna : Ur Barbro Alvings dagböcker och brev 1936–1959." Thesis, Jönköping University, HLK, Ämnesforskning, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-51798.
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Barbro Alving (1909–1987) was a famous journalist and foreign correspondent. She was also active in radio and wrote books and scripts for films. She worked at the Swedish newspaper Dagens Nyheter 1934–1959, and after that at Vecko-Journalen. Her fame is partly attributed to her coverage of the Olympic games in Berlin and the Spanish civil war 1936. She was active in the fight for women’s emancipation and pacifism. But she was also a human being behind all the work, with a weak constitution, shaky self-confidence, and a lot of self-doubt. Most previous studies and texts about Barbro Alving focus on her journalistic deeds and career. The aim of this study is to apply a new perspective by examining her private texts. She was a non-heterosexual woman in a male dominated profession. She broke norms, which makes her life interesting in her historical and societal context. The aim of the study is to explore Barbro Alving’s self-image and close relationships over the years 1936–1959 through theories about gender and with a microhistorical approach. Due to the length of the period, there is also a question about change and continuity in her self-image. The material used for the study are compilations of Alving’s letters and diaries, spanning over 600 pages. A selection of people and events were chosen, and parts and quotes were picked out for presentation and analysis. A microhistorical approach means to penetrate a person’s mind and feelings and relate these to the societal context. This is seen in the analysis by comparisons of Alving’s life to the norms in mid-century Sweden. The theory used to analyze the results comes from Joan Wallach Scott. Her theory is based on the concept that gender is made up of four fundamental elements, and that there is a reproductive relationship between gender and power. The results of the study are presented both thematically and chronologically, to follow the structure of the purpose and the questions. Descriptions of Alving’s family, friends and love-interests are followed by a presentation of how she described herself. This is then analyzed through Scott’s theory and related to the societal norms, with integrated comparisons to previous studies. Alving’s self-image over time is analyzed and related to the results in previous studies on the subject. In the finishing part I reflect over the essay itself.Barbro Alving (1909–1987) var en berömd journalist och utrikeskorrespondent. Hon var även aktiv inom radio och skrev böcker och manus till filmer. Hon arbetade på Dagens Nyheter 1934–1959 och därefter på Vecko-Journalen. Hennes berömmelse tillskrivs delvis hennes bevakning av de olympiska spelen i Berlin och det spanska inbördeskriget 1936. Hon var aktiv i kampen för kvinnors frigörelse och för pacifism. Men hon var också en människa bakom allt arbete, med vacklande självförtroende och mycket självtvivel. De flesta tidigare studier och texter om Barbro Alving fokuserar på hennes journalistiska gärning och karriär. Syftet med denna undersökning är att tillämpa ett nytt perspektiv genom att undersöka hennes privata texter. Hon var en icke-heterosexuell kvinna i ett mansdominerat yrke. Hon bröt normer, vilket gör hennes liv intressant i hennes historiska och samhälleliga sammanhang. Syftet med uppsatsen är att utforska Barbro Alvings självbild och nära relationer under åren 1936–1959 utifrån teorier om genus och med ett mikrohistoriskt perspektiv. På grund av undersökningsperiodens längd ingår även en fråga om förändring och kontinuitet. Materialet som har använts för studien är sammanställningar av Alvings brev och dagböcker. Ett urval av personer i Alvings närhet har gjorts och delar och citat har valts ut för presentation och analys. Ett mikrohistoriskt perspektiv innebär att tränga in i en persons tankar och känslor och relatera dessa till det samhälleliga sammanhanget. Detta ses i analysen genom jämförelser mellan Alvings liv och normer i mitten av 1900-talets Sverige. Teorin som har använts för att analysera resultaten kommer från Joan Wallach Scott. Hennes teori bygger på konceptet att kön består av fyra grundläggande element och att det finns ett reproduktivt förhållande mellan kön och makt. Resultaten av undersökningen presenteras både tematiskt och kronologiskt för att följa strukturen av syftet och frågeställningarna. Beskrivningar av Alvings familj, vänner och kärleksintressen följs av en presentation av hur hon beskrev sig själv. Detta analyseras sedan utifrån Scotts teori och relateras till samhällsnormer, integrerat med jämförelser av resultat i tidigare forskning. Alvings självbild över tid analyseras och relateras till resultaten i tidigare studier om ämnet. I den avslutande delen reflekterar jag över arbetsprocessen och över uppsatsen i sig.
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Diz, Sabrina. "Spiritual Violence: Queer People and the Sacrament of Communion." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/882.
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This thesis addresses spiritual violence done to queer people in the sacrament of Communion, or Eucharist, in both Protestant and Roman Catholic churches in the U.S. Rooted in the sexual dimorphic interpretation of Genesis, theologians engendered Christianity with sexism and patriarchy, both of which have since developed into intricate intersections of oppressions. Religious abuse is founded on the tradition of exclusionary practices and is validated through narrow interpretations of Scripture that work to reassert the authority of the experiences of the dominant culture. The resultant culture of oppression manifests itself in ritualized spiritual violence. Queer people are deemed “unworthy” to take ‘the body and blood of the Christ’ and, in fact, are excluded altogether. This “unworthiness” is expressed as spiritual violence against queer people who are shunned and humiliated, internalize hateful messages, and are denied spiritual guidance or life-affirming messages. By “queering” Scripture, or reading the Bible anew through a framework of justice, queer people have begun to sacramentalize their experiences and reclaim their place at the table.
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Eames, Robin. "Harry Crawford v History: Problem Bodies, Queertrans Cosmogonies, and Historiographical Ethics in Cases of Gender Transgression in Late Nineteenth-Early Twentieth Century Australia." Thesis, Department of History, 2018. http://hdl.handle.net/2123/18906.
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The predominant cultural metanarrative of transgender existence is that we sprang fully formed into being sometime in the 1960s, like Athena stepping out of Zeus’s skull. And yet in every corner of human history we find people who might fit modern definitions of ‘transgender’. This thesis does not seek to retrofit contemporary understandings of gender onto the past. Rather, it sheds light on queertrans antecedence, through the case of Harry Crawford in 1920s Sydney. Crawford was ostensibly on trial for murder, but his court case was more concerned with the social crime of gender transgression. He had been assigned female at birth but lived, worked, and married as a man. Much of the subsequent literary and academic work on Crawford has reproduced the assumptions, stigmas, curiosity, and censure of the 1920s, putting him on trial again and again. This thesis examines Crawford’s life and afterlives, his disallowed embodiment, and the cultural myths that were read onto him, by reading resistantly into and against court transcripts, papers and depositions, contemporaneous newspaper records, and secondary scholarship. Crawford’s case articulated a number of cultural anxieties around aberrant bodies, marginalisation, and the maintenance of social hierarchies. It continues to provide insights into undercurrents of paradox, power, self-definition, and historical futurity. This study also investigates possibilities for culturally respectful and harm-reductive approaches for future historiography. By mapping out the histories of people pushed to the margins, we may gain greater understandings of the ways in which cultural identity is defined both from within (i.e. from interior subjectivities) and from without (i.e. against the Other). The work of filling in historical gaps and silences also allows marginalised people to reconnect with a sense of cultural self, and perhaps to more fully realise our place in the universe.
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Forsell, Vincent. "In Plain Sight: Queer Symbolism Encoded in the Works of Marsden Hartley, Robert Rauschenberg, and Jasper Johns." Master's thesis, Temple University Libraries, 2019. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/593485.
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Art HistoryM.A.
Homoerotic images date back as early as 800 BCE in Persian art. Examples of homoeroticism in the arts continue in the works of the Greeks and Romans. A sharp decline in the subject coincided with the rise of Christianity and the demonization of homosexuality in Europe between 300-1000 CE. This notion of homosexuality as depraved and sinful behavior became embedded in European culture for over a millennium, and some parts of the world still believe this to be true. Criminalization of homosexuality forced most homosexual artists to hide any references to their own sexuality in their works, a practice known as “encoding,” which allowed for symbols to be hidden “in plain sight” and without context. Among the most prominent mainstream artists to utilize homosexual coding in his work was the modern American artist Marsden Hartley. Through the hidden symbols in the 1914-1915 “War Images” of his “Amerika” series, Hartley expressed his grief for his likely lover Karl van Freyberg, who had passed away following the outbreak of the Great War in 1914. Following in the footsteps of Hartley queer artists working in later generations utilized similar methods of encoding to express their sexuality in a guarded fashion. Operating in the 1950s and 60s, the artists Robert Rauschenberg and Jasper Johns used varying methods of encoding to disguise references to their sexuality in their work. Such encoding would become a major theme of the “queer aesthetic,” where queer artists encoded symbols through semiotic methods such as floating or dual signifiers to convey their homosexuality in a covert way. In pioneering the concept of encoding, Marsden Hartley gave several generations of artists a means of expressing their sexuality in their works without being fully “out of the closet,” or revealing their sexual identity.
Temple University--Theses
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Harvat, Zachary. "Histories beyond Hurt: Queer Historical Literature and Media since the AIDS Epidemic." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1555503462022072.
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Mayhew, Nick. "Marriage and brotherhood in Muscovite Russia." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/275349.
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In Russia today, conservative views about gender are often promoted through reference to the past, to show that supposedly ‘traditional’ gender roles are intrinsic to Russian history. Frequently, this idea is upheld in scholarship. My work explores the historicity of commonly held assumptions about gender. This dissertation focusses on gender and sexuality in Russia from the sixteenth to early eighteenth centuries. It shows that ideas about what constituted a virtuous marriage were established by reference to ideas about brotherhood. Brotherhood here refers not to biological siblings, but to a church rite of ‘spiritual brotherhood’ known in Russian as bratotvorenie. This rite has not been studied in any depth before. Based on archival work, this dissertation offers a detailed account of the tradition in Russia until its ban in 1650, when it was prohibited by leading ecclesiastical figures for being too like marriage. One churchman complained: ‘The priest, joining together these two men, unites them in matrimony’. The dissertation shows that bratotvorenie was conceived of in premodern Russia as a form of same-sex union, and that it was through banning this tradition that churchmen came to express in a coherent way which kinds of partnership were legitimate and why. The first chapter challenges the idea that marriage was always a monogamous union between a man and a woman for the creation of children, an idea that is often encountered in academic literature on Russian marriage history. It shows that the church rite of marriage was edited in Russia during the sixteenth and seventeenth centuries, when ideas about the sacramental nature of marriage changed. The second chapter builds on these observations, suggesting that marriage and ‘spiritual brotherhood’ were understood as analogous in the premodern period. The final two chapters look at depictions of marriage and brotherhood in hagiography and iconography respectively. They focus on Petr and Fevroniia, the first married couple to be canonised in Russia in 1547. In 2008, their feast day was reworked into a state festival called the ‘Day of Family, Love and Fidelity’, now widely celebrated across Russia. Petr and Fevroniia have been cast as the patron saints of so-called ‘traditional moral-spiritual values’. This view is generally upheld in existent scholarship on the saints. This dissertation responds to the way the saints are being represented today, arguing that they were initially venerated for subverting normative ideas about gender and sexuality—that they were queer. What is more, their veneration paralleled the veneration of holy brothers. Their hagiography seems to have been based on the Life of a monastic brotherhood, and icons depicting Petr and Fevroniia standardly showed them in monastic robes. Focussing on marriage and brotherhood in premodern Russia, each chapter of this dissertation challenges a preconceived idea about the immutability of supposedly ‘traditional’ gender roles in Russian history.
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Shaw, John Brendan. "Touching History to Find “a Kind of Truth”: Black Women’s Queer Desires in Post-Civil Rights Literature, Film, and Music." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468845503.
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Choudhuri, Sucheta Mallick Kopelson Kevin Kumar Priya. "Transgressive territories queer space in Indian fiction and film /." Iowa City : University of Iowa, 2009. http://ir.uiowa.edu/etd/346.
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Barrett, Redfern Jon. "Queer friendship : same sex love in the works of Thomas Gray, Anna Seward, Mary Wollstonecraft and William Godwin." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa43030.
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Lindkvist, Rebecca. ""De' där ä en bög!" : En kvalitativ analys av hur homosexualitet betraktades och definierades i början av 1900-talet utifrån Nils Santesson och hans domstolsfall." Thesis, Högskolan i Jönköping, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-44683.
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In the early 20thcentury, homosexual acts were illegal in Sweden. During this time, “homosexuality” did not exist as a concept. Instead, the Swedish law referred to homosexual acts as “unnatural fornication”. In 1907 a man named Nils Santesson was arrested and sentenced for committing unnatural fornication with another man. The case was brought to the attention of the press, which for the first time began to use the term “homosexual” in headings and articles. The purpose of this study has been to analyse how homosexuality was considered and defined in Sweden during the early 20thcentury, by studying the reporting of Nils Santesson’s court case and his self-image. The analysis is based on the categories: crime, illness and morality, and to achieve the purpose of the study, a qualitative text analysis has been implemented as a method. Also, the study was based on the theory of a masculinity hierarchy that subordinated homosexuals, and one version of queer theory. The result shows that homosexuality was considered as an act rather than an integral part of someone’s character or identity. The society regarded homosexuality as obnoxious, indecent and unnatural, which was a direct consequence of the Swedish criminal law 18 § 10. Homosexuals were portrayed as sickening from three aspects: as a morbidly deviant phenomenon from heterosexuality, as contribution to mental illness and as carriers of sexually transmitted diseases. Morally, homosexuals were considered sexually licentious and constantly in search of seduction. Heterosexuality was upheld as a dominant system which placed homosexual men in a masculine subordination as homosexuality was regarded as a criminal act, immoral and were associated with disease.
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Rénéric-Chauvin, Marilyn. "Relecture des multiples facettes du féminin sacré et profane." Thesis, Bordeaux 3, 2012. http://www.theses.fr/2012BOR30016/document.
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L’Art a toujours consacré une grande part à l’image du féminin. Que cela soit dans l’iconographie gréco-romaine ou judéo-chrétienne, ses multiples représentations sont synonymes de confusion et d’ambivalence. La femme et l’image ont en commun de susciter méfiance et fascination. C’est au travers de l’étude approfondie de quelques figures clefs de l’histoire de l’art, que nous vous proposons une relecture post-féministe des diverses facettes du féminin, prises dans la dyade sacré/profane. Mythes et croyances donnèrent naissance à un métissage pagano-chrétien qui fit émerger un Eternel Féminin inébranlable encore très prégnant dans l’art actuel. Tantôt dans la foi de l’image, tantôt dans sa condamnation, ainsi se résume l’insoluble combat entre l’humain et le divin. La Femme restera à jamais l’élément trouble associé au paraître et à la beauté. Dans nos recherches nous avons constaté que la femme et la peinture sont en parfaite adéquation. Elles sont indissociables car iconoclasme et misogynie vont souvent de pair. Peu à peu, le corps remplacera la toile et le fard, la peinture pour les artistes transgenres. Dans d’étranges (queer) parodies entre exhibition et chamanisme, ils réinventeront leur devenir-féminin. La surface de l’œuvre devient alors le miroir où se reflète cet Autre, alter ego tant recherché. La pensée féministe se met en marche au travers des révolutions des genres et des sexes. Ainsi, c’est entre Pygmalion et Narcisse que les artistes des XXéme et XXIéme siècles, nous offrent, entre mascarade et mélancolie, la vision d’un idéal sans original. Enfin, nous revenons sur l’art des femmes. Leurs pratiques sont souvent borderline, partagées entre violence, humour et Charis dans leur quête d’un sacré hors religion. Elles offrent un devenir-pandorien de l’art pour briser à jamais le désormais trop célèbre : « Sois belle et tais toi! »A large percentage of art has always been devoted to the images of the feminine. In Greco-Roman as well as in Judeo-Christian iconography, these multiple representations are synonymous with confusion and ambivalence. The common link between woman and her image is the ability to arouse distrust and fascination. By means of an in-depth study of some key figures from the history of art, we hereby put forward a post-feminist review of the diverse facets of the feminine, viewed under the sacred/secular dyad. Myths and faiths gave rise to a pagan-Christian hybrid, bringing forth a constant “Eternal Feminine” that is still firmly rooted in contemporary art. It is sometimes the faith of the image, sometimes its condemnation, that encapsulates the unresolvable fight between the human and the divine. Woman will remain forever the obscure element that is associated with appearance and beauty. In the course of our research, we ascertained that woman and painting are in perfect harmony; they are inseparable because iconoclasm and misogyny often go hand in hand. Step by step, the body will replaces the canvas and the make-up, the painting of transgender artists. In queer parodies between exhibition and shamanism, they reinvent their transformation into the feminine. The surface of the work becomes a mirror that reflects this Other, the alter ego, so longed for. Feminist thinking is set in motion through the revolutions of genders. Artists of the 20th and 21st centuries offer us a vision of an ideal without an original, a new Pygmalion or Narcissus, somewhere between masquerade and melancholy. Finally, we return to the art of the women. Divided between violence, humour and charis, their methods are often borderline, in their quest for the sacred that is beyond religion. They offer to evolve into “pandorien” art to shatter for ever the henceforth overly famous idea: «be beautiful and remain silent! »
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Enarsson, Stina. "Upplysa, upphetsa, uppmana eller utmana : Vad var syftet med Abdullah Buharis homoerotiska miniatyrmålningar?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-97307.
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This essay is primarily focusing on finding the purpose of Abdullah Buhari’s homoerotic miniature paintings. We may never know for sure the sole purpose and know what Buhari’s intentions was when creating these paintings. By creating categories focusing on homoerotic artwork I have tried to answer that question. To be able to create these categories and to further use them as a tool to analyse and discuss Buhari’s artwork, I have analysed and discussed other homoerotic art from different genres and eras and looked for significant characteristics and elements in these work of art that can be connected to each respective category. To support these characteristics and these different categories I have refered to existing research and literature. Although Buhari is mostly known for his artwork portraying women, I chose his homoerotic art as my main focus. Mainly because I was positively surprised when I first saw them and also because I found the lack of references to these homoerotic art rather puzzling. How come one primarily focus on Buharis portrayal of women and heterosexual relations when talking of him and not those portraying manly relations? Since my main focus in this essay, was to analyse art portraying sexual relations between men, and because there are significantly more sources and studies regarding same sex relationship between men I have chosen not to include work portraying woman and lesbian relationships, although a female perspective will be present to some degree since I identify as female myself.
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Floerke, Jennifer Jodelle. "A queer look at feminist science fiction: Examing Sally Miller Gearhart's The Kanshou." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2889.
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This thesis is a queer theory analysis of the feminist science fiction novel The Kanshou by Sally Miller Gearhart. After exploring both male and female authored science fiction in the literature review, two themes were to be dominant. The goal of this thesis is to answer the questions, can the traditional themes that are prevalent in male authored science fiction and feminist science fiction in representing gender and sexual orientation dichotomies be found in The Kanshou? And does Gearhart challenge these dichotomies by destabilizing them? The analysis found determined that Gearhart's The Kanshou does challenge traditional sociological norms of binary gender identities and sexual orientation the majority of the time.
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Fikrig, Michelle Marie. "Haunted by Solitude: Isolation and Communal Representation in Zanele Muholi's Archive." Oberlin College Honors Theses / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1527685493796687.
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TRAN, RICHARD QUANG-ANH. "From Red Lights to Red Flags: A History of Gender in Colonial and Contemporary Vietnam." Doctoral thesis, UC Berkeley Electronic Theses and Dissertations, 2011. http://hdl.handle.net/10278/3707278.
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This dissertation argues that the public discourse of Vietnam‘s periods of modernity—the late French colonial era (1930-1940) and that of the post-socialist decades (1986-2005)—produced interlocking notions of what I call queer subjects, subjects who oppose or exceed a normative understanding of heterosexual reproduction. The dissertation posits, however, a diachronic rupture in the dominant meaning of queer between these two periods. Whereas the former exhibited a capacious vision of gender and sexuality, one that pushed the imagined frontiers of the human body, the post-socialist decades marked a retreat to a static notion of mythic tradition that pathologized and purged queer bodies through recourse to a late nineteenth-century European discourse of gender-inversion, the notion of a man ―trapped‖ in a women‘s body or vice versa. To demonstrate this change, the first chapter argues that the normative meaning of gender and sexuality in late colonial Vietnam was far more dynamic and expansive than the contemporary scholarship has acknowledged. The second chapter maintains that the sexual regime that Foucault and others scholars have identified in Europe reaches its limit in the Vietnamese colony. The third and final chapter demonstrates the emergence of this sexual regime, albeit in transmuted form, during Vietnam‘s post-socialist decades (1986-2005). Together these chapters support the overall argument of a historical rupture in the cultural meaning of queer genders and sexualities between the period of late French colonialism and post-socialism. In reconstructing this rupture, the dissertation aims to de-familiarize contemporary practices and commitments and, by so doing, illuminate viable alternative forms of gendered and sexual life in twentieth-century Vietnam.
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Monegan, Max Turner. "A Different Kind of Community: Queerness and Urban Ambiguity in Northeast Ohio, 1945 - 1980." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1555933063637255.
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Kessler, M. David. "Establishing a History and Trajectory of LGBT and Queer Studies Programs in the American Research University: Context for Advancing Academic Diversity and Social Transformation." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc804893/.
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The system of higher education in the United States of America has retained some of its original character yet it has also grown in many ways. Among the contemporary priorities of colleges and universities are undergraduate student learning outcomes and success along with a growing focus on diversity. As a result, there has been a growing focus on ways to achieve compositional diversity and a greater sense of inclusion with meaningful advances through better access and resources for individuals from non-dominant populations. The clearest result of these advances for sexual and gender diversity has been a normalization of lesbian, gay, bisexual, transgender, and queer (LGBTQ) identities through positive visibility and greater acceptance on campus. However, it appears that relatively few institutions have focused on improving academic diversity and students’ cognitive growth around LGBTQ issues. Through historical inquiry and a qualitative approach, this study explored the fundamental aspects of formal LGBTQ studies academic programs at some of the leading American research universities, including Cornell University, the University of Maryland, College Park, and the University of Texas at Austin – a purposeful sample chosen from the Association of American Universities (AAU) member institutions with organized curricula focused on the study of sexual and gender diversity. The analysis of primary and secondary sources, including documents and interviews, helped create historical narratives that revealed: a cultural shift was necessary to launch a formal academic program in LGBTQ studies; this formalization of LGBTQ studies programs has been part of the larger effort to improve the campus climate for sexual and gender diversity; and there has been a common pattern to the administration and operation of LGBTQ studies. Clearly, the research shows that LGBTQ studies, as a field of study and formal curriculum, has become institutionalized at the American research university. A key outcome of this research is the creation of a historiography of curricular development around sexual and gender diversity at a sample of premier research universities. This work also begins to fill the gap in the study of academic affairs at the postsecondary level of education related to LGBT and queer studies and the organization and administration of learning about diversity and inclusion. Ultimately, the results of this study can influence the continued advancement and maturity of this legitimate field of study as well as academic diversity and social transformation around sexual and gender diversity.
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Coleman, Jonathan. "Rent: Same-Sex Prostitution in Modern Britain, 1885-1957." UKnowledge, 2014. http://uknowledge.uky.edu/history_etds/15.
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Rent: Same-Sex Prostitution in Modern Britain, 1885-1957 chronicles the concept of “rent boys” and the men who purchased their services. This dissertation demonstrates how queer identity in Britain, until contemporary times, was largely regulated by class, in which middle-and-upper-class queer men often perceived of working-class bodies as fetishized consumer goods. The “rent boy” was an upper-class queer fantasy, and working-class men sometimes used this fantasy for their own agenda while others intentionally dismantled the “rent boy” trope, refusing to submit to upper-class expectations. This work also explains how the “rent boy” fantasy was eventually relegated to the periphery of queer life during the mid-century movement for decriminalization. The movement was controlled by queer elites who ostracized economic-based and public forms of sex and emphasized the bourgeois sexual mores of their heterosexual counterparts. Sex between adult men in private was decriminalized, but working-class men selling sex suffered harsher laws and more strictly enforced penalties under this new, ostensibly “progressive” legislation.
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Davenport, Jeremiah Ryan PhD. "From the Love Ball to RuPaul: The Mainstreaming of Drag in the 1990s." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1499363704491381.
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