Desacralización de la identidad escolar : Género performativo y representación del HIV-SIDA en "Durazno reverdeciente" de Dalia Rosetti

l objetivo de la ponencia es analizar la obra de Dalia Rosetti, "Durazno reverdeciente", a partir de la hipótesis de que este relato es queer en dos aspectos fundamentales: en tanto deconstruye parámetros hegemónicos de género y en tanto plantea situaciones, identidades y géneros performativos. El análisis tendrá siempre como sustrato teórico la teoría que Judith Butler propone en El género en disputa y retomará algunos puntos de El manifiesto contrasexual de Beatriz Preciado para explicar por qué este relato puede considerarse un relato contrasexual. Asimismo, la ponencia revisará las representaciones del HIV-SIDA que se desprenden de la obra, considerando esas representaciones como resistencias y cuestionamientos a las tecnologías políticas de género que han rodeado a la enfermedad

“O CRISTO AFOGADO: UMA NÃO-CRISTOLOGIA” RELIGIÃO, LITERATURA E PÓS-COLONIALISMO

O objetivo dessa tese é aprofundar, a partir do discurso pós-colonial, uma crise na perspectiva teológica da libertação. Esta promoveu, na década de 1970, uma reviravolta nos estudos teológicos no terceiro mundo. Para tanto, leremos um conto de Gabriel García Márquez chamado “El ahogado más hermosodel mundo” (1968) analizando e avaliando as estratégias políticas e culturais ali inscritas. Para levar a frente tal avaliação é preciso ampliar o escopo de uma visão que divide o mundo em secular/religioso, ou em ideias/práticas religiosas e não religiosas, para dar passo a uma visão unificada que compreende a mundanalidade, tanto do que é catalogado como ‘religioso’ quanto do que se pretende ‘não religioso’. A teologia/ciências da religião, como discurso científico sobre a economia das trocas que lidam com visões, compreensões e práticas de mundo marcadas pelo reconhecimento do mistério que lhes é inerente, possuem um papel fundamental na compreensão, explicitação, articulação e disponibilização de tais forças culturais. A percepção de existirem elementos no conto que se relacionam com os símbolos sobre Jesus/Cristo nos ofereceu um vetor de análise; entretanto, não nos deixamos limitar pelos grilhões disciplinares que essa simbologia implica. Ao mesmo tempo, esse vínculo, compreendido desde a relação imperial/colonial inerente aos discursos e imagens sobre Jesus-Cristo, embora sem centralizar a análise, não poderia ficar intocado. Partimos para a construção de uma estrutura teórica que explicitasse os valores, gestos, e horizontes mundanos do conto, cristológicos e não-cristológicos, contribuindo assim para uma desestabilização dos quadros tradicionais a partir dos quais se concebem a teologia e as ciências da religião, a obra de García Márquez como literatura, e a geografia imperial/colonial que postula o realismo ficcional de territórios como “América Latina”. Abrimos, assim, um espaço de significação que lê o conto como uma “não-cristologia”, deslocando o aprisionamento disciplinar e classificatório dos elementos envolvidos na análise. O discurso crítico de Edward Said, Homi Bhabha e GayatriSpivak soma-se à prática teórica de teólogas críticas feministas da Ásia, da África e da América Latina para formular o cenário político emancipatório que denominaremos teologia crítica secular.

Difference and Hierarchy Revisited by Feminism

Drawing heavily on the work of classicist Page duBois, which eloquently explains the emergence, in ancient Greece, of hierarchy and of what is still understood today as the great chain of being (scala naturae: male, female, slave, barbarian, animal), this paper analyzes the age-old negative conotations of the concept of difference in western culture, considers the reinvention of difference as “positive” by Rosi Braidotti (after Deleuze & Guattari), and reassesses the efforts of several other feminist philosophers (e.g. Luce Irigaray, Judith Butler, Gayatry Spivak, Drucilla Cornell) to counter Lacan on the impossibility of “speaking women” beyond the dominant (male) philosophical discourse. Or, to paraphrase Marie Cardinal, their efforts to find “les mots pour le dire”.

Utopien, Epiphanien und Melancholie:Der Norden als Erfahrungs- und Imaginationsraum in der deutschsprachigen Gegenwartsliteratur

Die lange zu bemerkende „markante Absenz der nordischen Hemisphäre als literarischer Raum“ (Uwe Schütte) in der deutschsprachigen Nachkriegsliteratur hat in den letzten Jahren ein Ende gefunden. In Texten so unterschiedlicher Autoren wie Sybille Berg, Klaus Böldl, Melitta Breznik, Judith Hermann, Peter Stamm und Antje Ravic Strubel wird vermehrt der (skandinavische) Norden als literarischer Schauplatz in Form eines schriftstellerischen Imaginationsraums utopischer Qualität gestaltet. Allen Texten ist dabei gemein, dass der Norden als bewusst aufgesuchte Peripherie aufgefasst wird, die im Gegensatz zum mitteleuropäischen Zentrum steht. In der postmodernen Welt der Globalisierung, die sich mit Baudrillard als eine die Wirklichkeit usurpierende Simulation begreifen lässt, bietet der Norden den typischerweise mit melancholischen Zügen gezeichneten, an Entfremdung von ihrer Umwelt leidenden Figuren als Ort räumlicher Extremität die zugleich reale und befremdende Erfahrung einer Natur der Extreme, die trotz der zunehmenden Homogenisierung der vernetzten Welt Fortbestand hat und die den auch im Norden anzutreffenden bedeutungsleeren „Nicht-Orten“ (Marc Augé) der modernen Transitgesellschaft ein Erlebnis von Sinnhaftigkeit und Ursprünglichkeit gegenüber stellt. Obwohl (besonders bei Judith Hermann) Zweifel geübt werden an der Zugänglichkeit und emotionalen Wirksamkeit dieser Naturphänomene, besitzen sie dennoch das Potenzial bei den auf der Suche nach ihrer Identität und nach Selbsterfahrung befindlichen Figuren Erlebnisse von Epiphanien auszulösen. Lässt sich in einigen der Texte (besonders bei Peter Stamm) eine Auflösung der geographischen Umgebung ins Unbestimmte bzw. (bei Judith Hermann) eine bewusste Verfremdung skandinavischer Topographie verzeichnen, so werden bei Antje Ravic Strubel gar die Zuschreibungen von Geschlecht und gender vor nördlicher Kulisse aufgebrochen und es entsteht im Norden sowohl ein Freiraum geschlechtlicher Performanz (Judith Butler) als auch ein allgemeiner Projektionsraum für mögliche Lebensentwürfe – und für eine Aufarbeitung der deutschen Geschichte in Skandinavien, die noch deutlicher bei Melitta Breznik anklingt und den Norden auch als Chronotopos und postkolonialen Raum identifiziert. Ausgehend von diesen grundlegenden Merkmalen der Texte geht dieser Beitrag der Frage nach, wie vor dem Hintergrund des viel beschworenen spatial turn neue Perspektiven auf die aktuelle intensive literarische Auseinandersetzung mit dem Norden als konkreter Ort geographischer Realität und als räumliche Metapher mit epistemologischer Aufladung zu gewinnen sind.

British torture in the 'war on terror'

Despite longstanding allegations of UK involvement in prisoner abuse during counterterrorism operations as part of the US-led ‘war on terror’, a consistent narrative emanating from British government officials is that Britain neither uses, condones nor facilitates torture or other cruel, inhuman, degrading treatment and punishment. We argue that such denials are untenable. We have established beyond reasonable doubt that Britain has been deeply involved in post-9/11 prisoner abuse, and we can now provide the most detailed account to date of the depth of this involvement. We argue that it is possible to identify a peculiarly British approach to torture in the ‘war on terror’, which is particularly well-suited to sustaining a narrative of denial. To explain the nature of UK involvement, we argue that it can be best understood within the context of how law and sovereign power have come to operate during the ‘war on terror’. We turn here to the work of Judith Butler, and explore the role of Britain as a ‘petty sovereign’, operating under the state of exception established by the US Executive. UK authorities have not themselves suspended the rule of law so overtly, and indeed have repeatedly insisted on their commitment to it. They have nevertheless been able to construct a rhetorical, legal and policy ‘scaffold’ that has enabled them to demonstrate at least procedural adherence to human rights norms, while at the same time allowing UK officials to acquiesce in the arbitrary exercise of sovereignty over individuals who are denied any access to appropriate representation or redress in compliance with the rule of law.

Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

Les représentations queer au cinéma. L’abus sexuel au masculin et son incidence sur l’identifé et la sexualité des personnages de "La mauvaise éducation" (2004) de Pedro Almodovar et "Mysterious Skin" (2004) de Gregg Araki

Cette étude propose l’analyse de représentations queer dans le cinéma des années 2000. Plus précisément, elle porte sur la façon dont l’abus sexuel au masculin est représenté dans deux films produits en 2004, soit La mauvaise éducation (La mala educación), du réalisateur espagnol Pedro Almodovar, et Mysterious Skin, du réalisateur étatsunien Gregg Araki. À l’aide de la réflexion contenue dans Ça arrive aussi aux garçons : l’abus sexuel au masculin du sociologue Michel Dorais, l’objectif vise à démontrer comment cet événement traumatique influence de manière significative la construction identitaire et sexuelle des personnages principaux. De manière plus générale, ce mémoire positionne ces deux réalisateurs dans la grande et riche lignée du cinéma queer, qui met en scène des désirs hors norme et des identités sexuelles alternatives. Le premier chapitre porte sur les théories queer et ses diverses manifestations au grand écran. Il permet par la suite de réunir Almódovar et Araki dans une même étude et de souligner la pertinence de cette réunion. Le deuxième chapitre s’intéresse, à l’aide d’analyses d’extraits significatifs des films, à la façon dont chacun met en scène l’abus sexuel au masculin et comment cet événement se présente dans la vie des protagonistes. Le dernier chapitre se penche sur la construction identitaire et sexuelle des personnages principaux, afin de mieux comprendre l’incidence de l’abus sexuel. Jumelée aux travaux de Judith Butler, l’approche queer sera donc mise de l’avant dans cette étude qui se montre d’emblée attentive, d’un point de vue cinématographique, aux notions de sexe, de genre et de désir, et ce, à travers l’analyse de plusieurs extraits filmiques et d’éléments à la fois narratifs et structurels particulièrement significatifs quant à la représentation de l’abus sexuel au masculin.

Zwischen Sein und Werden : Rekonstruktion von Anerkennungspraktiken im schulischen Alltag von Schülerinnen und Schülern

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Faulkner revisited : narrating property, race, gender and history in William Faulkner's Go Down, Moses, Toni Morrison's Song of Solomon and Gloria Naylor's Mama Day

My thesis explores the formation of the subject in the novels of Faulkner’s Go Down, Moses, Toni Morrison’s Song of Solomon, and Gloria Naylor’s Mama Day. I attach the concept of property in terms of how male protagonists are obsessed with materialistic ownership and with the subordination of women who, as properties, consolidate their manhood. The three novelists despite their racial, gendered, and literary differences share the view that identity and truth are mere social and cultural constructs. I incorporate the work of Judith Butler and other poststructuralist figures, who see identity as a matter of performance rather than a natural entity. My thesis explores the theme of freedom, which I attached to the ways characters use their bodies either to confine or to emancipate themselves from the restricting world of race, class, and gender. The three novelists deconstruct any system of belief that promulgates the objectivity of truth in historical documents. History in the three novels, as with the protagonists, perception of identity, remains a social construct laden with distortions to serve particular political or ideological agendas. My thesis gives voice to African American female characters who are associated with love and racial and gender resistance. They become the reservoirs of the African American legacy in terms of their association with the oral and intuitionist mode of knowing, which subverts the male characters’ obsession with property and with the mainstream empiricist world. In this dissertation, I use the concept of hybridity as a literary and theoretical devise that African-American writers employ. In effect, I embark on the postcolonial studies of Henry Louise Gates, Paul Gilroy, W. E. B Du Bois, James Clifford, and Arjun Appadurai in order to reflect upon the fluidity of Morrison’s and Naylor’s works. I show how these two novelists subvert Faulkner’s essentialist perception of truth, and of racial and gendered identity. They associate the myth of the Flying African with the notion of hybridity by making their male protagonists criss-cross Northern and Southern regions. I refer to Mae Gwendolyn Henderson’s article on “Speaking in Tongues” in my analysis of how Naylor subverts the patriarchal text of both Faulkner and Morrison in embarking on a more feminine version of the flying African, which she relates to an ex-slave, Sapphira Wade, a volatile female character who resists fixed claim over her story and identity. In dealing with the concept of hybridity, I show that Naylor rewrites both authors’ South by making Willow Springs a more fluid space, an assumption that unsettles the scores of critics who associate the island with authenticity and exclusive rootedness.

Eros y Tánatos en la teatralidad de Blanche Dubois en A streetcar named desire, de Tenesee Williams

Para elaborar una investigación sobre Eros y Tánatos en el personaje de Tennessee Williams de A Streetcar Named Desire, Blanche DuBois, es necesario hablar sobre la senda de destrucción que el personaje principal de la obra desarrolla de principio a fin. He basado mi estudio en la obra de Tennessee Williams como mi mayor referente. Además, he empleado también las obras de filósofos y psicoanalistas, tales como Freud, Lacan, Sartre, Foucault y Žižek, entre otros, porque ofrecían una visión muy parecida a la perspectiva de Williams. También he definido las teorías de mujeres tales como Helen Cixous, Judith Butler, Teresa de Lauretis y Camille Plagia, con visiones a veces muy distintas. Williams hace uso de su propia vida y de la de su hermana para explorar la esencia de sus personajes. Rose, su hermana, inspira el personaje de Blanche DuBois, ya que Williams está obsesionado con la enfermedad mental de Rose. Las repeticiones de Blanche, como sus baños de agua caliente o de “La Varsoviana”, la música que sonaba en el momento en que Allan, su joven marido se suicida, la falta de luz en su cara, etc., enuncian la tortura en la que ella vive. Blanche vive en un mundo de ilusiones en el que pretende que los que la rodean entren, pero nadie entra en su juego. Ella misma se acerca a Tánatos, el dios de la muerte no violenta. El pánico de Williams no es solamente sobre su hermana, sino sobre el hecho de que él puede volverse tan enfermo como Rose. Tanto Rose como Blanche son un peligro para el statu quo de la familia, y ambas deben ser eliminadas. El metateatro de Blanche se duplica, porque tiene dos públicos, el público que asiste al teatro para ver la obra y el público que la rodea en escena, como, por ejemplo, Stella, Stanley y Mitch, entre otros...

The influence of queer theory on marriage and civil partnership in Scotland

This thesis will explore the whether queer theory has had any real influence on the law on marriage and civil partnership in Scotland. It will do so by examining the work of Michael Foucault and Judith Butler, reviewing both The History of Sexuality Volume One, and Gender Trouble to establish what queer theory has to say on gender and sexuality. Both works expose the artificiality of gender and sexuality, and in doing so, show that marriage and civil partnership are institutions created to support these artificial structures. Marriage and civil partnership are not isolated from the continuing influence of queer discourse on both gender and sexuality; however, as I will show, the influence has been contained largely to opening up privilege, both legally and socially, to those who wish to conform to structures that remain heteronormative and prescriptive.

“¡Pero al fin y al cabo muñecas!”: Tránsitos, genitalidades y nombramientos en las trayectorias de vida de mujeres transexuales en ejercicio de prostitución en Bogotá

El presente trabajo comprende la construcción de las trayectorias de vida de cinco mujeres transexuales en ejercicio de prostitución en Bogotá a partir de la identificación de los desplazamientos en el terreno corporal, de auto-reconocimiento y de genitalidad en sus procesos de transformación y/o tránsito dentro del espacio generizado. La identificación de lo que he denominado “agentes de transformación específicos” y “condiciones de posibilidad existentes” guía el proceso de la caracterización y análisis de sus experiencias dentro de la(s) transexualidad(es). A diferencia de una línea cronológica o de avance en el tránsito, la noción de espacio generizado me permite reconocer la importancia de las diferencias, la complejidad y la variedad de velocidades y direcciones que pueden presentarse en las experiencias con el cuerpo.

Bimbo: a gender analysis

This thesis aims to propose a gender analysis of the bimbo, that is the stereotype of a sexually attractive yet stupid woman. The presence of this cultural phenomenon in a number of aspects of mainstream pop culture gives rise to interesting research that deals with linguistics, the notion of prejudice, truth, and morality. Starting from notable bimbo figures like Marilyn Monroe, going through Anna Nicole Smith, and ending with the rising Gen Z Bimbo TikTok, this work reads the bimbo as a gender performance of femininity thanks to the lens provided by philosophers Judith Butler and Jean Baudrillard. The bimbo’s link to cosmetic surgery makes it possible to trace a brief outline of the feminist theory in relation to the understanding of the body as a political site. Ultimately, the subtle borders between the reenactment of the male gaze and a conscious reappropriation will be discussed. Because of the contingent nature of the bimbo, the purpose of this work is not necessarily to rewrite her as a feminist, but to present and embrace the at times contradicting multitudes of this pop culture trope.