Queer Theory

El pasado 2 de mayo visité Jauría, la exposición de Yolanda Benalba en el Centre del Carme de Cultura Contemporània de València. La muestra –una instalación audiovisual y performativa atravesada por una sugerente investigación sobre la voz humana y el lenguaje de los cánidos– propone un recorrido entre cuerpos, rejas, dibujos, vídeos, aullidos y frases suspendidas en una penumbra rojiza. Había algo liminar en todo el recorrido, como quien atraviesa un umbral entre lo humano y lo animal, entre el lenguaje y el grito, entre la vulnerabilidad y la resistencia.

Contemporary sexual citizenship is governed by neoliberal concepts of selfhood that both encourage subjects to manage their own risk and that establishes risks by creating hierarchies of affluence, self-commodity and belonging. These risks relate to the ways in which LGBT self-harm and sexuality-related suicide are conditioned and normalised, with continuing high rates of suicidality. While neo-liberal formations of sexual selfhood have created the conditions for writing and making sense of fictional and nonfictional narrative accounts in Australia, New Zealand and the Pacific for the legalised expression and representation of non-heterosexuality, they continue and exacerbate risks that can lead to the cultural formations associated with youth suicide. The fact that non-heterosexual youth have traditionally made use of the 'logics' of non-normative sexuality given in queer writing calls for an ethical approach to the ways in which narratives of non-heteronormative sexuality are written. This article presents a framing account of how contemporary neoliberal forms of 'homonormative' queer cultures serve as a backdrop and context for queer creative representations that may be utilised as forms of support, frameworks for identity norms or projections of queer lives that can, arguably, exacerbate risks of suicide. It examines some of the ways in which we can come at the conditions that make queer youth suicide possible and thinkable from a queer culturalist angle, allowing us to consider how suicide risks are creatively represented, produced, or contributed to. Rob Cover is Associate Professor and Discipline Chair, Media and Communication, University of Western Australia. He is a CI on an ARC Discovery Project examining the conditions and frameworks of LGBT youth support. His recent books include:

This article examines the transformation of Tom of Finland’s work from a form of marginal pornography associated with homosexuality into an acknowledged component of Finnish cultural heritage and the canon of sivistys (cultivated cultural and intellectual life). Its point of departure is the Tom of Finland postage stamp issue released in 2014, which symbolises a broader cultural shift: homoerotic imagery once criminalised and stigmatised has been institutionalised as a state-recognised cultural value. Drawing on perspectives from art, pornography, queer history, and cultural policy, the article analyses the processes through which this transformation became possible. At the same time, it demonstrates how social and cultural acceptance has required the repackaging of desire and sexuality into aesthetically, commercially, and politically legitimate forms. Tom of Finland serves here as a case study of the shifting boundaries of sivistys, revealing how a previously marginalised queer culture can move from the periphery to become part of national identity and cultural memory.

Nos últimos dez anos, aproximadamente, as pessoas pesquisadoras e/ou militantes dos direitos humanos, em especial aqueles relativos às identidades LGBTQIAPN+, feministas e negras, têm se deparado com um conjunto de trabalhos acadêmicos, escritos por pesquisadores/as importantes nos campos da psicanálise, psicologia, sociologia, filosofia e antropologia, que estão elaborando novos discursos críticos às identidades. O objetivo deste texto é o de apresentar de forma panorâmica algumas das principais obras e elaborar hipóteses iniciais para tentar explicar as condições de emergência, nos termos de Michel Foucault, desses novos saberes.

Este artigo é parte de uma pesquisa de levantamento teórico das contribuições de autoras/es queer racializadas/os, queer decoloniais e interseccionais no contexto global. O caso do continente africano constitui um aspecto desse levantamento e será, aqui, analisado na continuidade de pesquisas anteriormente realizadas a partir um referencial teórico predominantemente anglófono. O foco nas produções oriundas dos contextos anglófonos deve-se à maior familiaridade dessas produções com o referencial teórico queer-em particular, da crítica queer racializada, decolonial e interseccional, 1 que estamos analisando, de modo aprofundado, já há algum tempo, mapeando seus deslocamentos e circulações, particularmente no eixo Sul-Sul. O presente artigo também se coloca na esteira de um trabalho filosófico-teórico recentemente publicado, 2 que analisa diferentes facetas da noção mbembiana de necropolítica e a expande, a partir das reflexões de como Jasbir Puar e Jin Haritaworn, Adi Kuntsman, Silvia Posocco e outras/os. O objetivo desta contribuição é refletir sobre a pertinência das categorias de necropolítica 3 e de necropolítica queer 4 para discutir a 1 Ver, a esse propósito, o texto de Kwame Otu e Adriaan van Klinken, "African Studies

Being queer means that you engage with failure on an almost daily basis, as a practice and an outcome; however, when success is measured by normative markers failure is not the end for queer actors. At INFERNO, failure played out as a modality -a type of expression, experience, a way of discussing a possibility or set of possibilities -within the queer rave's serendipitous network of deep affective relations. INFERNO is queernot only because it was run by and for queers but -because it queered public place, specifically the Institute of Contemporary Art (ICA, London), and the experience of inhabiting it. INFERNO (31 st January, 2020) presented a system of different performance events, providing participants with opportunities to not only witness but also to generate performance. And in this way INFERNO echoed, capaciously, participatory live art practices which have a long history in intersectional Black, Feminist, Crip, and Queer of Colour art and protest 1 . At the rave we were all invited to perform together and to generate alternative ways of becoming-with. Considering failure as one of those other ways, this essay takes seriously the questions INFERNO asked: what if we did burn it all down, what world would be possible after the end of Man, and how can we as queers celebrate each other, our practices of seeing, making, and emerging together 2 ? I wager that failure attenuates listening and feeling differently. In this reflection on the ICA INFERNO I ask, particularly, what is at stake in this constellation of failure, performance, and rave. I recall the erotic moving-image, liveart, and especially collective performance making between bodies en commun. I attempt to gather the traces of queer coalitional performance that spread throughout and took over the ICA on the dance floor, in the bathrooms, film screenings, and corridors. There, in the space opened up by INFERNO's curators DJ Lewis G. Burton and producer Sebastian Bartz, I examine Nick Finegan's 'Theseus on the Heap 3 ' (2019), a hellish collage of ancient Greek myth and tragedy. I put forward the following thesis. By performing failure as a modality, the performers explored a tension between the failure of structures -grounded in/through/with racist colonialism -and their reemergance 4 . I observe that this double movement of failure and recuperation occurs under the conditions of a rave that does stage the end of humanity, but also note that 'Theseus on the Heap' conjured up the props, equipment, and tools of settler colonial

Following a motor vehicle accident in Ontario, navigating insurance tracks and legal claims introduces distinct vulnerabilities for queer and trans individuals. Traditional legal and insurance spaces frequently misalign with non-traditional family structures, minority mental health stress, and gender-affirming medical requirements. Joshua Goldberg Law provides specialized, trauma-informed personal injury advocacy across Ontario, systematically protecting client dignity, securing equitable medical rehabilitation benefits, and dismantling unfair insurance denials to ensure that your identity is never treated as a complicating legal variable.

A Arqueologia enfrenta o desafio singular de esticar as teorias sociais da sexualidade em novas direções cronológicas e metodológicas. Este ensaio utiliza uma análise de práticas citacionais para considerar como as teorias queer e feminista se articulam com investigações arqueológicas sobre sexualidade. Tanto a teoria queer quanto as práticas arqueológicas feministas aparecem como ferramentas poderosas que podem ser usadas para expandir interpretações arqueológicas de gênero e sexualidade. PALAVRAS-CHAVE: gênero; teoria queer; feminismo; história da Arqueologia. Há outra função social do gênero a ser considerada, que é marcar socialmente as/os parceiras/os sexualmente apropriadas/os. Se o leitor aceita essa função social do gênero, então uma arqueologia do gênero é uma arqueologia da sexualidade (Claassen, 1992b).

While the gap between queer theory and Marxism seems unbridgeable, my argument refutes such a conclusion. In Part II, I draw on a Romanian film about a queer adolescent in socialist Romania in the 1980s to show the potential of queer Marxism. I concentrate on a socialist film about a queer adolescent “For your sake, Anca”. Bullying, genderification and queer thrival are contemporary modalities to conceptualize and understand Anca’s actions. Because they are primarily conceptualized in an individualist and ahistorical mode of looking at human agency, I offer a reading that focuses on the socialist dimensions of the film. I concentrate not only on a historical argument about class and class formation in Romania, but I also emphasize the need to develop a wide range of sensorial capacities through play. By discussing critically Chukhrov’s arguments and using a queer Marxist lens, I show that a deeper understanding of history and relations of exploitation can lead to stronger conceptualization of educational strategies. In Part 3, I explain how a dialectical conception of queer Marxism offers not only a critique of narrow ethical concerns, but of a critique of queer ideas that do not consider the emancipatory dimensions of education.

Generally speaking, BPD is a cognitive-affective disposition that shapes one's conception and experience of herself, and also her experiences of interrelationality. Many BPD symptoms relating to affect regulation are spurred by psychosocial complications that can then exacerbate psychosocial complications in future relationships. One consequence of affective dysregulation due to abuse-induced trauma can be persistent interpersonal breakdowns. Such breakdowns can be caused by the inability of two differently affectively disposed persons to harmonize according to what person each needs based on a set of supposedly shared norms and expectations. Attempting to identify specific ethical issues related to affective disruptions in interrelational harmonizing requires that one pull together the embodied experiences of BPD and the effects of those experiences on interpersonal relationships and then position that distinctive dynamic within an ethico-epistemological framework. I believe that one critical trigger for BPD affective dysregulation comes from the role of abuse-induced trauma in the cultivation of the BPDer's body memory. I offer a description of this phenomenology, which I ground in the philosophy of embodied cognition. The relationship between trauma and the embodied memory matters to ethical conversations about BPD because it is crucial to see how trauma that manifests as a specific kind of affective disposition can influence the ethical harmonizing of interpersonal interactions. I write this analysis from my own first-person experience of someone diagnosed with severe BPD.

This dissertation traces the encounter between psychology as a human science and the viral zombie film genre using the collaborative works of Deleuze and Guattari in conjunction with the queer anti-humanist theories of Colebrook and Halberstam. I interwove thematic (i.e. plot, dialogue, character development) and cinematographic (i.e. shot composition, editing, lighting, musical score) analyses of fourteen viral zombie films with theoretical arguments regarding the deterritorialization of the human subject and its relevance to psychology as a human science. The films were selected from the plethora of viral zombie films released after the turn of the 21st century. The selection was based on their relevance to three 'themes': queer deterritorialization, contagious becomings, and viral subjectivity, themes that emerged from my readings of Deleuze and Guattari, queer theory, and film theory. One of the central claims of this project is that the 'problem' that must be confronted by both psychology and the zombie film is the 'problem' of the human subject. In the broadest sense, the viral zombie film confronts the problem of 'the human' through radically disrupting the category of the human and other ancillary categories by which the human is propped up and codified. These films, instead, trace and take part in the emergence of what I call viral subjectivity. Thus, the encounter between viral zombie film and psychology as a human science offers a shift from normative theories and praxes grounded in the presumption of a stable, human subject toward 'schizoanalysis' as theorized by Deleuze and Guattari.

As organizações refletem a sociedade na qual estão inseridas. Se uma determinada cultura é nutrida pela homotransfobia, exorsexismo, racismo, misoginia, capacitismo, gordofobia, etarismo, dentre outros preconceitos, as organizações presentes nesse contexto sofrerão influência das discriminações que permeiam esse corpo social. O trabalho "Contrabinariedade: Gênero e Organizações" surge a partir de provocações sobre as ausências e opressões de gênero causadas pela cisbinariedade compulsória que opera na sociedade brasileira. O enfoque deste trabalho artístico é na área de negócios. Identidades femininas latinas se unem para produzir uma colagem sobre não-binariedade e uma poesia que convoca corpos não hegemônicos a ocuparem os seus espaços nas organizações. Saudando a nossa ancestralidade trans e travesti, tomamos a fala, apresentando ciência-arte a partir de nós, para todas, todes e todos.

Narrative dance uses a repertoire of symbolic dance movements and mimetic and abstract expressive gestures accompanied by various musical elements for meaning generation. This study seeks to gain new insight into entrainment or sensorimotor synchronization between dance movements and musical rhythm for meaning generation in classical ballet solo dance through interviews with choreographers, ballet artistic directors, and senior teachers. The results reveal that entrainment can be seen as involving kinesemiotics (movement-based semiotic systems), metaphorical corporeal articulation (symbolic bodily expression), and expressive gestures for meaning generation and narrative embodiment. It also may arise from emotional induction and kinesthetic empathy (a process in which audiences experience dance through their own sense of movement), resulting from watching and listening to the synchronicity of dance movements and musical beats, where the audiovisual synchrony creates a multimodal rhythm. Each form and level of entrainment, in terms of its duration, sequence, the body parts involved, and the intensity of the beat synchronization, can have semiotic, metaphoric, and/or emotional impact, which may evoke kinesthetic empathy and lead to the emergence of specific meanings.