Suchergebnisse

Frontmatter -- Inhalt -- 1. Einleitung -- 1.1 Zeitstörungen -- 1.2 Queer Cinema Studies und Zeitlichkeit -- 1.3 Filmauswahl -- 1.4 Queerness -- 1.5 Struktur -- 2. Die Auseinandersetzung mit Zeitlichkeit in den Queer Studies -- 2.1 Verkörperungen und Historiografie -- 2.2 Die (Un-)Möglichkeit queerer Zeitlichkeit -- 2.3 Queere (affektive) Historiografie -- 2.4 Queere Archive -- 2.5 Konstruktionen von Bewegungsgeschichte_n und Bewegungsfilm -- 3. Zeit als Ordnungsstruktur in filmwissenschaftlichen Ansätzen -- 3.1 Zeitlichkeit in der medialen Struktur des Films -- 3.2 Normative Zeitlichkeiten -- 3.3 Geschlecht und Zeitlichkeit im Film -- 3.4 Dokumentarfilme und Historiografie -- 3.5 Zeitlichkeit und Materialität von Film -- 4. Queere Zeitlichkeiten und Medialität(en) -- 4.1 Filmische Zeitlichkeiten in den Queer Studies -- 4.2 Mediale Bewegunggeschichten im It gets better Project -- 4.3 Umgang mit normativen Zeitlichkeiten in Analysen der Queer Studies -- 4.4 Bewegungsgeschichte_n und/als Filmgeschichte_n -- 4.5 Trauer und Tod in filmhistoriografischer Perspektive -- 4.6 Materialitäten -- 4.7 Queer Cinema Studies unter dem Aspekt von Zeitlichkeit -- 5. Die Medialität Queerer Zeitlichkeiten in dokumentarischen Filmen -- 5.1 Ehe und Tod als zeitliche Strukturen im Film -- 5.2 Die Produktivität von Filmgeschichten -- 5.3 Materialitäten -- 6. Hier ein Ende -- Vorwort -- Bibliografie -- Dank

Frontmatter -- Contents -- List of Illustrations -- Acknowledgments -- Prologue. Itinerant Journeys -- Introduction -- 1. Producing Queer Space in Beirut: Zones of Encounter in Post-Civil- War Lebanon -- 2. Producing Prestige in and around Beirut: The Indiscreet Charm of the Bourgeoisie and the Assertion of a Queer Presence -- 3. Walking through the Concrete Jungle: The Queer Urban Stroller Traveling amid de Certeau, Benjamin, and Bourdieu -- 4. Queer Performances and the Politics of Place: The Art of Drag and the Routine of Sectarianism -- 5. The Homosexual Sphere between Spatial Appropriation and Contestation: Collective Activism and the Many Lives of Young Gay Men in Beirut -- 6. The Queering of Closed and Open Spaces: Spatial Practices and the Dialectics of External and Internal Homophobia -- 7. The Gay Gaze and the Politics of Memory: A Stroll on the Corniche and a Walk through Zoqāq al-Blāṭ -- 8. "Seeing Oneself" and the Mirror Stage: The Ḥammām and the Gay Icon Fairuz -- 9. Phenomenology and the Spatial Assertion of Queerness: Spatial Alienation, Anthropology, and Urban Studies -- 10. Raising the Rainbow Flag between City and Country: Dancing, Protesting, and the Mimetics of Everyday Life -- Conclusion. Struggling for Difference -- Notes -- Glossary of Transliterated Arabic Terms -- Bibliography -- Index

AbstractAt the intersection of two fields of inquiry that are highly imaginative and seek real change—the study of human-plant relations and the even less charted study of queer procreation—this article explores queer ways of procreating that humans may learn from plants. In particular, stolon (runner) formation and grafting are considered here because they are vegetal forms of procreation that are not rooted in sexual difference and create collective life forms that are based on dividuality rather than individuality. Both characteristics are mobilized for a queer imagination. Analyzing two plays by Heinrich von Kleist—the comedy Amphitryon (1807) and the tragedy Penthesilea (1808)—the article argues that Amphitryon's servant, Sosias, multiplies by way of stolons and that the Amazons in Penthesilea are grafted creatures with an ongoing desire to form new grafts. The analysis draws on Gilles Deleuze's theory of masochism to shift attention away from genital intercourse while sexualizing what in biology is called asexual.

Ein, zwei, drei oder vier Elternteile, »Sponkel«, »Mapas« und lesbische Zeugungsakte - wer oder was Familie ist und wie sie gegründet wird, hat sich vervielfältigt. Sarah Charlotte Dionisius rekonstruiert aus einer von den Feminist Science and Technology Studies inspirierten, queertheoretischen Perspektive, wie lesbische und queere Frauen*paare, die mittels Samenspende Eltern geworden sind, Familie, Verwandtschaft und Geschlecht imaginieren und praktizieren. Damit wirft sie einen heteronormativitätskritischen Blick auf die sozialwissenschaftliche Familienforschung sowie auf gesellschaftliche und rechtliche Entwicklungen, die neue Ein- und Ausschlüsse queerer familialer Lebensweisen mit sich bringen.

Stepford wives and female men: the radical differences of female replicants -- Entering the vortex: avant-garde science fiction film and the lesbian separatist frontier -- "Beware the hostile fag": acidic intimacies and gay male consciousness-raising in The boys in the band -- Queer love on Barbary Lane: the sexual politics of serial gay fiction in Armistead Maupin's tales of the city -- Stripped to the bone: sequencing queerness in the comic strip work of Joe Brainard and David Wojnarowicz -- "I cherish my bile duct as much as any other organ": political disgust and the digestive life of AIDS in Tony Kushner's Angels in America -- Conclusion. "something else to be": on friendship's queer forms.

This essay addresses how an interrogation of the concept of value can make room for a materialist reading of sexuality that goes beyond the identifiably "queer" to address the historical specificity of capital's investment in formations of sexual identity. The production of sexuality, through which unpredictable constellations of desire, knowledge, and practice become concretized into limited models of sexual identity, is bound up in the way capital produces the subjects accommodated to its own needs. Thus "queer value" sutures together two domains too often understood to operate autonomously: the psychic realm of desire and the material realm of accumulation and exchange. If we take seriously the notion of affect in relation to labor, then the daily, repetitive performances through which bodies are socially legible as gendered (whether coded as queer or straight) constitute a kind of affectively necessary labor—that is, the compulsory repetition of gender as performance might usefully be understood as a form of self-conscious labor that produces value, both material and social. It is the realm of affect that renders such performances to seem as though they are spontaneous, the reflection of the subject himself or herself rather than the internalized form of subjection through which each individual becomes legible as a social subject.

Queer medievalists deal with four major methodological questions: historical contextualization and nomenclature; the actuality of embodied erotic experience; the elision or erasure of female same-sex eroticism; and the periodization of history and the purpose of its study. Two recent works of queer medievalism explore and apply these methodologies: Glenn Burger and Steven F. Kruger, Queering the Middle Ages, and Karma Lochrie, Heterosyncrasies: Female Sexuality When Normal Wasn't. The contributors to Burger and Kruger's volume examine both medieval visual and verbal texts and also apply medievalism as an excluded middle that uncovers aspects of queer eroticism in the postmodern moment and questions periodization. Lochrie detaches the heteronormative assumptions of medieval scholars from literary and historical texts representing diverse female sexualities. The reviewer argues that queer medievalism attends to unexplored complexities of nonnormative sexuality in history but also may obscure the recovery of same-sex eroticism in the Middle Ages.

AbstractThis article analyzes two popular Golden Era belly-dance films, Sigara wa Kass (A Cigarette and a Glass, 1955) and Habibi al Asmar (My Dark Darling, 1958), through concepts of queer spectatorship, queer time and space, homoerotic triangulation, and queer containment. The analysis centers women, attends to women's homoeroticism and nonnormative desires, and reads popular film as constituted by and constituting of mainstream conventions of gender and sexuality. It argues that mainstream belly-dance films made considerable space for homoerotic exchanges amid women. Golden Era belly-dance films reveal a rich gender and sexual diversity in Egyptian cultural production, rather than the Orientalist representation of an explicitly homophobic "traditional" Arab culture. In this sense, the article recovers women's nonnormative and queer legacies within popular Egyptian texts. It does not insinuate homosexuality as inherent but instead locates possible Arab cultural engagements with women's queerness that have been overlooked.

Abstract
Tommi Avicolli Mecca, born in Philadelphia in 1951, moved to San Francisco in 1991 and quickly established himself as a leading queer performance artist, playwright, and newspaper columnist as well as a leading housing rights and antigentrification activist. This interview is excerpted from an interview initially conducted by Susan Stryker, general coeditor of TSQ: Transgender Studies Quarterly, for the GLBT Historical Society on November 19, 1998, and edited in consultation with Mecca for publication in TSQ, to highlight content related to the interrelationships between feminism, drag culture, and gay liberation politics in Philadelphia in the 1970s. In what follows, Mecca discusses his early involvement with radical sexuality and gender politics with the Gay Liberation Front (GLF) at Temple University, his later involvement in the more assimilationist Gay Activist Alliance (GAA), the formation of the Radical Queens collective, and his alliance with the separatist lesbian feminist group DYKETACTICS.

Zeit als normatives Ordnungsprinzip ist in den Queer Studies zu einem zentralen Forschungsgegenstand geworden. Unter dieser Perspektivverschiebung werden Biografien, Archive, Gefühle und Bewegungsgeschichten in den Blick genommen. Natascha Frankenberg greift diese Diskussion aus einer dezidiert filmwissenschaftlichen Perspektive auf und rekonstruiert Beiträge des Queer Cinema zu einer Queeren Zeitlichkeit. Sie analysiert u.a. Filme von Gréta Ólafsdóttir, Susan Muska, Cheryl Dunye, Barbara Hammer und Joey Carducci in ihrem Umgang mit Materialität, Motiven, Narration und Filmform.

Queer Jews describes how queer Jews are changing Jewish American culture, creating communities and making room for themselves, as openly, unapologetically queer and Jewish. Combining political analysis and personal memoir, these essays explore the various ways queer Jews are creating new forms of Jewish communities and institutions, and demanding that Jewish communities become more inclusive

Does advocating for queer and trans people to serve in the US military move the struggle for queer and trans justice forward toward liberation by improving the lives of queer and trans soldiers and increasing societal acceptance of queer and trans people? Or does it legitimize US military imperialism and increase the likelihood of more queer and trans people being abused and traumatized in the US military? This article consists of a conversation between Aaron Belkin, director of the Palm Center, who has spent decades advocating for queer and trans military inclusion, and Dean Spade, a trans racial- and- economic- justice–focused activist and scholar who opposes military inclusion advocacy. The conversation examines fundamental debates about the possibilities and limits of legal equality for marginalized and stigmatized groups, drawing on critical race theory, women of color feminisms, anticolonial critique, and competing theories of queer and trans liberation work.

In 1998 the Swiss pharmaceutical company Novartis filed a writ petition against the Indian government to prevent local drug manufacturers from producing generic HIV and cancer medications. Rather than framing queer politics in India as a matter of state-sanctioned citizenship in which queers rally for legal rights, "Patently Queer: Late Effects and the Sexual Economies of India" considers this case of Novartis AG v. Union of India as a kind of sexual economy. I argue for a consideration of the "late effects" that subtend the sexual economies of India—that is, material mechanisms of delay in access that run counter to the putative logics of flexibility and mobility that inform India in a postliberalization milieu. I show how the liberalized Indian state is mediated by transnational formations and global imperatives of capitalism, and in turn manages local sexual economies that seek to preserve heteronormative logics of essentialized Indianness. While economic liberalization after the 1990s closely parallels the emergence of burgeoning gay visibility in India, my aim is to theorize the fault lines rather than the compatibility between sexual politics and economic imperatives of growth that mark the accelerated development of an "incredible" or "shining" India.

Zeit als normatives Ordnungsprinzip ist in den Queer Studies zu einem zentralen Forschungsgegenstand geworden. Unter dieser Perspektivverschiebung werden Biografien, Archive, Gefühle und Bewegungsgeschichten in den Blick genommen. Natascha Frankenberg greift diese Diskussion aus einer dezidiert filmwissenschaftlichen Perspektive auf und rekonstruiert Beiträge des Queer Cinema zu einer Queeren Zeitlichkeit. Sie analysiert u.a. Filme von Gréta Ólafsdóttir, Susan Muska, Cheryl Dunye, Barbara Hammer und Joey Carducci in ihrem Umgang mit Materialität, Motiven, Narration und Filmform.