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Time Binds is a powerful argument that temporal and sexual dissonance are intertwined, and that the writing of history can be both embodied and erotic. Challenging queer theory's recent emphasis on loss and trauma, Elizabeth Freeman foregrounds bodily pleasure in the experience and representation of time as she interprets an eclectic archive of queer literature, film, video, and art. She examines work by visual artists who emerged in a commodified, "postfeminist," and "postgay" world. Yet they do not fully accept the dissipation of political and critical power implied by the idea that various political and social battles have been won and are now consigned to the past. By privileging temporal gaps and narrative detours in their work, these artists suggest ways of putting the past into meaningful, transformative relation with the present. Such "queer asynchronies" provide opportunities for rethinking historical consciousness in erotic terms, thereby countering the methods of traditional and Marxist historiography. Central to Freeman's argument are the concepts of chrononormativity, the use of time to organize individual human bodies toward maximum productivity; temporal drag, the visceral pull of the past on the supposedly revolutionary present; and erotohistoriography, the conscious use of the body as a channel for and means of understanding the past. Time Binds emphasizes the critique of temporality and history as crucial to queer politics.

Sade's erotic novels : can we read them as queer? -- Nature, sodomy, semantics and queer discourse -- Atrocities of a quite different kind : non-normative eroticism in Aline et Valcour -- Queering the Marquis

Das Lehrbuch rückt eine gender/queer- und diversitygerechte Soziale Arbeit in den Blick. Im Fokus steht die Verbindung von Theorie und Praxis und die Vermittlung von Kenntnissen über und Kompetenzen zu Gender/Queer und Diversity. Intersektionale Verbindungen ermöglichen eine multiperspektivische Herangehensweise. Rechtliche Grundlagen untermauern, warum diese Themenbereiche in der Sozialen Arbeit relevant sind. Das Buch lädt ein, sich sachlich und kritisch mit diesbezüglichen Theorien und Methoden der Sozialen Arbeit auseinanderzusetzen und diese in der Praxis zu erproben. Über die Soziale Arbeit hinausgehend, bietet es Grundlagen auch für ausseruniversitäre Bildungs- und Fortbildungsbereiche

Wissen und Macht sehen sich in der Wissenschaft in besonderer Weise miteinander verbunden. Erstens, da Wissenschaft immer auch von Subjekten betrieben wird, zweitens, da sie in Institutionen betrieben wird, wie Hochschulen, Schulen usw., die wiederum teil eines Staatsapparates sind, der hegemoniale Wissbarkeiten und die Feststellung, dessen was Wissenschaftlichkeit ist und Wissenschaftswert hat, steuert. Die Beiträge aus den Bereichen Didaktik, Diversity Mangement, Literatur- und Kulturwissenschaft, Pädagogik und Soziologie, die in diesem Band vereint sind, zielen auf eine queer-feministische Wissens(schafts)kritik ab. Nicht nur kritische und emanzipierende Forschung soll dadurch angeregt, sondern auch herausgestellt werden, wie vielfältige Lebensweisen erfahrbar, sagbar, wissbar und vermittelbar gestaltet werden können.

Mithilfe der soziologischen Raumtheorie wird in dieser Arbeit untersucht, welche Rolle Musik in Safer Spaces der queeren Clubszene Berlins spielt. Dabei wird Musik nicht nur als Klangobjekt, sondern ebenso als Handlung untersucht. Im Zuge meiner ethnografischen Forschung (beobachtende Teilnahme und Interviews) stellte sich heraus, dass die Positionalität von DJs das Schlüsselelement ist, um Musik als queer zu interpretieren. Musik und damit eine ganze Raumkonstruktion wird durch queere DJs verqueert. Darüber hinaus werden die politischen Dimensionen der queeren Clubszene Berlins beschrieben, die sowohl impliziter als auch expliziter Natur sind. Um die Raumtheorie nach Martina Löw für die Musikwissenschaften nutzbar zu machen, wird in dieser Arbeit der Grundstein für eine musikbezogene Raumtheorie gelegt. Des Weiteren wird der Diskurs, was überhaupt als queere Musik verstanden werden kann, erläutert. Dadurch soll diese Arbeit einen Beitrag zur Queer (Ethno-)Musicology darstellen. ; Using sociological space-theory, this thesis is going to research the role of music in safer spaces of the queer club scene in Berlin. In doing so, music is not only being treated as a sound object, but as musical action also. During the ethnographic research (observing participation and interviews) it was found out that the positionality of DJs is the key element for the interpretation of music as queer. Music and therewith a whole construction of space is being queered by queer DJs.Furthermore, the political dimensions of the queer club scene in Berlin are being described, which are of an implicit as well as explicit nature. For to adapt the space theory of Martina Löw to musicologies, the foundations for a space theory regarding musics role in space construction had to be laid. Additionally, the discourse of what can be understood as queer music is going to be described. All in all, this research is intended as a significant contribution to Queer (Ethno-)Musicology. ; vorgelegt von: David Buschmann ; Zusammenfassungen in Deutsch und Englisch ; Abweichender Titel laut Übersetzung des Verfassers/der Verfasserin ; Karl-Franzens-Universität Graz, Masterarbeit, 2017 ; (VLID)2340765

In Feminist, Queer, Crip Alison Kafer imagines a different future for disability and disabled bodies. Challenging the ways in which ideas about the future and time have been deployed in the service of compulsory able-bodiedness and able-mindedness, Kafer rejects the idea of disability as a pre-determined limit. She juxtaposes theories, movements, and identities such as environmental justice, reproductive justice, cyborg theory, transgender politics, and disability that are typically discussed in isolation and envisions new possibilities for crip futures and feminist/queer/crip alliances. This bold book goes against the grain of normalization and promotes a political framework for a more just world.

Verlagsinfo: "Queer Ear brings together for the first time a collection of music theorists who issue queer challenges to both music theory and musicology. To queer musicology, which has often presumed that music theory has nothing valuable to contribute to queer music studies, we demonstrate how music theory can be appropriated for queer ends. We show that queerness is integral to our music-theoretical practice, and can change the field of music theory. Queers have always listened widely, repurposing straight sounds for the "queer ear," a concept which stands in contrast with queer soundings, by queer composers, who are also investigated in this volume. Privileging provisional, idiosyncratic, and nonnormative listening practices, a queer ear enables us to counter music theory's hoary and continuing tendencies towards rationality, unity, unilinearity, teleology, and logical certainty. What unites the investigation of queer ear and queer soundings is the repurposing of "hard" music-theoretical apparatuses, as well as "soft" apparatuses like narratology and cultural theory, for queer ends. These repurposings contribute to the search for general principles-or a "theory"-of queering that counters mainstream music theory's proclivities, encouraging everyone to experiment with queer ways of listening instead. But ultimately, the queer ear is an expression of what queers have always had to do, often learning from a young age to collect scraps from our families's heteronormative table, recycling and reusing bits and pieces of an often hostile world to build habitable futures for ourselves. Through the lenses of queer temporality, queer narratology, and queer music analyses, we examine a wide variety of sounds from Sun Ra to Cowell, Czernowin, and Henze, as well as Schubert and Schumann; theories ranging from Schenker to queer shame, disability studies, and posthumanism; and writings from Edward Cone to Edward Prime-Stevenson"--