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Description
Lesbian, gay, bisexual, transgender and queer (LGBTQ+) individuals experience a variety of types of representation, particularly in media outlets. While the quantity of such representations is steadily increasing, research must continue to examine the content of representations as they become available. This examination is important as much of society is determined by discourses presented in media outlets. Further, media often produces and reproduces dominant narratives about minority groups. Television is one arena where individuals come to learn about themselves and others. Particularly, the sitcom genre can be useful for figuring out how to deal with real-world issues in a humorous and entertaining way. However, the humor of sitcom does not exclude it from the meaning-making and identity-formation systems present in television and media, more broadly. Thus, this study investigates the discourses surrounding LGBTQ+ representation in the Canadian sitcom Schitt’s Creek through critical and rhetorical discursive analyses while also applying principles of queer theory throughout. Results indicate while Schitt’s Creek does many things well in terms of its representation of LGBTQ+ individuals, problematic stereotypes still often remain. In other words, Schitt’s Creek breaks from typical LGBTQ+ representation found in sitcoms, but often still embodies dominant cultural narratives used to degrade, restrict, and punish LGBTQ+ individuals. This is particularly evident as one examines the ways Schitt’s Creek often falls into heteronormative standards and continually polices the sexual nature of LGBTQ+ individuals to display a safe and comfortable version of homosexuality. Therefore, Schitt’s Creek may often and unknowingly reinforce the heteronormative hegemonies it seeks to break from.
ContributorsKiourkas, Steffanie M (Author) / Mean, Lindsey (Thesis advisor) / Walker, Michael (Committee member) / Gruber, Diane (Committee member) / Arizona State University (Publisher)
Created2023
Description
This study explores how several U.S. gay men, who identify as fans or worshippers of female vocalists, engage with the feminist ideologies found in pop diva culture and with the gay male stereotype of diva-worshipping. This study also considers whether their identities and related activities conform to the notions of post-feminism and female empowerment as characterized in scholarly research by examining gay men’s experiences of divas’ lyrics and personae. Previous studies have investigated how the discourses of female empowerment are formulated in divas’ song lyrics. Nevertheless, there has been little empirical literature exploring the discussions of gay men’s perceptions toward divas’ lyrics and personae. To bridge this gap, my research shifts the focus on the ideology of feminist/female empowerment from the production aspects of divas’ song lyrics and personae to the audience reception aspects using the tools of critical discourse analysis in semi-structured, in-depth interviews. Interviews were recorded from 21 gay male participants who were categorized into 3 age groups – 25-34, 35-45, and 45+. The data were then transcribed and uploaded to the software MAXQDA for coding. Deploying a combination of Wodak’s critical discourse historical approach and Fairclough’s three-dimensional critical discourse analysis, with literature on gay male subjectivity, and post-feminism, data were compared with the intent to formulate conceptual themes and seek coherent patterns. The findings suggest that certain gay men deploy the discourse of diva-worshipping to move beyond a generalized fandom conversation to engage with the discussions of U.S. gender politics. For instance, while the diva-worshipping talk always addressed capitalism through gay men’s purchases of diva’s work, and their loyalty to certain divas in all three age groups, a few gay men deployed diva-worshipping to discuss the U.S. hegemonic masculinity and align themselves on the opposite side with women who are part of the oppressive lower range of the gendered hierarchy of dominance. The findings also indicated several insightful ways of how these U.S. gay men came to their novel understandings of womanhood through the diva-worshipping practice while also seeking meaningful and self-empowering ways to identify with their divas and what they represent.
ContributorsRuanglertsilp, Ekkarat (Author) / Adams, Karen KA (Thesis advisor) / Prior, Matthew MP (Committee member) / Himberg, Julia JH (Committee member) / Arizona State University (Publisher)
Created2023
Description
Sociopolitical involvement has been previously shown to be associated with experiences of discrimination. Lesbian, gay, and bisexual (LGB) racial/ethnic minorities have faced multiple levels of discrimination from the mainstream community, racial/ethnic minority communities, and LGB communities. However, not many studies have investigated the association between intersectional forms of discrimination and sociopolitical involvement. The present study examines differences in perceptions of racism in the LGB community, sociopolitical involvement in racial/ethnic communities, and sociopolitical involvement in LGB communities among LGB racial/ethnic minorities (N = 203, MAge = 27.25). The sample included 107 (52.7%) men and 96 (47.3%) women; 41 (20.2%) lesbians, 89 (43.8%) gay men, and 73 (36.0%) bisexuals; 47 (23.2%) African Americans, 50 (24.6%) Asian Americans, 64 (31.5%) Latinos/as, and 42 (20.7%) from another race/ethnicity or mixed race. This study also looks at the association between perceptions of racism in the LGB community and sociopolitical involvement in racial/ethnic communities and/or LGB communities. Asian American participants reported perceiving higher levels of racism in the LGB community than Latino/a participants. No other differences in perceptions of racism in the LGB community were found between sexual orientation or by racial/ethnic group. No differences between racial/ethnic group or sexual orientations were found in sociopolitical involvement in racial/ethnic or LGB communities. When controlling for sexual orientation, gender, and race/ethnicity, perceptions of racism in the LGB community predicted sociopolitical involvement in racial/ethnic and LGB communities. By exploring correlates of discrimination from an intersectional perspective, this study provides a better understanding of the experiences of LGB racial/ethnic minorities.
ContributorsVanDaalen, Rachel (Author) / Santos, Carlos (Thesis advisor) / Homer, Judith (Committee member) / Tracey, Terence (Committee member) / Arizona State University (Publisher)
Created2016
Description
This doctoral dissertation proposes an analysis of a selection of photographic series by a diverse group of Latin American photographers such as Argentinian Gustavo Di Mario, Brazilians Claudio Edinger and Alair Gomes, and Mexican Dorian Ulises López Macías. The analyzed material focuses on a revision of characteristics of masculinity and imperative heteronormativity in the discourses on their respective national identities. The projects put-fourth by these four artists represent a political proposal that unveals the homoaffective possibilities of their photographic referents. Susan Sontag postulates in her On Photography (1979) that “the powers of photography have in effect de-Platonized our understanding of reality, making it less and less plausible to reflect upon our experience according to the distinction between images and things, between copies and originals” (179). These artists understand the power of the image and, through its meticulous composition, they propose to not only photograph, but to also narrate the reality of dissident identities and their belonging to a collective national identity.
ContributorsShalloe, Thomas J (Author) / Foster, David W (Thesis advisor) / Tompkins, Cynthia M (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2019
Description
The secret Facebook group ////sads only/// was formed in October 2015 to provide a safe space for women and trans and nonbinary people to express their emotions, a sort of digital support group. Members can post individually about things happening in their lives, comment on other members’ posts with advice or support, and contribute to discussion threads. Common subject matters include mental health, relationships, sexuality, gender identity, friendships, careers, family, art, education, and body image. The group’s location on Facebook adds to its utility – it can be an alternative site of community-making and communication, away from the often toxic, triggering, or just plain negative posts that clog up social media news feeds and the unsolicited comments that get appended. The group is informed by principles of affect theory, and in particular, sad girl theory, which was developed by the artist Audrey Wollen. She suggests that femme sadness is a site of power and not just vulnerability. In her view, sadness isn’t passive existence, but instead, an act of resistance. Specifically, it uses the body in a way that is crucial to many definitions of activism, incorporating the violence of revolution, protest, and struggle that has historically been gendered as male. This thesis examines the history and future directions of the ///sads only/// group as well as its theoretical underpinnings and the implications of its intervention, considering such perspectives as cultural studies, gender performance, identity formation, digital citizenship, mental health, and feminist activism.
ContributorsKoerth, Kimberly (Author) / Ward, Mako (Thesis advisor) / Anderson, Lisa (Thesis advisor) / McGibbney Vlahoulis, Michelle (Committee member) / Arizona State University (Publisher)
Created2019
Description
On June 12, 2016, Omar Mateen entered Pulse Nightclub in Orlando, FL and shot and murdered 49 people and wounded over 50 more. At the time, it was the deadliest mass shooting ever to occur on U.S. soil. That particular evening, Pulse, a queer nightclub, was hosting a “Latin Night,” which resulted in over 90 percent of the victims being Latinx in descent and many that identified as Afro-Latinx or Black. Essentially, Pulse is the most lethal act of violence against queer and trans bodies of color in this country. Pulse reminds queer and trans people of color of the conditions of the world that position Brown and Black queer and trans death as mundane. That is to say, the lives of trans and queer bodies of color are lived in close proximity to death. And yet, Pulse was anything but mundane. In every practical sense, it was a fantastical event of radical violence. The tension between these and the implications found within is what this project seeks to engage. Utilizing critical/performance-based qualitative methods and data derived from the queer and trans of color communities in Phoenix, AZ, this project investigates the performative afterlife of Pulse. I apply and name the term performative afterlife to suggest that the events at Pulse are connected to material conditions and consequences that get performed by and through queer and trans bodies of color. Interlocutors share the afterlife is performed within the context of ubiquitous whiteness found in Phoenix, often manifesting as a survival mechanism. Additionally, many interlocutors express the mundane threat of violence everyday has prevented a thorough engagement of what it means to live in a world after the events at Pulse nightclub have occurred. Ultimately, the performative afterlife of Pulse gets performed by queer and trans bodies of color in Phoenix through a co-performance between one another. Much like the dancing that occurred at Pulse, the performative afterlife is a performance that moves the world towards queer or color futures not yet here.
ContributorsTristano, Michael (Author) / Brouwer, Daniel (Thesis advisor) / Bailey, Marlon (Committee member) / Danielson, Marivel (Committee member) / LeMaster, Benny (Committee member) / Arizona State University (Publisher)
Created2020
Description
Through the lived experiences of Georgian queer migrants, this thesis argues that the international and national refugee laws and practices are an essential starting point but remain weak and, in some cases, even exclusionary when it comes to protecting lesbian, gay, bisexual, transgender and queer (LGBTQI) individuals. Specifically, this thesis documents the experiences of Georgian LGBTQ migrants to reveal the social, political, cultural, and economic factors in Georgia and recipient countries essential to shaping their experiences with belonging and protection. It critically explores how one’s LGBTQ identify shapes their sense of belonging in Georgia, how their identity played a direct role in deciding to migrate, and how queer migrants’ identities shape processes in migration and resettlement. Engaging the academic scholarship on citizenship and migration, this thesis contributes new insights for understanding how international and national institutions and laws overlap to create a restrictive regime that forces Georgian migrants to navigate asylum by detaching their claims from their persecution as LGBTQI individuals. Through centering the experiences LGBTQI, this thesis reveals injustices and harms as well as possible top-down legal remedies to improve identity-based protections in national anti-discrimination law and international asylum law.
ContributorsBerianidze, Levan (Author) / Colbern, Allan (Thesis advisor) / Firoz, Malay (Committee member) / Goksel, Nisa (Committee member) / Arizona State University (Publisher)
Created2020
Description
This dissertation project examines the cultural labor of the drag queen in the United States (US). I explore how the drag queen can be understood as a heuristic to understand the stakes and limits of belonging and exceptionalism. Inclusion in our social and national belonging in the US allows for legibility and safety, however, when exceptional or token figures become the path towards achieving belonging, it can leave out those who are unable to conform, which are often the most vulnerable folks. I argue that attending to the drag queen’s trajectory, we can trace the ways that multiply-marginalized bodies navigate attempts to include, subsume, and erase their existence by the nation-state while simultaneously celebrating and consuming them in the realm of media and consumer culture. In the first chapter I introduce the project, the context and the stakes involved. Chapter two examines representations of drag queens in films to unpack how these representations have layered over time for American audiences, and positions these films as necessary building blocks for queer semiosis for viewers to return to and engage with. Chapter three analyzes RuPaul and RuPaul’s Drag Race to outline RuPaul labor as an exceptional subject, focusing on his investment in homonormative politics and labor supporting homonationalist projects. Chapter four centers questions of trans* identity and race, specifically Blackness to analyze how Drag Race renders certain bodies and performances legitimate and legible, constructing proper drag citizens. Chapter five utilizes ethnographic methods to center local drag communities, focusing on The Rock and drag performers in Phoenix, Arizona to analyze how performers navigate shifting media discourses of drag and construct a queer performance space all their own.
ContributorsCollier, Cassandra M (Author) / Anderson, Lisa M. (Thesis advisor) / Bailey, Marlon M (Committee member) / Himberg, Julia (Committee member) / Arizona State University (Publisher)
Created2020
Description
Despite his critical role in the development of American Surrealism, Abstract Expressionism, and Postwar Assemblage, gay Filipino-American artist Alfonso Ossorio remains at the margins of the historiography of these movements. Born in Manila, Philippines, the artist immigrated to the United States in 1930 where he lived and worked until his death in 1990 at his home city of East Hampton, New York. He is among the few Philippine-descended artists living in 20th-century America producing museum-collected works. Since America’s colonial occupation of the Philippines in the 19th-century, immigration has been increasing as a result of migrant labor, military recruitment, and economic exchange. However, the Philippine diaspora’s artistic contributions and visual identity before 1980 are largely under-researched in the United States. Queer artists of color, especially Filipinx-Americans, rarely feature in the dominant narratives of American modernity. Ossorio deeply inflected the trajectory of the American avant-garde yet his marginal place in the history demonstrates how art communities excluded queer and Philippine-American identities in the 20th-century during the development of two major American modernist movements. The scholarship has increased since Ossorio’s death in 1990 as a result of museum and gallery exhibitions. Previous writers focus on biographical description or contextualize Ossorio’s work within a broad movement category without considering Ossorio’s Filipino-American and gay identities in advanced detail from queer and critical race frameworks. These studies lack specific theoretical analysis around race, sexuality, and colonialism on Ossorio’s identity and his artistic communities. Through the analysis of his paintings and archival documents, this thesis argues that Ossorio’s negotiation of these intersecting minority categories is central to understanding his artistic production and his relationship to the American avant-garde. This research applies the current literature on queer theory, critical race theory, and postcolonial theory on Filipinx-American identity to Ossorio’s life and artwork. I center the work of Philippine psychologist Virgilio G. Enriquez with additions from Filipinx-American scholars Martin F. Manalansan IV, Vicente Rafael, Denise Cruz and American scholars art historian Richard Meyer and queer theorist Judith Butler when examining the artworks Untitled 1944 (1944) and Astonished Mother (1950) in the context of Surrealism and Abstract Expressionism respectively.
ContributorsMiranda, Matthew Villar (Author) / Afanador-Pujol, Angélica J. (Thesis advisor) / Mesch, Claudia (Committee member) / Bailey, Marlon M. (Committee member) / Guevarra Jr., Rudy P. (Committee member) / Arizona State University (Publisher)
Created2021
Description
This dissertation is a collection of three essays that take seriously the knowledge generated through and by communities in struggle in Pakistan. This project reveals how communities in struggle are systematically excluded and power is monopolized in the hands of a few, engages the means through which communities find ways to survive and thrive under harsh conditions. The first essay, “Beyond Bondage: Hari Women’s Communities of Struggle” centers the testimonies of peasant Hari women, or bonded sharecroppers, in Sindh, Pakistan, describing the carceral conditions of labor to which they are subjected. The essay historicizes the ability of wealthy, politically empowered landlords to retain their monopoly over land resources and attempts to make explicit the tacit state support that allows this system of bonded labor to continue unregulated. These testimonies also document the Hari women’s tools for escape and their movement to free others. The second essay, “Khawaja Sira Life Struggles: Is Womanness Really a Loss?” traces the stories of Khawaja Sira Gurus from Lahore, Pakistan, who are engaged in organizing their community to advocate for rights and human dignity, and how they make inroads into the imposed gender regime. It argues that Khawaja Siras create a third space inside a heavily enforced gender binary. It also shows how the Khawaja Sira community provides its members home to exist in their womanness that eases their alienation from their family and society. The final essay, “The Movement for Transgender Rights in Pakistan” traces the history of criminalization of the Hijra/Khawaja Sira community and argues that colonial legal formations set in motion marginalization of trans* lives, which the post-colonial Pakistani state folded easily into its binary understanding of gender. Trans* activists have been engaging the state on its own terrain to make trans* life legible to the state, with the Transgender Persons (Protection of Rights) Act of 2018 being the most recent gain.
ContributorsSuhail, Sarah (Author) / Quan, H.L.T. (Thesis advisor) / Leong, Karen J (Committee member) / Toor, Saadia (Committee member) / Arizona State University (Publisher)
Created2021