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- All Subjects: Queer Theory
- Creators: Foster, David W
- Creators: Lennon, Tara
Description
This dissertation analyzes three films from Mexico, Spain, and Argentina--Kilómetro 31, El orfanato, and Aparecidos (2007)--and their interplay with the historicism that has traditionally served as the default referent for "reality" in Western narrative. While grounding my approach in temporal critique, I borrow from deconstruction, psychoanalysis, and queer theory to explore ways in which ghosts and the rhetorical figure of the family are manipulated in each national imaginary as a strategy for negotiating volatility within symbolic order: a tactic that can either naturalize or challenge normative discourses. As a literary and cinematic trope, ghosts are particularly useful vehicles for the exploration of national imaginaries and the dominant or competing cultural attitudes towards a country's history, and thus, the articulation of a present political reality. The rhetorical figure of the family is also pivotal in this process as a mechanism for expressing national allegories, for articulating generational anxieties about a nation's relationship with its history, and for organizing societies and social subjects as such, interpellating them into or excluding them from national imaginaries according to its grammar/logic. The proposed trajectory through these films will help facilitate a study of the potential of these rhetorical figures to either reinscribe or question two of the most fundamental processes that go into the cartography of ideology: the imposition of (a) time and the negotiation of social subjectivity within it. Competing political narratives may use any number of rhetorical strategies to position themselves in time to promote their agendas while continuing to reinforce the overall framework that determines the parameters of what is visible, and thus debatable. As temporal anomalies who are defined by their (in)visibility, ghosts can be used to either reinforce this framework or they can be used to articulate alternative relationships to time, and consequently, other political possibilities. Ghosts, families, and children are especially volatile rhetorical figures because of their potential to expose the mechanisms of societal organization--the construction of social subjects through their relationship to the time and the families of which they are presumably products--as negotiable processes rather than self-evident truths.
ContributorsSt-Georges, Charles (Author) / Foster, David W (Thesis advisor) / Urioste, Carmen (Committee member) / Tompkins, Cynthia (Committee member) / Arizona State University (Publisher)
Created2013
Description
You Belong to Me is a creative project that unites photography, creative writing, phenomenology, queer theory, and cultural analysis to form a cohesive picture of the nature of transgender identity, the values of fictive kinship and community building, and the (hyper)visibility and erasure as visual metaphors. My project begins with Marta Cunningham's 2013 documentary "Valentine Road", which takes on the February 2008 murder of Lawrence "Larry" King, who was killed by another student. This is a source from which I gather my foundational thoughts about the institutionalized violence faced by gender non-conforming, queer, and transgender students, paying particular focus to Larry's life as one representative of those most in need of institutional and communal support. I then translate my analysis through my own photographic endeavors, which include returning to Oxnard, Californa, where the shooting took place, as a means of physically documenting my conception of queer recursivity. This theoretical framework informs my visual work and acts as a lens through which I locate other queer and transgender creatives with whom I was able to connect only through experiencing the trauma of Larry's murder. I utilize Maggie Nelson's invocation of "the many gendered mothers of my heart" in order to craft a family that inhabits a self-created and self-defined space where marginalized identities are able to exist. I conclude that this project is the first step in a larger dialogue about the aforementioned themes, necessitating material and sustainable changes in the lives of vulnerable youth who witness violence from multiple angles via legal, medical, and social institutions.
ContributorsMarks, Brandon David (Author) / Anderson, Lisa M. (Thesis director) / Lennon, Tara (Committee member) / School of Social Transformation (Contributor) / School of Politics and Global Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2016-05
Description
The nature of the link between a literary text and its film adaptation has been a point of contention within academic thought since the inception of cinema due to the fact that film adaptation forms part of film history since the early 20th century. For most of the past century, the main concern of critics has been the level of fidelity that adaptations exhibit in terms of their relationship with the text, which was viewed as "the original" that directors needed to use as a model. In the last 25 years, however, the discourse of fidelity has been challenged by a number of intellectuals as a result of poststructuralist thought, which rejects the notion of an "original" text and proclaims the existence of infinite meanings within each text that are constructed by the reader, not the writer. The present investigation will take into account this type of epistemology as its starting point in order to review and defy a number of theoretical approximations from the last several decades that deal with the relationship between literature and cinema towards its main goal of overcoming the limitations of fidelity discourse. This will be carried out through an in-depth analysis of Latin American texts that have been adapted to film. Thematically both the literary texts and the films contain elements that portray the reality of marginalized groups that build their existence in opposition to the model of patriarchal heteronormativity. In current epistemological thought such a modus vivendi falls within the realm of queer theory. Another common thread that unites all the cultural productions is the presence of violence that showcases the high level of intolerance towards any subject who somehow seems to be different, hence threatening the dominant configuration of patriarchy. Furthermore, the different texts and films expose a general fragmentation within Latin American society, a result of the constant struggles among its diverse social groups, between the ones who occupy the position of socioeconomic power and those who are left outside of it; such a fragmentation also stems from the multiple clashes that occur within the marginalized groups themselves.
ContributorsKokalov, Assen (Author) / Foster, David W (Thesis advisor) / Mcelroy, Isis (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2011
Description
If democracy is the best way to rule why then is it limited only to the political sphere? This question is central to economic democracy which is the theory that economic activities should be governed by democratic principles. In America, ESOPs are used for a variety of reasons, and I believe that they can be used for the development of democratic firms. My thesis looks at current ESOPs to see if they are democratic, and suggests how they can be used to develop democratic firms.
ContributorsHeth, Zachary Fredrick (Author) / Simhony, Avital (Thesis director) / Lennon, Tara (Committee member) / Barrett, The Honors College (Contributor) / Department of Chemistry and Biochemistry (Contributor) / School of Politics and Global Studies (Contributor) / School of Life Sciences (Contributor)
Created2014-05
Description
La autobiografía, como medio de expresión y reivindicación del yo, ofrece a las autoras/artistas femeninas la oportunidad de definirse a sí mismas. El género autobiográfico tiene orígenes muy antiguos y resulta fundamental en el proceso de construcción de la identidad por parte de mujeres pertenecientes a grupos étnicos minoritarios. El discurso autobiográfico permite a la mujer ser al mismo tiempo escultura y escultor, creador y creación. El objetivo de este trabajo es ofrecer una nueva aproximación al universo femenino de la autorepresentación visual. La autonarración debería estar en el centro de la atención feminista, siendo uno de los métodos más efectivos que las mujeres pueden aplicar para hablar sobre sus experiencias y condiciones. Esta investigación intenta reunir voces multiétnicas y promueve un recurso interdisciplinario que interesa no solo a la literatura y la cultural, sino también a otros campos de las humanidades, como la historia, la sociología y los estudios de género y de la discapacidad. Una de las principales intenciones es desmantelar las formas tradicionales de identidad y destruir las fronteras sociales, adoptando la diferencia y la alteridad como un componente único de cada individuo.
Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales.
Mi proyecto de disertación analiza textos autobiográficos femeninos en sus diferentes formas visuales poniendo especial énfasis en los países de Argentina, México y Estados Unidos. A través de narrativas personales, fotografías, películas, pinturas, murales y producciones digitales, estas obras femeninas examinan temas como la homofobia, la identidad política, la soberanía nativa, la maternidad, la identidad lesbiana y diferentes identidades culturales minoritarias. Algunas de las autoras seleccionadas viven al margen de la supremacía blanca por el hecho de pertenecer a grupos étnicos y sociales minoritarios. Otras voces viven al margen del sistema heteronormativo dominante para reconocerse a sí mismas como lesbianas o bisexuales. Más allá de estos contextos, todas las autoras se encuentran discriminadas por ser mujeres en un contexto patriarcal. Los marcos teóricos que se emplean incluyen en sí definiciones autobiográficas interdisciplinarias teorizadas exclusivamente por mujeres. Podrían mencionarse, por ejemplo, los conceptos de HERstory (Ashby y Gore 1995), Autohistoria (Anzaldúa 1999) Pathography (Hawkins 1999), Feminography (Abrams 2017) y Autobiografilm (Paola Lagos Labbé 2011). Las diferentes historias visuales exploran los diferentes matices de la identidad racial y/o lesbiana de las mujeres que a menudo se perciben como forasteras dentro de su propio país. Todas las artistas objetos de mi análisis se enfrentan a diferentes formas de represiones y están motivadas por un deseo de reconocimiento social. Estos grupos marginados invitan a los lectores a desarrollar nuevas formas de diálogos, prácticas y alianzas transculturales.
ContributorsScerbo, Rosita (Author) / Foster, David W (Thesis advisor) / Rosales, Jesus (Committee member) / García-Fernández, Carlos Javier (Committee member) / Arizona State University (Publisher)
Created2020