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- Genre: Masters Thesis
- Language: English
- Language: Spanish
- Member of: Theses and Dissertations
- Status: Published
Description
In the wake of the post-2000s internet and technology boom, with the nearly simultaneous introduction of smartphones, tablet, IPads, and online video streaming, another moral panic around pornography has reared its head. While much has been written about pornography from the perspective of media analysis and, more recently, ethnographic work of the industry and with performers themselves, very little work has been done with consumers. What has been undertaken, by psychologists and antiporn academics in particular, suffers an unfortunate lack of diversity in terms of how consumers are defined. That is, psychologists and antiporn academics alike appear to think only white hetero men consume porn. This research realizes its significance through the idea that porn looks and feels differently, and expresses different meanings through the historical and intersecting relations to power of a consumer, even in the young heterosexual men that antiporn feminists are so keen on using as a strawman for all porn consumption. With the help of an intersectional affects framework, I am able to articulate the manner in which pornography puts bodies in motion before the mind undertakes a hermeneutical exercise fundamentally framed by the consumer’s knowledge and subjectivity, which muddles how antiporn’s speech act approaches presume a direct propositional transmission from a pornographic object to the consumer. Moreover, a digital object of any kind becomes pornography when it is used as such (Magnus Ullén, 2013); there is no necessary or logical consequence that outside of such a context the object remains inherently or intentionally an object of pornography (Mary Mikkola, 2017). With the help of my participants, I expose the manner in which subjective and intersubjective flows of affects expose entanglements of hope, possibility, and cruelty for porn consumers qua affective subjects. This is particularly the case for those non-majoritarian subjects whose promise of sexual citizenship and/or legibility, within neoliberalism’s single-issue progress narrative and linear temporality, rests on both the transposition of illegibility and non-citizenship elsewhere, as well as the subject’s willingness to fix, label, and thereby commodify their desires as affective labor.
ContributorsMoreno, Joseph (Author) / Bailey, Marlon M. (Thesis advisor) / Duarte, Marisa E. (Committee member) / Katsulis, Yasmina L. (Committee member) / Arizona State University (Publisher)
Created2018
Description
Mexico City has an ongoing air pollution issue that negatively affects its citizens and surroundings with current structural disconnections preventing the city from improving its overall air quality. Thematic methodological analysis reveals current obstacles and barriers, as well as variables contributing to this persistent problem. A historical background reveals current programs and policies implemented to improve Mexico’s City air quality. Mexico City’s current systems, infrastructure, and policies are inadequate and ineffective. There is a lack of appropriate regulation on other modes of transportation, and the current government system fails to identify how the class disparity in the city and lack of adequate education are contributing to this ongoing problem. Education and adequate public awareness can potentially aid the fight against air pollution in the Metropolitan City.
ContributorsGarcia, Lucero (Author) / Duarte, Marisa E. (Thesis advisor) / Arzubiaga, Angela (Committee member) / Richter, Jennifer (Committee member) / Arizona State University (Publisher)
Created2018
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
The requirements for a gender dysphoria diagnosis, and therefore access to medical interventions such as surgeries or hormones, reinforce a male/female binary and do not allow room for variability in how a transgender person identifies. Transgender individuals who wish to access medical interventions must reflect these regulatory requirements in order to receive a diagnosis of gender dysphoria. So what is the experience of transgender individuals who do not reflect this narrative? How do they develop identity, form community, and make decisions regarding their transition? Using feminist methodology and grounded theory methods, I conducted a research study with ten transgender-identified individuals from Phoenix, Arizona in order to address these questions. In interviews with these participants, I found that perceptions of others, normativity, and horizontal transphobia all affected how participants identity and decision-making. Further, I also found that these themes contributed to creating transgender authenticity, or the false sense that there is only one way to be truly transgender.
ContributorsHudson, Wallace J (Author) / Leong, Karen J. (Thesis advisor) / Bailey, Marlon M. (Committee member) / Vega, Sujey (Committee member) / Arizona State University (Publisher)
Created2017