4.1 Filmische Zeitlichkeiten in den Queer Studies

2021 ◽  
pp. 75-77
Keyword(s):  
Queer Studies

Cript Sexuality in Happy Days

2015 ◽  
Vol 24 (2) ◽  
pp. 210-222
Author(s):  
Elaine Wood
Keyword(s):  
Female Sexuality ◽  
Queer Studies ◽  
Social Perceptions ◽  
Crip Theory

This article examines the figure of Winnie in Samuel Beckett's Happy Days, demonstrating how Beckett's staging of her queer/disabled existence might be read as subversively disruptive to social perceptions of able-bodiedness and ‘crippling’ stereotypes about disability and desirability. At the intersection of ‘crip theory’ – related to disability and queer studies, and scholarship on ‘cryptonymy’ – an encrypted language initiated by psychic processes, ‘Cript Sexuality in Happy Days’ argues that Winnie uses pain and immobility as her inspiration for song as Beckett's drama ultimately challenges pre-‘scripted’ roles for female sexuality by bringing occluded aspects of the sexualized disabled body into visibility.

nr="101"Kritik an Queer – Queere Kritik. Über die Abwehr der Gender/Queer Studies und die Reduktion ihrer Komplexität

2020 ◽  
Vol 2018 (1) ◽  
pp. 101-117
Author(s):  
Florian Cristobal Klenk
Keyword(s):  
Queer Studies

Zusammenfassung: Der Beitrag rekonstruiert anhand von Originalpassagen aus dem feministischen Magazin EMMA (2017) und dem Sammelband Beißreflexe (L’Amour laLove 2017) Diffamierungen der Gender und Queer Studies. Entlang diskursiver Verkettungen wird aufgezeigt, wie die Homogenisierung queerer Perspektiven nach einem Täter-Opfer-Prinzip, die Pathologisierung queerer Akteur*innen sowie die Individualisierung von Selbstkritik zur Verzerrung queer-feministischer Erkenntnisse führen. In gesellschaftsanalytischer Perspektive wird begründet, warum aktuelle Anfeindungen der Differenz als Antwort auf diskursive Werteverschiebungen und materielle Prekarisierungsprozesse verstanden werden können.

Queer Performativity

2019 ◽  
Author(s):  
Tommaso M. Milani
Keyword(s):  
Built Environment ◽  
Queer Studies ◽  
Main Argument ◽  
Verbal Form ◽  
Self Reflection ◽  
Performative Utterance

The aim of this chapter is to present and re-read Judith Butler’s well-known performativity theory. The main argument advanced here is that, even though Butler’s work is widely viewed as instigating the field of queer studies, it is perhaps time to revisit performativity in order to queer it. The act of queering should be understood in the context of this chapter in two ways. First, it entails going against the sociolinguistic grain and troubling the linguistic core of performativity in a way that engages with “aspects of experience and reality that do not present themselves in propositional or even in verbal form” (Sedgwick 2003: 6), such as affect, embodiment, and the materiality of the built environment. The embodied and affective aspects of performativity are illustrated with the help of examples from gender and sexual activism in Israel, which show how multi-semiotic and sensory meanings are performatively brought into being in order to stake political claims. Second, queering performativity entails questioning the antinormative mantra encoded in the very notion of queer. This requires going back to a performative utterance par excellence—“I do” in wedding ceremonies—in order open up an uneasy self-reflection about (anti)normativity in queer scholarship.

Beneath Improvisation

2019 ◽  
pp. 759-780
Author(s):  
Vijay Iyer
Keyword(s):  
Social Relations ◽  
Black Studies ◽  
Queer Studies ◽  
Traditional Music ◽  
Institutional Racism ◽  
Political Movements ◽  
The West ◽  
Subaltern Studies ◽  
Western Art ◽  
Critical Model

Improvisation has been construed as Western art music’s Other. This chapter urges music theorists to take the consequences of this configuration seriously. The decision to exclude improvisation as inherently unstable is not neutral, but is bound up with the endemic racism that has characterized social relations in the West and that is being brought to the fore in Black Lives Matter and other recent social and political movements. Traditional music theory is not immune from such institutional racism—its insistence on normative musical behaviors is founded on the (white) phallogocentrism of Western thought. Does the resurgent academic interest in improvisation offer a way out? No, at least not as it is currently studied. Even an apparently impartial approach such as cognitive science is not neutral; perception is colored by race. To get anywhere, this chapter argues, improvisation studies must take difference seriously. Important impetus for a more inclusive critical model comes from such fields as Black studies, Women’s studies, subaltern studies, queer studies, and disability studies.

scholarly journals Snaking into the Gothic: Serpentine Sensuousness in Lewis and Coleridge

Humanities ◽  
2021 ◽  
Vol 10 (1) ◽  
pp. 52
Author(s):  
Jeremy Chow
Keyword(s):  
Eighteenth Century ◽  
Short Story ◽  
Animal Studies ◽  
Queer Studies ◽  
Prose Poetry ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Natural Histories ◽  
The Erotic ◽  
Gothic Studies

This essay charts the ways late-eighteenth-century Gothic authors repurpose natural histories of snakes to explore how reptile-human encounters are harbingers of queer formations of gender, sexuality, and empire. By looking to M.G. Lewis’s novel The Monk (1796) and his understudied short story “The Anaconda” (1808), as well as S.T. Coleridge’s Christabel (1797–1800), I centre the last five years of the eighteenth century to apprehend the interwoven nature of Gothic prose, poetry, and popular natural histories as they pertain to reptile knowledge and representations. Whereas Lewis’s short story positions the orientalised anaconda to upheave notions of empire, gender, and romance, his novel invokes the snake to signal the effusion of graphic eroticisms. Coleridge, in turn, invokes the snake-human interspecies connection to imagine female, homoerotic possibilities and foreclosures. Plaiting eighteenth-century animal studies, queer studies, and Gothic studies, this essay offers a queer eco-Gothic reading of the violating, erotic powers of snakes in their placement alongside human interlocutors. I thus recalibrate eighteenth-century animal studies to focus not on warm-blooded mammals, but on cold-blooded reptiles and the erotic effusions they afford within the Gothic imaginary that repeatedly conjures them, as I show, with queer interspecies effects.

Like Daughter, Like Grandson: Queering Post-Traumatic Memory

2021 ◽  
pp. 175069802098201
Author(s):  
Golan Moskowitz
Keyword(s):  
Queer Theory ◽  
Queer Studies ◽  
Memory Studies ◽  
Trauma Theory ◽  
Traumatic Memory ◽  
Mother Child Relationships ◽  
Post Traumatic

Queer and trauma theory both concern internal experiences that challenge normative social frameworks. Considering the roles of queerness within trauma and memory studies opens interpretive pathways for otherwise discredited or inaccessible meanings. It also relates survivors’ receding knowledge to those currently “queered” or endangered. With a focus on childhood and mother-child relationships, this article maps intersections of memory studies, queer theory, and trauma theory, applying subsequent insights to an “autotheoretical” analysis of the author’s own transnational, post-Holocaust family across four generations. It explores the possibility through queer studies of excavating new post-traumatic meanings and relating those meanings to present contexts.

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