scholarly journals “Reinas unidas jamás serán vencidas”: Drag queens in the Iberian Spanish voice-over of RuPaul’s Drag Race

2021 ◽  
pp. 349-371
Author(s):  
Davide Passa
Keyword(s):  
Reality Television ◽  
Pop Culture ◽  
Grammatical Gender ◽  
Spanish Version ◽  
Drag Queen ◽  
Television Programme ◽  
Made In ◽  
Drag Queens

RuPaul’s Drag Race (2009 – present) is an American reality television programme launched by RuPaul Charles, which has turned drag queens into a mainstream phenomenon. After briefly analysing the controversial figure of the drag queen in the light of Judith Butler’s performative turn, as well as drag lingo following Keith Harvey’s framework for identifying camp talk, this research aims at investigating the European Spanish voice-over of Seasons 8 (2016), 9 (2017) and 10 (2018). This work seeks primarily to analyse the choices that are made in the target text to characterise drag queens in the localised European Spanish version available on Netflix. The translation procedures mentioned in this study are partly adapted from Ranzato’s (2015) classification for culture-specific references. The analysis focuses mainly on the creative rendering of (semi-)homophony, drag terms, references to pop culture and grammatical gender.

Cyborg Jotería Pedagogies: Latinx Drag Queens Leveraging Communication Ecologies in the Age of the Digital and Social Displacement

2020 ◽  
Vol 14 (2) ◽  
pp. 44-66
Author(s):  
José Ramón Lizárraga ◽  
Arturo Cortez
Keyword(s):  
San Francisco ◽  
San Francisco Bay ◽  
San Francisco Bay Area ◽  
Digital Technologies ◽  
Physical World ◽  
Political Issues ◽  
Drag Queen ◽  
Bay Area ◽  
Online Presence ◽  
Drag Queens

Researchers and practitioners have much to learn from drag queens, specifically Latinx queens, as they leverage everyday queerness and brownness in ways that contribute to pedagogy locally and globally, individually and collectively. Drawing on previous work examining the digital queer gestures of drag queen educators (Lizárraga & Cortez, 2019), this essay explores how non-dominant people that exist and fluctuate in the in-between of boundaries of gender, race, sexuality, the physical, and the virtual provide pedagogical overtures for imagining and organizing for new possible futures that are equitable and just. Further animated by Donna Haraway’s (2006) influential feminist post-humanist work, we interrogate how Latinx drag queens as cyborgs use digital technologies to enhance their craft and engage in powerful pedagogical moves. This essay draws from robust analyses of the digital presence of and interviews with two Latinx drag queens in the San Francisco Bay Area, as well as the online presence of a Xicanx doggie drag queen named RuPawl. Our participants actively drew on their liminality to provoke and mobilize communities around socio-political issues. In this regard, we see them engaging in transformative public cyborg jotería pedagogies that are made visible and historicized in the digital and physical world.

Is it unnatural to genetically engineer plants?

Weed Science ◽  
1998 ◽  
Vol 46 (6) ◽  
pp. 647-651 ◽  
Author(s):  
Gary Comstock
Keyword(s):  
Puerto Rico ◽  
Annual Meeting ◽  
Spanish Version ◽  
University Of Puerto Rico ◽  
Weed Science ◽  
Science Society ◽  
Genetically Engineer ◽  
Author Note ◽  
Made In

Author' note: This article is based on remarks made in February 1998 at the annual meeting of the Weed Science Society of America in Chicago. Those remarks were in turn based on an article, to be published in Spanish, titled “Es Antinatural la Manipulación Genética de los Animales?” The Spanish version will appear in the Proceedings of the Segundo Congreso Caribeno de Bioetica, University of Puerto Rico, Mayaguez, March 1998. It addresses the question of the engineering of animals; the focus here is the engineering of plants. Whether one considers flora or fauna, the unnaturalness objection raises the same cluster of concerns. Consequently, an assessment of those concerns need not vary significantly in turning from animals to plants.

scholarly journals DRAG QUEENS VÃO À ESCOLA: ESTRANHAMENTOS CURRÍCULARES E O “PAVONEAR” DAS DIFERENÇAS EM UM ESPAÇO INSTITUCIONAL

2019 ◽  
Vol 2 ◽  
pp. 163
Author(s):  
Rodrigo Pedro Casteleira ◽  
Adalberto Ferdnando Inocêncio ◽  
Alexandre Luiz Polizel
Keyword(s):  
Drag Queen ◽  
Drag King ◽  
Drag Kings ◽  
Drag Queens

Com base nas observações realizadas em um estudo de caso, busca-se descrever e analisar certos elementos observados em uma atividade que integrou uma gincana escolar da rede estadual de ensino do município de Maringá-PR. Tal acontecimento consistiu num desfile em que os alunos e alunas apresentaram-se como drag queens e drag kings, respectivamente, e foram avaliados em sua performance por três drag queens convidadas especificamente para esta função. Reconheceram-se nesta singularidade elementos potentes para se pensar as questões de performance de gênero e suas relações com o currículo normativo que se constituiu na escola moderna, expressando-se como uma significativa contribuição nas produções políticas da diferença. Lendo as personagens drag queen e drag king como paródias que denunciam, ou mesmo, visibilizam a precariedade de gênero, fez-se potente a expressão “estranhamento” do currículo. 

scholarly journals Poor black women and messy drag queens: A discursive map of the scandalous event of “Haute Mess”

2021 ◽  
Author(s):  
◽  
Anna Estelle Macdonald
Keyword(s):  
Black Women ◽  
Black Woman ◽  
Fast Food ◽  
Online Discussion ◽  
Cultural Appropriation ◽  
Drag Queen ◽  
Production Of Knowledge ◽  
The Poor ◽  
The Status ◽  
Drag Queens

<p>In 2012, Vogue Italia became embroiled in an online scandal about “Haute Mess,” the centrepiece fashion spread from its March issue. Shot in a fast-food diner, the models in the spread wore garish clothing, stacks of jewellery, long heavily pattered acrylic nails, outré makeup, and extreme weaves (hairpieces that are similar to wigs). In response to “Haute Mess,” several prominent online magazines accused Vogue Italia of cultural appropriation. These claims hinged on the shoot’s hairstyling, as some of the extreme weaves featured on the models in “Haute Mess” resembled weaves worn by anonymous black women in photographs that circulate online, on websites such as NoWayGirl.com. This thesis examines the scandalous event of “Haute Mess,” exploring the relationships between the shoot itself, the online discussion about it, Vogue Italia’s framing of it, and the photographs of weaves worn by anonymous black women that resemble those hairstyles in “Haute Mess.” Following Michel Foucault’s work on the archive, and Lauren Berlant’s “histories of the present,” this thesis questions the status of the event as given, and sets out to unpick its seams. This process involves mapping the emergence of two distinct categories of knowledge about marginalised bodies from this event: the ‘Poor Black Woman’ and the ‘Messy Drag Queen.’ By tracing the formation of these figures, this thesis argues that this event functions as a concentrated instance of the production of knowledge about marginalised bodies. In relation to this production of knowledge, the scandalous event of “Haute Mess” frames the Poor Black Woman and Messy Drag Queen in binary terms, as authentic and inauthentic, respectively. In order to circumvent this binary, this thesis seeks a way to engage with this event beyond appeals to authenticity.</p>

scholarly journals Poor black women and messy drag queens: A discursive map of the scandalous event of “Haute Mess”

2021 ◽  
Author(s):  
◽  
Anna Estelle Macdonald
Keyword(s):  
Black Women ◽  
Black Woman ◽  
Fast Food ◽  
Online Discussion ◽  
Cultural Appropriation ◽  
Drag Queen ◽  
Production Of Knowledge ◽  
The Poor ◽  
The Status ◽  
Drag Queens

<p>In 2012, Vogue Italia became embroiled in an online scandal about “Haute Mess,” the centrepiece fashion spread from its March issue. Shot in a fast-food diner, the models in the spread wore garish clothing, stacks of jewellery, long heavily pattered acrylic nails, outré makeup, and extreme weaves (hairpieces that are similar to wigs). In response to “Haute Mess,” several prominent online magazines accused Vogue Italia of cultural appropriation. These claims hinged on the shoot’s hairstyling, as some of the extreme weaves featured on the models in “Haute Mess” resembled weaves worn by anonymous black women in photographs that circulate online, on websites such as NoWayGirl.com. This thesis examines the scandalous event of “Haute Mess,” exploring the relationships between the shoot itself, the online discussion about it, Vogue Italia’s framing of it, and the photographs of weaves worn by anonymous black women that resemble those hairstyles in “Haute Mess.” Following Michel Foucault’s work on the archive, and Lauren Berlant’s “histories of the present,” this thesis questions the status of the event as given, and sets out to unpick its seams. This process involves mapping the emergence of two distinct categories of knowledge about marginalised bodies from this event: the ‘Poor Black Woman’ and the ‘Messy Drag Queen.’ By tracing the formation of these figures, this thesis argues that this event functions as a concentrated instance of the production of knowledge about marginalised bodies. In relation to this production of knowledge, the scandalous event of “Haute Mess” frames the Poor Black Woman and Messy Drag Queen in binary terms, as authentic and inauthentic, respectively. In order to circumvent this binary, this thesis seeks a way to engage with this event beyond appeals to authenticity.</p>

scholarly journals MÉTODO AUTO(ARTE)ETNOGRÁFICO: PROPOSITURAS A DRAG QUEENS

2020 ◽  
Vol 8 (15) ◽  
pp. 205-237
Author(s):  
Christopher Smith Bignardi Neves ◽  
Paulo Gabriel Ferreira Gomes ◽  
Luiz Ernesto Brambatti
Keyword(s):  
Drag Queen ◽  
Drag Queens

Este ensaio teórico faz uma abordagem da drag queen para além da personagem cômica e satírica, para pensar a possibilidade de atribuir a ela/ele, por meio da autoetnografia, o papel social de agente de produção de conhecimento. O estudo de características exploratório-descritiva, realizado principalmente por meio de pesquisas bibliográficas, traz uma explanação sobre a construção da homossexualidade, da teoria queer e da autoetnografia. Especificamente, correlaciona a autoetnografia como uma forma queer (estranha) de elaborar conhecimentos científicos. Diante do arcabouço teórico apresentado neste ensaio, concebe a drag queen como símbolo de uma cultura não-heterossexual, capaz de enriquecer por meio da autoetnografia pesquisadores de diversas áreas de saber, que através do método podem encontrar material rico para suas análises.

scholarly journals Drag Expression Among Older Gay Men: Exploratory Findings of a Pilot Study

2021 ◽  
Vol 5 (Supplement_1) ◽  
pp. 1009-1009
Author(s):  
Brian Chapman ◽  
Laura Donorfio ◽  
Debra Tomasino
Keyword(s):  
Identity Development ◽  
Sexual Minority ◽  
Family Relationships ◽  
Minority Youth ◽  
Sexual Minority Youth ◽  
Coping Mechanism ◽  
Gender Expectations ◽  
Drag Queen ◽  
And Gender ◽  
Drag Queens

Abstract This poster presentation highlights pilot findings of how older gay male drag queens define drag expression and its associated positive and negative attributes. While drag has become more mainstream, little is known about this sexual and gender minority (SGM) and what it means to be an older drag queen and how it interfaces with societal gender expectations. (Knutson, Koch, Sneed, Lee, & Chung, 2020; O’Brien, 2018). Research to date reports that while sexual minority youth experience bullying, anxiety, lower self-esteem, and suicidal ideation at higher rates than their heterosexual and gender conforming peers, research has not examined the role drag expression plays as a healthy coping mechanism and, in particular, what role it may play for older drag queens. (Levasseur, Kelvin, Rosskopf, 2013; Mueller, James, Abrutyn, & Levin, 2015). Several studies have found that familial support and connectedness offers valuable protective factors for sexual minority youth in their sexual identity development, but again, little is known about the benefits this may provide older drag queens (Brandon-Friedman & Kim, 2016; Eisenberg & Resnick, 2006). Utilizing Grounded Theory, in-depth interviews were conducted with gay males over the age of fifty (n=5) who identified as drag queens to understand how drag expression is integrated into one’s persona, how it may serve as a healthy coping mechanism, and how it interfaces with dragism, generativity, and family relationships over their lifespan (Donorfio, 2020). In addition to sharing the qualitative findings, demographic and data measures of personality, coping, resilience, and mood are also be reported.

Considerações sobre a contribuição política e midiática do reality show RuPaul’s Drag Race para o movimento LGBT

Temática ◽  
2019 ◽  
Vol 15 (4) ◽  
Author(s):  
Thiago Henrique Ribeiro dos Santos
Keyword(s):  
Drag Queen ◽  
Reality Show ◽  
Manuel Castells ◽  
Drag Queens

O uso da televisão como ferramenta massiva de estratégia discursiva pelos movimentos sociais é uma realidade para grupos ativistas contemporâneos. Partindo desse pressuposto, ensinado por autores como Muniz Sodré e Manuel Castells, este artigo pretende compreender, por meio de um estudo de caso, como o reality show estadunidense RuPaul's Drag Race atua como um dispositivo que contribui com políticas de audiovisibilidade e com o ativismo pop-lítico das drag queens. Para tanto, procura-se demonstrar as relações entre o movimento LGBT e o programa de televisão, de modo a observar em que contexto histórico-midiático-político este produto audiovisual emerge, de que maneira o corpo drag queen se apresenta no show e de que forma o público interage e reage ao que é veiculado.Palavras-chave: Movimento LGBT.Reality show. Drag queen.

scholarly journals Fora do armário, dentro do closet: o camarim como espaço de transformação

Cadernos Pagu ◽  
2005 ◽  
pp. 227-247 ◽  
Author(s):  
Anna Paula Vencato
Keyword(s):  
Santa Catarina ◽  
Drag Queen ◽  
De Se ◽  
Cross Dressing ◽  
Drag Queens

Este artigo apresenta como se dá a construção da corporalidade de uma drag queen no processo de female impersonation pelo qual passam esses sujeitos quando "se montam", ou seja, quando efetuam um tipo de cross-dressing. Discuto como se deu o aprendizado de "se montar" e a construção da personagem a partir da descrição do processo de montaria e seu significado para o grupo pesquisado. Os dados aqui apresentados advêm de trabalho etnográfico realizado acerca da inserção, corporalidade e performance de drag queens em espaços de sociabilidade GLS da Ilha de Santa Catarina, entre 2000 e 2002.

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