"You all are sisters! We are all family!" The construction of parenthood in 'RuPaul's Drag Race'

Drag queens epitomise gender fluidity, where the heteronormative binarism male/female is blurred and parodied. Their unconventional nature is reflected in the structure of their community, where they have created alternatives to the heteronormative family, which is historically based on heterosexual marriage and parenthood. Drag families are to be seen as places of personal and financial support, a refuge for young gay men who have been rejected by their “real” families and have financial problems. This study seeks to give prominence to the construction of parenthood in RuPaul’s Drag Race (2009-2021) by analysing the discourse – i. e. the system of statements – around drag family, parenthood and sisterhood in a corpus of 174 episodes. The research is carried out in the light of Corpus Linguistics, with the use of #Lancsbox, a software for the analysis of language data and corpora.

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

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.

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

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.

Rewitched: Retextuality and the Queering of Bewitched

At the same time the 1960s sitcom Bewitched aired in reruns next to drag queens on LOGOtv, a cable channel targeted to LGBTQ viewers, it also aired on the former National Christian Network channel (FamilyNet) immediately preceding a lineup of church programs featuring far-right, anti-gay hosts. Bewitched's ability to appeal to these very different channels’ brands and audiences underscores a textual vigor and sustainability for success in syndication that even the best so-called quality shows today lack. While some may deride a study of syndication (and reruns especially) as irrelevant and passé, syndicated programs are neither of those things if their continued popularity assures our familiarity with them. As a text, Bewitched is already supple enough to motivate two politically opposing media brands to pick it up, but the context of each of these channels’ flow, including commercials, station IDs, and edits to content, can make the experience of watching the same episode of any show on different channels a wholly different textual experience. This article returns to foundational theories of TV flow and intertextuality to propose retextuality as a theoretical and methodological intervention in studies of television. It argues that in syndication, the production labor of syndicators, executives, programmers, and marketing departments effectively retextualizes shows like Bewitched, offering scholars opportunities for new textual analyses and new insight into the marginalized and queer audiences syndicated programming often serves.

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

<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>

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

<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>

TEORIA QUEER, NÚMEROS BINÁRIOS E EDUCAÇÃO MATEMÁTICA: ESTRANHANDO A MATEMÁTICA EM PROL DE UMA HÉXIS POLÍTICA

Este artigo objetiva debater como a educação matemática pode ajudar a sustentar a luta da população LGBTQIA+[1] em termos de resistência e sobrevivência enquanto forma de se educar pela matemática para a compreensão/constituição da héxis política, frente ao respeito, à manifestação e à emersão das subjetividades de gênero. Assim, neste artigo teórico, explanamos o conceito de héxis política em conexão com a Teoria Queer, discutimos o sistema sexo-gênero sob um viés crítico e propomos uma reflexão didático-pedagógica sobre números binários (possível de ser efetivada em uma aula de matemática), a fim de suscitar a compreensão da ampliação das tipologias de gênero no mundo, em consonância com o respeito às diferenças. Concluímos que se propusermos, cada vez mais, atividades-matemáticas que sejam libertadoras e que considerem a própria matemática como campo de estudo que se dedica a educar para a cidadania e democracia, provavelmente teremos uma sociedade mais humanitária. [1] [...] L = Lésbicas - São mulheres que sentem atração afetiva/sexual pelo mesmo gênero, ou seja, outras mulheres. G = Gays - São homens que sentem atração afetiva/sexual pelo mesmo gênero, ou seja, outros homens. B = Bissexuais - Diz respeito aos homens e mulheres que sentem atração afetivo/sexual pelos gêneros masculino e feminino. T = Transexuais - A transexualidade não se relaciona com a orientação sexual, mas se refere à identidade de gênero. Dessa forma, corresponde às pessoas que não se identificam com o gênero atribuído em seu nascimento. As travestis também são incluídas neste grupo. Porém, apesar de se identificarem com a identidade feminina constituem um terceiro gênero. Q = Queer -Pessoas com o gênero 'Queer' são aquelas que transitam entre as noções de gênero, como é o caso das drag queens. A teoria queer defende que a orientação sexual e identidade de gênero não são resultado da funcionalidade biológica, mas de uma construção social. I = Intersexo - A pessoa intersexo está entre o feminino e o masculino. As suas combinações biológicas e desenvolvimento corporal - cromossomos, genitais, hormônios etc. - não se enquadram na norma binária (masculino ou feminino). Assexual- Assexuais não sentem atração sexual por outras pessoas, independente do gênero. Existem diferentes níveis de assexualidade e é comum que estas pessoas não veem as relações sexuais humanas como prioridade. +, O + é utilizado para incluir outros grupos e variações de sexualidade e gênero. Aqui são incluídos os pansexuais, por exemplo, que sentem atração por outras pessoas, independente do gênero. (SILVA, 2020).

МОВА КВІР-СПІЛЬНОТИ: ОСОБЛИВОСТІ ФУНКЦІОНУВАННЯ СЛЕНГУ ДРЕҐ-КВІНС (НА МАТЕРІАЛІ ТЕЛЕШОУ RUPAUL’S DRAG RACE)

Стаття присвячена аналізу особливостей мовної ідентифікації представників квір-спільноти, зокрема сленгових виразів із вокабуляру дреґ-квінс. Наукова розвідка належить до категорії досліджень «лавандової» лінгвістики – молодої гілки соціолінгвістики та загального мовознавства, що популяризується серед лінгвістів-антропологів. У статті окреслюються теоретичні засади перенесення ідей квір- теорії в лінгвістику, спираючись на роботи західних дослідників із метою критичного дослідження дискурсивного формування гетеронормативності. З’ясовано, що мову квір-спільноти розглядають у безпосередньому зв’язку з її носіями, рівнем їхньої культури, духовними цінностями, переконаннями, статтю, уподобаннями тощо. Сленг дреґ-квінс визначено як особливу, характерну для квір-середовища спеціалізацію загальнонаціональної мови, яка ґрунтується на загальній для всіх стилів системі фонетичних, граматичних і лексичних засобів. Визначено, що серед ключових мовних характеристик сленгу дреґ-квінс є запозичення також і з суміжних соціолектів, з якими взаємодіє мова квір-спільноти, зокрема з арґо та мовою поларі. З’ясовано, також, що, крім запозичень, для поповнення лексики дреґ-спільноти найбільш характерними шляхами є перенесення найменування за формою та якістю предмета, метафоризація, переосмислення якості предмета і перенесення його ознаки на людину. У статті розглядається сутність понять «квір», «сленг», «поларі», “drag queens”, пояснення яких супроводжується переліком популярних та найчастотніших сленгових виразів з їх певним прагматичним характером. Аналізовані одиниці базуються на матеріалі сучасного американського телешоу “Rupaul’s Drag Race”, що є ключовим «драйвером» популяризації квір-сленгу сьогодні. Окреслено перспективи подальшого вивчення соціолектів як середовища розвитку інклюзивності і каналів поширення нового в загальнонаціональній мові.

Tecno-kitsch.

¿Quiénes pueden ocupar la noche? ¿qué tipo de sensaciones y afectos dan forma a la vida nocturna sexo-disente? ¿cómo se encara la fuerza de la violencia cuando baja el sol en un país como México? La visibiliad que han adquirido las prácticas culturales, afectivas y sensoriales de los colectivos sexo-disidentes de la Ciudad de México ha traido consigo un gran interés por parte de la industria acdémica en categorizar, nomenclaturar y producir una genealogía de la disidencia sexo-genérica. No obstante, la matriz productora de este conocimiento se encuentra ligada a la racionalidad occidental y al elitismo cultural de la institucionalidad académica. El saber de la noche, que gira en torno a la corporalidad, la materialidad y la afectividad, de las colectividades sexo-disidentes, también autollamadas transmarilenchas, se concibe como parte de una praxis más amplia en torno al cariño, al placer y al cuidado. La expansión g-local del neoliberalismo sobre la urbe mexicana se traduce en procesos complejos de gentrificazión, privatización y comodificación de los espacios públicos que sostienen la vida nocturna. Asimismo, tales gestos neoliberales se conjugan al triumvirato necropolítico del estado-iglesia-narcocorporación del siglo XXI. En este sentido, ¿cómo se afrenta esta quimera desde la nocturnidad? A pesar de la violencia necroliberal de los últimos años, los colectivos sexo-disidentes han insistido en una descorporalización de la violencia a través del movimiento y la exaltación de los valores de la feminidad, dinamitando así las fronteras andropatriarcales que separan el cuerpo y el afecto de la noche popular. Desde los estudios del performance y del afecto, este artículo se acera a las prácticas culturales de House of Apocalipstick, un colectivo sexo-género-disidente que, compuesto por mujeres y hombres trans, lesbianas, maricas, travestis, drag queens y kings, se congrega bajo la sombra del vogue. Particularmente, se despunta “la ética de la estética” en la noveleta Such is Life in Banana Republic (2014) de su autora Franka Polari, así como en el performance de vogue del corto documental House of Apocalipstick (2015). Más allá de un cuestionamiento de las formas tradicionales de escritura, literalidad y captura, la fusión entre cuerpo, música y movimiento juega con el afecto transtemporal/transregional del voguing, cuyos orígenes se remontan a la contracultura trans/queer del Hárlem de los años 80. House of Apocalipstick expone así una cinestecia femino-afectiva en torno al voguing que, en el cuerpo de la noche, emerge como torcedura que sortea las consecuencias de la violencia cotidiana, reivindicando otras maneras de sentir el placer nocturno desde una praxis feminista, que aquí denomino tecno-kitsch.