“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.

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>

A comparative study of the fa'afafine of Samoa and the whakawahine of Aotearoa/New Zealand

<p>This study explores the meaning of the fa’afafine of Samoa and the whakawahine of Aotearoa/New Zealand. I compare and contrast the experiences of six fa’afafine and four whakawahine. I also examine the historical evidence for the existence of fa’afafine in Samoa and whakawahine in Aotearoa/New Zealand. The theoretical approaches underlying this research incorporate feminist, indigenous, and queer aspects but oral history is the primary theory and method used. As a fa’afafine who researched her own identity and whakawahine, the complexities of insider and outsider are explored. This thesis discusses how narrators understand and/or make meaning of western categories of identification such as gay, transgender, drag queen and/or transsexual. These categories are largely rejected; preference for the culturally specific terms fa’afafine (Samoan) and whakawahine (Maori) are demonstrated. Narrators take issue with western researchers’ focus on sexual aspects of fa’afafine and whakawahine. For them, gender role, specifically feminine dress, behaviour and activities more accurately characterise their identities. This thesis argues that fa’afafine and whakawahine are fluid identities. How one behaves as a woman varies, but narrators insist that fa’afafine and whakawahine are born not made that way, and ‘feel’ like women. The meaning of fa’afafine and whakawahine is not static; westernisation, colonization and the availability of gender reassignment treatment have all impacted on how each narrator defines her identity. By focusing on the experiences of fa’afafine, most of whom live outside of Samoa, and whakawahine this thesis adds to the body of knowledge about gender variation.</p>

A comparative study of the fa'afafine of Samoa and the whakawahine of Aotearoa/New Zealand

<p>This study explores the meaning of the fa’afafine of Samoa and the whakawahine of Aotearoa/New Zealand. I compare and contrast the experiences of six fa’afafine and four whakawahine. I also examine the historical evidence for the existence of fa’afafine in Samoa and whakawahine in Aotearoa/New Zealand. The theoretical approaches underlying this research incorporate feminist, indigenous, and queer aspects but oral history is the primary theory and method used. As a fa’afafine who researched her own identity and whakawahine, the complexities of insider and outsider are explored. This thesis discusses how narrators understand and/or make meaning of western categories of identification such as gay, transgender, drag queen and/or transsexual. These categories are largely rejected; preference for the culturally specific terms fa’afafine (Samoan) and whakawahine (Maori) are demonstrated. Narrators take issue with western researchers’ focus on sexual aspects of fa’afafine and whakawahine. For them, gender role, specifically feminine dress, behaviour and activities more accurately characterise their identities. This thesis argues that fa’afafine and whakawahine are fluid identities. How one behaves as a woman varies, but narrators insist that fa’afafine and whakawahine are born not made that way, and ‘feel’ like women. The meaning of fa’afafine and whakawahine is not static; westernisation, colonization and the availability of gender reassignment treatment have all impacted on how each narrator defines her identity. By focusing on the experiences of fa’afafine, most of whom live outside of Samoa, and whakawahine this thesis adds to the body of knowledge about gender variation.</p>

Emociones en torno a la violencia hacia las mujeres Drag Queen

Introducción: La violencia hacia mujeres es una manifestación de desigualdad y poder entre géneros, reforzado socioculturalmente por estereotipos sexuales; trascendiendo hacia nuevas expresiones de las sexualidades diversas, pasando de una violencia estructural a una violencia basada en el género y de violación de derechos humanos. Objetivo: Conocer las emociones relacionadas con la violencia que sufren las personas Drag Queen en su cotidianeidad. Metodología: Se hicieron entrevistas semiestructuradas a tres Drag Queen, elegidas a través del método bola de nieve. Se analizaron los discursos desde una perspectiva de género y de diversidad sexual. Resultados. La principal emoción reportada es el miedo a ser golpeadas y el enojo a no poder evitarlo. Mencionan que adoptan conductas estereotipadas al género femenino, quedando impotentes para contestar desde lo masculino. Buscan el apoyo social y si están solas analizan si pueden defenderse como hombres o huir como mujeres, evitando ser lastimadas o asesinadas (crimen de odio). Conclusiones. Las emociones sobre violencia experimentada por las Drag Queen no varían de las expresadas por mujeres Cis, ya que siguen siendo desigualdades de poder y de género. Se requiere de políticas públicas en pro del derecho al libre ejercicio de las sexualidades en las expresiones de género.

Heteronormatividade e ideologia dominante: a recusa da música "parabéns" da cantora Pablo Vittar

Com base na perspectiva teórica da Análise de Discurso Pêcheuxtiana, o artigo tem o objetivo de refletir sobre a determinação ideológica no imaginário sobre identidade de gênero em conversa ocorrida entre locutor de rádio e ouvintes. O corpus é composto de dois prints da plataforma com mensagens instantâneas de Whatsapp. Os prints foram retirados da rede social Twitter. Nas conversas, a Rádio Super FM 89.1 recusa-se a tocar a música “Parabéns”, da cantora Pabllo Vittar, com o argumento de que não irá tocá-la por não saber a identidade de gênero da Drag Queen. Sabemos que a ideologia se materializa na linguagem; sendo assim, os sentidos atribuídos não são característicos da língua e sim da forma como o sujeito se relaciona com a ideologia, ou seja, o processo de produção de sentido varia de acordo com a identificação do sujeito com determinada formação discursiva. Conforme Orlandi (2010, p. 44), “os sentidos não estão assim predeterminados por propriedades da língua. Dependem de relações constituídas nas/pelas formações discursivas”.

A PERFORMANCE DRAG QUEEN E SUAS REVERBERAÇÕES

A PERFORMANCE DRAG QUEEN E SUAS REVERBERAÇÕES