DOCSLIB.ORG

Henrique Cintra Santos a Transnacionalização Da Cultura Dos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Henrique Cintra Santos a Transnacionalização Da Cultura Dos UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE ESTUDOS DA LINGUAGEM Henrique Cintra Santos A transnacionalização da cultura dos Ballrooms CAMPINAS, 2018 Henrique Cintra Santos A transnacionalização da cultura dos Ballrooms Dissertação de mestrado apresentada ao Instituto de Estudos da Linguagem da Universidade Estadual de Campinas para obtenção do título de Mestre em Linguística Aplicada na área de Linguagem e Sociedade Orientadora: Profa. Dra. Daniela Palma Este exemplar corresponde à versão final da Dissertação defendida pelo aluno Henrique Cintra Santos e orientado pela Profa. Dra. Daniela Palma CAMPINAS, 2018 Agência(s) de fomento e nº(s) de processo(s): CAPES Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Estudos da Linguagem Crisllene Queiroz Custódio - CRB 8/8624 Santos, Henrique Cintra, 1994- Sa59t SanA transnacionalização da cultura dos Ballrooms / Henrique Cintra Santos. – Campinas, SP : [s.n.], 2018. SanOrientador: Daniela Palma. SanDissertação (mestrado) – Universidade Estadual de Campinas, Instituto de Estudos da Linguagem. San1. Transnacionalismo - Aspectos culturais. 2. Performance. 3. Sociolinguística. 4. Linguagem e cultura. I. Palma, Daniela, 1972-. II. Universidade Estadual de Campinas. Instituto de Estudos da Linguagem. III. Título. Informações para Biblioteca Digital Título em outro idioma: The transnationalization of Ballroom culture Palavras-chave em inglês: Transnationalism - Cultural aspects Performance Sociolinguistics Language and culture Área de concentração: Linguagem e Sociedade Titulação: Mestre em Linguística Aplicada Banca examinadora: Daniela Palma [Orientador] Maria Viviane do Amaral Veras Joana Plaza Pinto Data de defesa: 08-03-2018 Programa de Pós-Graduação: Linguística Aplicada Powered by TCPDF (www.tcpdf.org) BANCA EXAMINADORA: Daniela Palma Maria Viviane do Amaral Veras Joana Plaza Pinto IEL/UNICAMP 2018 Ata da defesa, com as respectivas assinaturas dos membros da banca, encontra-se no SIGA - Sistema de Gestão Acadêmica. Dedico esta dissertação a toda comunidade dos Ballrooms, especialmente a brasileira, que através de sua arte e sua performance cria mais uma ferramenta de luta e, mais do que isso, uma nova concepção do que se entende como família. Resumo: Este trabalho tem como objetivo analisar o processo de transnacionalização da cultura dos Ballrooms, com enfoque em seu desenvolvimento no território brasileiro, assim como as questões identitárias, performáticas e linguísticas que envolvem esse processo. A cultura dos Ballrooms, surgida em Nova York em meados do fim da década de 70, consiste em uma comunidade performática e de competição LGBT que, em sua formação original, era majoritariamente parte de uma expressão cultural negra e latina dos EUA. Desde a sua formação, suas práticas têm sido exploradas pela cultura mainstream e, dessa forma, sua existência ultrapassou os limites periféricos das grandes cidades norte-americanas e é hoje uma cultura em processo de transnacionalização com expressivas formações em países da Europa e América do Sul, especialmente o Brasil. Porém, apesar de haver esse movimento cultural transnacional e se tratar de uma cultura que, a priori, propõe uma prática subversiva contra as hegemonias que reprimem essas minorias, há um controle por parte das comunidades originárias dessa cultura (em específico, as norte-americanas) para que as comunidades europeias e latino-americanas respondam às demandas desses grupos originários e, mais do que isso, procurem por seu reconhecimento. Sendo assim, pretende-se aqui não apenas observar as práticas desses grupos, as questões de gênero e sexualidade que envolvem suas performances e o papel linguístico dentro dessa dinâmica grupal, mas também o processo pelo qual a transnacionalização se dá, quais diferenças e inovações nas práticas do grupo essa transnacionalização provoca e por quais dispositivos se dá o controle dessas comunidades pelos grupos “originais” americanos. Abstract: The aim of this work is to analyze the process of transnationalization of the Ballroom culture, especially its development in Brazil, as well its aspects related to discussions about identity, performativity and language. The Ballroom culture, with its roots in the 70s in the city of New York, is a LGBT community based on performance and competition which has its origins in the black-latin american culture. Since its formation, its practices have been exploited by the mainstream culture and, therefore, its existence has overcome the limits of the suburbs of the major American cities and it is today a culture in the process of transnationalization with expressive formations in countries of Europe and South American, expecially Brazil. Although there is a transnational movement and the fact that it is a culture whose purposes, a priori, point out to a subversive approach against the hegemonic society that repress these people, there is a control by the communities where this culture has its origins (that is, the USA) that wants that the communities of Ballrooms in South America and Europe respond to the demands of the communities in USA and even seek for their recognition. Therefore, this work intends not only to observe the practices of these groups, the questions of gender and sexuality that are intrinsic to the performances of these communities, but also the process of transnationalization, what differences and innovations in the practices of these groups the transnationalization cause and by which means happens the control of these communities by the “original” north-american groups. Índice de Figuras Figura 1: Competidor de um Ball fazendo o Voguing ....................................................... 22 Figura 2: Capa do VHS/DVD do documentário Paris is Burning .................................... 24 Figura 3: Madonna e dançarinos, alguns dos Ballrooms, no videoclipe de Vogue ........... 25 Figura 4: Principais membros dos Ballrooms na época de Paris is Burning .................... 26 Figura 5: Competidor da categoria Executive Realness em Paris is Burning ................... 41 Figura 6: Flyer de um Ball realizado recentemente na cidade de Paris ............................ 51 Figura 7: Competidor na categoria Butch Realness em um Ball em Dallas ..................... 55 Figura 8: Flyer de um Ball com as categorias da competição e o valor dos prêmios ....... 56 Figura 9: Lasseidra e o New Way Vogue no Streetstar em 2015....................................... 58 Figura 10: Competidores em uma battle de Old Way Vogue no Streetstar 2013.............. 58 Figura 11: Análise do Google Trens sobre termos relacionados ao Ballroom ................. 74 Figura 12: O website do grupo BH is Voguing ................................................................. 76 Figura 13: Trio Lipstick .................................................................................................... 77 Figura 14: Flyer do evento BH Vogue Fever de 2017 ...................................................... 78 Figura 15: Categoria Runway .............................................................................................95 Figura 16: Categoria Virgin Vogue ....................................................................................96 Figura 17: Categoria Hands Performance ........................................................................ 96 Figura 18: Categoria Old Way .......................................................................................... 97 Figura 19: Categoria New Way ......................................................................................... 97 Figura 20: Categoria Vogue Femme Soft and Cunt ...........................................................98 Figura 21: Categoria Vogue Femme Dramatics.................................................................98 Figura 22: Página Berlin Voguing Out no Facebook .......................................................164 Figura 23: Página de Lasseindra no Facebook .................................................................164 Figura 24: Perfil brasileiro no Instagram da House of Zion .............................................165 Figura 25: Video no YouTube de um ball realizado na Siberia (Russia)...........................167 Figura 26: Vídeo no YouTube de Lasseindra dançando no Zodiac Ball............................168 Sumário Introdução...................................................................................................................................10 Capítulo 1 – Os Ballrooms.........................................................................................................13 1.1 Origem dos Ballrooms................................................................................................... 14 1.2 Gênero, sexualidade, performance e Realness............................................................... 29 1.2.1 O sistema de gênero (e sexualidade) dentro dos Ballrooms ....................................30 1.2.2 Gênero e performance nos Ballrooms .................................................................... 35 1.2.3 Realness .................................................................................................................. 38 1.3 Os Balls e a Performance ...............................................................................................51 Capítulo 2 – Transnacionalização, tradução cultural e o evento Vogue Fever.................... 61 2.1 Transnacionalização .....................................................................................................
Load more

Recommended publications
  • “Vogue” Em Performances Do Carnaval Carioca Strike a Pose!
    ARTIGO COMUN. MÍDIA CONSUMO, SÃO PAULO, V. 16, N. 46, P. 376-395, MAI./AGO. 2019 DOI 10.18568/CMC.V16I46.1901 Strike a pose! A mediação do videoclipe “Vogue” em performances do Carnaval carioca Strike a Pose! Mediations of “vogue” music video in Performances of Brazilian Carnival Simone Pereira de Sá1 Rodolfo Viana de Paulo2 Resumo: O artigo tem por objetivo abordar as mediações do videoclipe da canção “Vogue”, de Madonna, buscando discutir o seu agenciamento de corpo- reidades periféricas em dois momentos: nos anos 1980, quando o videoclipe se apropria e amplia a visibilidade da dança voguing, praticada pela cena cultural LGBT nova-iorquina, e duas décadas depois, quando o videoclipe é, por sua vez, uma das referências para jovens dançarinos gays nas suas apresentações em alas das escolas de samba do Carnaval carioca. Assim, interessa-nos discutir as zonas de diálogo e de tensão entre performances locais e globais, tendo como aportes teóricos a discussão sobre “cosmopolitismo estético” (REGEV, 2013) e sobre as divas pop como ícones culturais (JENNEX, 2013), entre outras referências. Palavras-chave: Vogue; Madonna; performance; videoclipe; escolas de samba. Abstract: The article discusses the mediations of Madonna’s Music Vid- eo Vogue, seeking to discuss its agency on peripheral bodies in two moments: the first, in the 80s, when the song and music video appropriates the steps and gestures of Voguing created by the LGBT scene in New York; and the second moment, two decades later, when the music video is, in turn, one of the refer- ences for young, black and gay dancers who practice Vogue dance during their presentations on Rio de Janeiro’s samba schools in the present time.
    [Show full text]
  • Family, Relationships, and Connections
    FAMILY, RELATIONSHIPS, AND CONNECTIONS June 2021 Edition Three CONTENTS 3 LETTER FROM THE EDITOR 16 EAST AND WEST GERMANY: REJOINED BUT Jenny Speakman NOT UNITED 4 TEACHING HISTORY IN 2020-21 Alfie Coulstock-Cockeram Dr Alex Bamji 17 AN AMERICAN DYNASTY: THE KENNEDYS 5 ALL IN THE FAMILY: THE CRUSADES AND Esmee Fitton KINSHIP 18 AN AMERICAN DYNASTY: THE BUSHES Harriet Purbrick Esmee Fitton 6 THE DECAMERON: WOMEN’S LOOKS AND 19 HOUSES IN NEW YORK’S LGBTQ+ CHARACTER IN BOCCACCIO’S BALLROOM CULTURE FOURTEENTH-CENTURY FLORENTINE NOVEL Aisling Lantorp Quinty Uitman 20 ‘CASH FOR CLASS’: THE AMERICAN HEIRESSES THAT SAVED THE BRITISH 8 LIKE MOTHER, LIKE DAUGHTER: THE LIVES ARISTOCRACY AND WORKS OF MARY WOLLSTONECRAFT AND MARY SHELLEY George Helliwell Rebecca Nimmo 21 “YOU ARE A BAD PERSON. THE CHINESE POLICE ARE GOOD PEOPLE.” FAMILIAL 10 LEVERAGING SEPARATION AND CULTURAL ERASURE IN MOTHERHOOD: BLACK WOMEN’S XINJIANG ACTION IN THE POST- EMANCIPATION CARIBBEAN Luke Anderson Amelia Wood 22 MRS HINCH: LIBERATING OR OPPRESSIVE? 11 THE FATEFUL STORY OF THE DONNER Bethany Keyte PARTY 23 “HE HAS ALSO RUINED MY LIFE, SO I CAN’T Georgie Burgess HELP LOVING HIM”: THE QUEER HISTORY OF LOVE THROUGH WRITTEN WORD 12 ‘THE LONELIEST OF ALL THE TOMMIES?’: THE SOCIAL TREATMENT OF Liv Casapieri DISFIGURED FIRST WORLD WAR VETERANS 24 THERE’S NO PLACE LIKE HOME: QUEER Hannah Taylor COMMUNAL LIVING AND ALTERNATIVE FAMILY 13 MEN NOT NUMBERS Becca Iliffe Ted Parkinson 25 WHAT DOES THE HISTORIC DECLINE OF 14 THE IMPORTANCE OF FAMILY DURING THE THE UK HIGH STREET MEAN FOR SOCIETY? BLITZ: AN INTERVIEW WITH MY GRANDPARENTS Evan Holt Lottie Almey 26 HELLO FROM HISTSOC 15 PART OF THE FAMILY: HOW TV CHANGED Megan Glanville THE IMAGE OF THE FAMILY IDEAL IN POST- WAR AMERICA A THANK YOU TO THE TEAM OF ASSISTANT Henna Ravjibhai EDITORS FOR ISSUE 3 2020/21 2 Hyde Park, Leeds | Bryony Eacott | BryonyEacott | Leeds| Flickr Park, Hyde FAMILY, RELATIONSHIPS, AND CONNECTIONS Hyde Park, Leeds.
    [Show full text]
  • Gay and Transgender Communities - Sexual And
    HOMO-SEXILE: GAY AND TRANSGENDER COMMUNITIES - SEXUAL AND NATIONAL IDENTITIES IN LATIN AMERICAN FICTION AND FILM by Miguel Moss Marrero APPROVED BY SUPERVISORY COMMITTEE: __________________________________________ Michael Wilson, Chair __________________________________________ Adrienne L. McLean __________________________________________ Robert Nelsen __________________________________________ Rainer Schulte __________________________________________ Teresa M. Towner Copyright 2018 Miguel Moss Marrero All Rights Reserved -For my father who inspired me to be compassionate, unbiased, and to aspire towards a life full of greatness. HOMO-SEXILE: GAY AND TRANSGENDER COMMUNITIES - SEXUAL AND NATIONAL IDENTITIES IN LATIN AMERICAN FICTION AND FILM by MIGUEL MOSS MARRERO BA, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES THE UNIVERSITY OF TEXAS AT DALLAS August 2018 ACKNOWLEDGMENTS Latin American transgender women and gay men are part of my family. This dissertation is dedicated to them. It would have not been possible without their stories. I want to give my gratitude to my mother, who set an example by completing her doctoral degree with three exuberant boys and a full-time job in mental health. I also want to dedicate this to my father, who encouraged me to accomplish my goals and taught me that nothing is too great to achieve. I want to thank my siblings who have shown support throughout my doctoral degree. I also want to thank my husband, Michael Saginaw, for his patience while I spent many hours in solitude while writing my dissertation. Without all of their support, this chapter of my life would have been meaningless.
    [Show full text]
  • A Case Study Exploring the Agency of Black Lgbtq+ Youth In
    A CASE STUDY EXPLORING THE AGENCY OF BLACK LGBTQ+ YOUTH IN NYC’S BALLROOM CULTURE By Shamari K. Reid Dissertation Committee: Professor Michelle Knight-Manuel, Sponsor Professor Yolanda Sealey-Ruiz Approved by the Committee on the Degree of Doctor of Education Date 19 May 2021 . Submitted in partial fulfillment of the requirements for the degree of Doctor of Education in Teachers College, Columbia University 2021 ABSTRACT A CASE STUDY EXPLORING BLACK LGBTQ+ YOUTH IN NYC’s BALLROOM CULTURE Shamari K. Reid Recognizing the importance of context with regard to youth agency, this study explores how 8 Black LGBTQ+ youth understand their practices of agency in ballroom culture, an underground Black LGBTQ+ culture. Ballroom was chosen as the backdrop for this scholarly endeavor because it allowed for the study of the phenomenon — Black LGBTQ+ youth agency — in a space where the youth might feel more able to be themselves, especially given that the 2019 Black LGBTQ+ youth report published by the Human Rights Campaign revealed that only 35% of Black LGBTQ+ youth reported being able to “be themselves at school” (Kahn et al., 2019). Thus, instead of asking what is wrong with schools, this study inverted the question to explore what is “right” about ballroom culture in which Black LGBTQ+ youth might practice different kinds of agency due to their intersectional racial and LGBTQ+ identities being recognized and celebrated. Framed by the youth’s understanding of their own agency across different contexts, my research illuminates the complex interrelationships between youth agency, social identity, and context. Extending the literature on youth agency and Black LGBTQ+ youth, the findings of this study suggest that in many ways these youth are always already practicing agency to work toward different ends, and that these different end goals are greatly mediated by the contexts in which they find themselves.
    [Show full text]
  • Sharing Economies and Affective Labour in Montréal's Kiki Scene
    SERVING EACH OTHER: SHARING ECONOMIES AND AFFECTIVE LABOUR IN MONTRÉAL’S KIKI SCENE by Jess D. Lundy A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfillment of the requirements for the degree of Master of Arts In Women’s and Gender Studies Carleton University Ottawa, Ontario © 2019, Jess D. Lundy Abstract Against a tense socio-political backdrop of white supremacy, intensifying pressures of neoliberal fiscal austerity, and queer necropolitics, this thesis addresses performance-based activist forms of place-making for urban-based queer, trans, and gender nonconforming communities of colour. Using participant observation and qualitative interviews with pioneering members of Montréal’s Kiki scene and Ottawa’s emerging Waacking community and interpreting my findings through the theoretical lens of queer of colour theory, critical whiteness studies, queer Latinx performance studies and Chicana feminism, I argue that Kiki subculture, which is maintained by pedagogical processes of ‘each one, teach one’, is instrumental in facilitating i) life-affirming queer kinship bonds, (ii) alternative ways to simultaneously embody and celebrate non- normative gender expression with Black, Asian, and Latinx identity, iii) non-capitalist economies of sharing, and iv) hopeful strategies of everyday community activism and resilience to appropriative processes during economic insecurity and necropolitical turmoil. ii Acknowledgements First and foremost, I would like to acknowledge the members of Montréal’s Kiki scene and Ottawa’s Waacking founder for their willingness to participate in this study despite the understandable reflex to safe-guard their own. Secondly, I extend my sincerest gratitude to my thesis supervisor Dr. Dan Irving. Apart from disproving that you should never meet your heroes, Dr.
    [Show full text]
  • Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle
    Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle by Konstantinos Chatzipapatheodoridis A dissertation submitted to the Department of American Literature and Culture, School of English in fulfillment of the requirement for the degree of Doctor of Philosophy Faculty of Philosophy Aristotle University of Thessaloniki Konstantinos Chatzipapatheodoridis Strut, Sing, Slay: Diva Camp Praxis and Queer Audiences in the Arena Tour Spectacle Supervising Committee Zoe Detsi, supervisor _____________ Christina Dokou, co-adviser _____________ Konstantinos Blatanis, co-adviser _____________ This doctoral dissertation has been conducted on a SSF (IKY) scholarship via the “Postgraduate Studies Funding Program” Act which draws from the EP “Human Resources Development, Education and Lifelong Learning” 2014-2020, co-financed by European Social Fund (ESF) and the Greek State. Aristotle University of Thessaloniki I dress to kill, but tastefully. —Freddie Mercury Table of Contents Acknowledgements...................................................................................i Introduction..............................................................................................1 The Camp of Diva: Theory and Praxis.............................................6 Queer Audiences: Global Gay Culture, the Arena Tour Spectacle, and Fandom....................................................................................24 Methodology and Chapters............................................................38 Chapter 1 Times
    [Show full text]
  • Judith Butler and a Pedagogy of Dancing Resilience Joshua M
    Judith Butler and a Pedagogy of Dancing Resilience Joshua M. Hall The Journal of Aesthetic Education, Volume 54, Number 3, Fall 2020, pp. 1-16 (Article) Published by University of Illinois Press For additional information about this article https://muse.jhu.edu/article/760813 [ Access provided at 9 Oct 2020 19:39 GMT from California State University @ San Marcos ] Judith Butler and a Pedagogy of Dancing Resilience JOSHUA M. HALL Abstract. This essay is part of a larger project in which I construct a new, historically informed, social justice–centered philosophy of dance, centered on four central phenomenological constructs, or “moves.” This essay, in particular, is about the fourth move, “resilience.” More specifically, I explore how Judith Butler engages with the etymological aspects of this word, suggesting that resilience involves a productive form of madness and a healthy form of compulsion, respectively. I then conclude by showing how “resilience” can be used in the analysis of various Wittgensteinian “families” of dance, which, in turn, could facilitate positive educational changes in philosophy, dance, and soci- ety, with particular efficacy on the axis of gender. In brief, by teaching a conception of strength as vulnerability (instead of machismo’s view of strength as apathetic “toughness”), a pedagogy of dancing resil- ience provides additional support for feminists (including Anzaldúa, Haraway, Butler, and Concepción) who advocate a cautious openness toward seemingly unlikely resources and allies (including analytic methodologies, Machiavellian politics, and the discourses of the natu- ral sciences). This article is part of a larger project in which I suggest, based on eighteen years of experience as a dancer and choreographer, a historically informed philosophy of dance built around four central concepts, or “moves.”1 Joshua M.
    [Show full text]
  • The Queer Time of Spanglish, Family, and Latinx Futurity in Santa A
    UNIVERSITY OF CALIFORNIA Santa Barbara Latinx Temporalities: The Queer Time of Spanglish, Family, and Latinx Futurity in Santa Ana, California, 2014-2017 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Chicana and Chicano Studies by Juan Sebastian Ferrada Committee in charge: Professor Dolores Inés Casillas, Chair Professor Ellie D. Hernández Professor Mary Bucholtz Professor Carlos U. Decena, Rutgers University March 2019 The dissertation of Juan Sebastian Ferrada is approved. _____________________________________________ Ellie D. Hernández _____________________________________________ Mary Bucholtz _____________________________________________ Carlos U. Decena _____________________________________________ Dolores Inés Casillas, Committee Chair December 2018 ii Latinx Temporalities: The Queer Time of Spanglish, Family, and Latinx Futurity in Santa Ana, California, 2014-2017 Copyright © 2018 by Juan Sebastian Ferrada iii DEDICATION Para mis abuelitas Veronica Ulloa, Camerina De la Torre, y para mi abuelito Jesús De la Torre, QEPD. iv ACKNOLWEDGEMENTS I am fortunate to have been trained and mentored by some of the boldest, most brilliant scholars and teachers who served as my committee. My committee chair and advisor—Inés Casillas, words are not enough to explain the gratitude I feel toward you. I hope to be such an integral part of my student’s intellectual (and personal) formation as you have been, and continue to be for me. Thank you for your patience with me running on queer—no, Latinx—time and for encouraging me to take this project as far as I could go. The rest of my committee members, Ellie Hernández, Mary Bucholtz, Carlos Decena—I learned so much from each of you and your work.
    [Show full text]
  • Title of Dissertation
    SETTING UP CAMP: IDENTIFYING CAMP THROUGH THEME AND STRUCTURE A Dissertation Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy By Michael T. Schuyler January, 2011 Examining Committee Members: Cornelius B. Pratt, Advisory Chair, Strategic Communication John A. Lent, Broadcasting, Telecommunications & Mass Media Paul Swann, Film & Media Arts Roberta Sloan, External Member, Theater i © Copyright 2010 by Michael T. Schuyler All Rights Reserved ii ABSTRACT Camp scholarship remains vague. While academics don’t shy away from writing about this form, most exemplify it more than define it. Some even refuse to define it altogether, arguing that any such attempt causes more problems than it solves. So, I ask the question, can we define camp via its structure, theme and character types? After all, we can do so for most other genres, such as the slasher film, the situation comedy or even the country song; therefore, if camp relies upon identifiable character types and proliferates the same theme repeatedly, then, it exists as a narrative system. In exploring this, I find that, as a narrative system, though, camp doesn’t add to the dominant discursive system. Rather, it exists in opposition to it, for camp disseminates the theme that those outside of heteronormativity and acceptability triumph not in spite of but because of what makes them “different,” “othered” or “marginalized.” Camp takes many forms. So, to demonstrate its reliance upon a certain structure, stock character types and a specific theme, I look at the overlaps between seemingly disperate examples of this phenomenon.
    [Show full text]
  • How I Learned About My Own Internalized Misogyny from Playing Touch Football With
    How I Learned About My Own Internalized Misogyny from Playing Touch Football with the Guys in Second and Third Grades and Why I Used to Hate the Color Pink because I Thought I Was Supposed To. I have a vivid memory of a parent-teacher meeting in the second grade wherein my teacher explained to my mom that I was distracting the little boys by flipping upside down on the monkey bars while wearing a dress. While I find it incredibly hard to believe that second grade boys actually cared enough to look, I understand this to be one of the many things that contributed to my waged war against the color pink when I was little and ultimately serious internalized misogyny. And further, the entire concept of my battle still enforced a gender dichotomy that is entirely performative, and my attempts to counter the norm were equally performative, if not more. When I was even younger, favorite princesses were basically astrological signs. Glittery pop-up books were the Bible. By the time touch football was legalized at recess, the performative aspect of gender began to surface even more as the divisions were more distinct, and we collectively decided to hate the color pink, mostly because the boys hated the color pink, and the boys were inherently more socially powerful. Unprompted, my friends and I would mercilessly insult the color, disavow any mention of “Hello Kitty,” and ridicule even the thought of glitter on any garment. To us, pink was associated with the delicate nature of femininity. I could not simultaneously play touch football with the guys and not be against the color.
    [Show full text]
  • MORAES, Rafael. PABLLO VITTAR VEIO À TONA, FOI K.O. A
    UNIVERSIDADE FEDERAL FLUMINENSE PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Niterói 2019 1 RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Orientadora: Profª. Drª. Mayka Castellano Niterói 2019 2 3 RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Aprovada em agosto de 2019 BANCA EXAMINADORA ______________________________________________________ Profª. Drª. Mayka Castellano (Orientadora - UFF) ______________________________________________________ Profª. Drª. Beatriz Polivanov (Universidade Federal Fluminense - UFF) ______________________________________________________ Profº. Drº. Leonardo De Marchi (Universidade Estadual do Rio de Janeiro - UERJ) Niterói 2019 4 Permita que eu fale, não as minhas cicatrizes Elas são coadjuvantes, não, melhor, figurantes, que nem devia 'tá aqui Permita que eu fale, não as minhas cicatrizes
    [Show full text]
  • Revista Del Área De Ciencias Sociales Del Ciffyh
    Etcétera REVISTA DEL ÁREA DE CIENCIAS SOCIALES DEL CIFFYH ISSN 2618-4281 / Nº 7 - Año 2020 / revistas.unc.edu.ar/index.php/etcetera ACADEMICUS Netflix is burning: contrasexualidad y VIH-Sida en Pose Netflix is burning: countersexuality and HIV-Aids in Pose Prof. Camila Roccatagliata [email protected] Universidad Nacional de La Plata Facultad de Humanidades y Ciencias de la Educación La Plata – Argentina CORRECCIÓN LITERARIA Rocío Aloy Recibido: 13 de mayo de 2020 / Aprobado para publicación: 16 de octubre de 2020 Etcétera. Revista del Área de Ciencias Sociales del CIFFyH está bajo una Licencia Creative Commons Atribución-NoComercial-CompartirIgual 4.0 Internacional. ACADEMICUS Resumen El artículo se propone reflexionar acerca de los modos en que Pose, serie emitida por FX (y luego incluida en la plataforma de streaming Netflix), cuestiona los dispositivos hegemónicos que configuran el orden de género e identidad en la sociedad estadounidense de fines de los 80s bajo el gobierno de Ronald Reagan. Esos modos y gestos deconstructivos quiebran los cimientos sobre los que se sostiene la matriz cisheteronormativa, y proponen una sociedad contrasexual en la que el deseo se libera (o al menos intenta hacerlo) de las estrictas ataduras socioculturales que lo delimitan. Por otro lado, se analizará la representación del VIH-Sida en la serie, y cómo esa representación puede ser entendida como una denuncia a las políticas neoliberales y neoconservadoras que se desentendieron de la pandemia y sometieron a miles de vidas al más nefasto abandono y olvido. Palabras clave Contrasexualidad, VIH-Sida, Pose Abstract The article focus on the reflection about the ways in which Pose, a series firstly broadcasted by FX (and then available on Netflix streaming platform), questions the hegemonic mechanisms that set up the gender and identity order within the U.S.
    [Show full text]