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Queer fandom nowadays has become a global phenomenon. It helps exemplify the complexities, anxieties, conflicts, and negotiations within and surrounding the collision of global, national, and regional cultures. Some of its subdivided fields, such as Western slash and Japanese Boys’ Love (BL), have received significant academic attention since 1980s (e.g., Aoyama, 1988; Bacon-Smith 1992; Buckley 1991; Fujimoto 1991; Jenkins 1992; Kinsella 1998; Matsui 1993; Penley 1992; Russ 1985). Especially in recent years, the distributions and interpretations of BL across language and geographical boundaries, the distinctiveness and similarities between BL and slash genres, the pornographic aspect of BL, slash, and other forms of queer fannish productions have been emphasized in a body of scholarly literature worldwide (e.g., Brienza 2009; Chao 2013; Galbraith 2011; Glasspool 2013; Isaksson 2009; Keft-Kennedy 2008; Levi 2009; Levi & McHarry & Pagliassotti 2010; Martin 2012; McLelland 2000; Meyer 2013; Mizoguchi 2008; Nagaike 2003; Nagaike 2009; Pagliassotti 2009; Penley 1991; Perper & Cornog 2002; Sabucco 2003; Shamoon 2012; Silvio 2011; Welker 2006; Wood 2006; Wood 2013; Zanghellini 2009).

Meanwhile, the blooming of Chinese queer fandoms in the past two decades has also offered rich sites of queer representations of gender and sexuality. Greatly shaped by Chinese traditional romantic literature, Japanese BL, and Western slash cultures (Feng 2009; Xu & Yang 2013; Yang & Bao 2012; Zheng 2009), contemporary Chinese queer fan cultures have been enjoying a growing diversity. The objects Chinese fans queerly fantasize about are by no means limited to local Chinese celebrities, nor to self-identified queer celebrities. The proliferation of cross-regional, cross-cultural, and transnational Chinese queer fandoms dedicated to androgynous celebrities, queer media, and popular culture is also hard to ignore. Yet, research explicating the intricacies of gender identities, sexual desires, regional differences, national belongings, and global queer cultural convergence and hybridization within Chinese queer fandoms is still far from adequate.

To fill this research gap, this edited collection stresses the struggles, potentials, and dynamics of queerness unveiled within a variety of the fannish contexts of Greater China. Bearing on the intersecting of global cultures studies, post-colonial studies, modern queer theory, and media audience research, we view queerness as a nonstraight spectatorial position (Doty 1993; Kohnen 2008) and/or a productive space (Munoz 1999). Accordingly, we aim to examine Chinese queer fandom as a grassroots cultural palimpsest that reconfigure, contest against, trespass, and/or overturn the dominant scripts of identity and subjectivity.

We seek chapter contributions that elaborate the cultural specificities, significances, transformativity, hybridity, historicity, and futurity epitomized by Chinese queer fan cultures. We are especially keen to receive manuscripts that consider the queer dimensions of gender, sexuality, desire, and fantasy from a wide range of Chinese temporal and geographical settings. We also very welcome submissions that employ interdisciplinary and/or comparative approaches.

Manuscript topics may include but are not limited to:
Ø Genders and Sexualities in Chinese Boys’ Love/Slash and Girls’ Love/Femslash Fandoms
Ø Queerness and Performativity in Fandoms Dedicated to Anime and Cosplay/Role-Play/Life-Play in Greater China
Ø Chinese Queer Readings of Media, Popular Culture, and Celebrities Worldwide
Ø Chinese Queer Fans’ Gender- and Sexuality-Related Identities, Agencies, Subjectivities, Fantasies, Desires, Connections, and Relationships within Fan Communities
Ø Racial Representation, Distant Cultural Construction, and Non-Chinese Imagination in Chinese Queer Fan Cultures
Ø The Interrelationship and Interaction between Chinese Queer Fandoms, Queer Organizations, Queer Movements, Queer Politics, and Queer Grassroots Publics and Communities
Ø Queer, Pornographic Representations of Male/Female Sexualities in Chinese Queer Fandoms
Ø The Transgressiveness, Multivalence, and Constructedness of Masculinities and Femininities in Chinese Fan-Made Queer Productions
Ø Violence, Abuse, and Aggressiveness in Chinese Fan-Made Queer Productions
Ø The Interplay of the Boom of Boys’ Love/Slash and/or Girls’ Love/Femslash Industries, Fans’ Passions for Queering and Queerness, and the Commercialization of and Censorship on Queer Media in Greater China

Note:
We are only interested in academic analytic papers grounded in certain critical/theoretical perspectives that have NOT been published elsewhere.
To submit chapter proposal submissions for consideration, please send a 1000- to 1500-word abstract (outlining the topic, methods, and fan-related materials used) with working bibliography and a CV to the book editors at queerfandom2014@yahoo.com by May 30th, 2014.

Acceptance will be handled on a rolling basis till the end of July, 2014. Early submissions are strongly encouraged.

Completed, well-polished papers from accepted contributors should run between 5,000 to 8,500 words and are expected before the end of December, 2014.

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“When I tell people I am gender non binary trans* femme, I first feel overwhelmed because that is a lot of words, and then confused because I don’t understand how a group of words that I not so long ago discovered in a language that isn’t my own can dictate so much in my life. I was initially thrilled to have a phrase to describe who I am after years of not being able to define myself. These days however, I have been feeling a disconnect with the terminology available to describe my gender to the ways in which I live my life, per my gender. Frankly, I do not even think about my gender that much, it is more of an evolving spiral of production and reproduction as opposed to a set-in-stone definition– And that is very exciting. “

 

http://www.originalplumbing.com/index.php/society-culture/travel/item/621-my-gender-in-the-face-of-colonialism-a-quest

Transnational Queer Activism

Janice Irvine and Jill Irvine, eds.

This call for papers seeks contributions to an edited volume on transnational queer and LGBT politics, movements, and activism. This volume will feature work that bridges theoretical and empirical methodologies, and that is located within both disciplinary and interdisciplinary frames. Drawing upon current research on a broad range of cases, it aims to provide a comparative analysis of queer politics both within countries and across regions.  We are particularly interested in the notion of queer as it has traveled around the globe and the opportunities and/or obstacles it presents for various types of activism, movement building, strategic action, and identities. In addition, we are interested in articles that address the following
questions:

1.) What political strategies have queer and LGBT movements pursued?
How have these strategies been shaped by factors such as nation, religion, gender, and other axes of difference?

2.) How do LGBTQ activists frame issues? How do global discourses,
norms, and languages shape local issues and how, in turn, do local
issues and frames shape global discourses?   Do queer politics versus
LGBT politics create alternative or mutually reinforcing sets of issues
and political demands?

3.) What alliances do LGBTQ movements and activists build locally,
regionally and  internationally?  What factors have caused rifts or
fissures in queer or LGBT movements? To what extent does queer activism
intersect with other forms of activism/resistance?

4.) How have activists disrupted or been shaped by geographical and
other binaries, such as east/west, north/south.  Are there different
variants of queerness as it is understood and applied in transnational
contexts?

Paper proposals of no more than 250 words should be submitted to Jill
Irvine at Jill.Irvine@ou.eduand Janice Irvine at irvine@soc.umass.edu by
April 1, 2014.  Proposals will be reviewed quickly and authors will be
notified by May 15, 2014.   Draft papers, approximately 8,000 words in
length, will be due January 15, 2015.

CFP for peer-reviewed online academic journal “View. Theories and Practices of Visual Culture”, issue 5

What is a queer image? The first answer, which comes to mind seems obvious—queer images portray lives of non-normative sexualities and document the existence of ever-changing LGBTQ communities from the present and past. To this, we should also add images created by queer painters, activists, sculptors, film directors, performers, designers.

And then, one could also point to an archive of images important for these queer collectives, a repository filled with artworks by Andy Warhol, musical posters, Douglas Sirk melodramas, music videos by Grace Jones, photo portraits of David Wojnarowicz, boa feathers and blush etc. etc.

This list doesn’t seem satisfactory. This is perhaps because not every representation of a non-normative sexuality has to resist hetero-norms; not every image created by a person identifying as queer has to carry a subversive potential, and finally because a common archive often, after some time, seizes to offer shelter and instead becomes an essentializing trap.

What if we try using queer theory and practice in thinking about the image per se? What would happen if instead of limiting ourselves to identifying queerness in the creator of the image and / or  its content, we start looking for queerness in the image itself – its construction, form, modes of circulation, social functioning?

If we were to provide a notion of a society of images, one possessing its own hierarchies, customs and rules, which images would occupy the position of non-normative images, of weak, subaltern, excluded, poor images? Can queer theory – a political and revolutionary theory per se (even if the means of revolution are not only pride, but also shame; not only joy, but also sadness; sleep, as well as riot, boredom as well as excitement) – which has over the years redefined such basic cultural categories as time, space, the archive, affect, and style, tell us anything new about the theory of the image and (counter)visuality? What do queer images look like? How do images reproduce outside of the hetero-matrix? What assemblages can anti-social images form? What do
queer images want and what kind of desires to they arouse in us? Are some genres more queer than others? What color do they have? What does the geographical map of queer images look like?

In this fifth issue of the journal “View. Theories and Practices of Visual Culture,” we invite contributions about queer images and images of queers. We’re looking forward to reading articles, which criticize normative images of non-normative identities, but also those which look for queerness in normativity; articles about images fighting for emancipation, but also about those bashful and introvert ones; texts about images created as a result of deep intellectual engagement with queer theory, but also about campy images, brought into being by pure accident.

Deadline for articles: January 20, 2014.

For editorial and technical requirements, go to:
http://widok.ibl.waw.pl/index.php/one/about/submissions.

In case of questions, email:
szczesniak.magda@gmail.comredakcja@widok.ibl.waw.pl

Reference / Quellennachweis:
CFP: Queer Images. In: H-ArtHist, Oct 15, 2013.
<http://arthist.net/archive/6168>.

CFP: Panel on Sex and sexuality in Science/Speculative and Fantasy Fiction

For a panel on the academic track at Loncon3 – the 72nd World Science Fiction Convention:http://academicloncon3.wordpress.com/

Science/Speculative and Fantasy fiction are genres in which many things (arguably anything) is possible. This ought to include exploring alternatives to normative and heteronormative representations of sex and sexuality. On this panel our aim will be to consider how, why and to what extent these non-realist genres push the boundaries of representation relating to sex and sexuality. Proposals are invited for academic papers on topics including, but not limited to:

Queer SF&F
LGBTQI representation in SF&F
LGBTQI authors of SF&F
Queer, trans*, non-binary and genderfluid characters in SF&F Relationships between SF&F and queer theory and politics Authorial responsibility regarding representation Potentials and possibilities for non-heteronormative representation

In particular, papers are sought on the work of the guests of honour for Loncon3 – Iain M. Banks, John Clute, Malcolm Edwards, Chris Foss, Jeanne Gomoll, Robin Hobb and Bryan Talbot.

Please send a 300 word abstract and brief biography toj.roberts@bbk.ac.uk  by December 1st 2013.

The next QTRG meeting will take place on Thursday 26 September at 17:00 in SH3176 (Senate House – 3rd floor).

We will be discussing Jason Ritchie‘s article entitled “How Do You Say “Come Out of the Closet” in Arabic? Queer Activism and the Politics of Visibility in Israel-Palestine” published in GLQ: A journal of lesbian and gay studies in 2010.

The article can be found HERE