Please use this identifier to cite or link to this item: http://hdl.handle.net/10125/51087

Kissing the Ugly Parts: Violent Productions of Queer Otherness & the Embrace of Unintelligibility

File Description Size Format  
2015-08-phd-gleisberg_r.pdf Version for non-UH users. Copying/Printing is not permitted 1.95 MB Adobe PDF View/Open
2015-08-phd-gleisberg_uh.pdf For UH users only 2 MB Adobe PDF View/Open

Item Summary

dc.contributor.author Gleisberg, Anna
dc.date.accessioned 2017-12-18T21:22:27Z
dc.date.available 2017-12-18T21:22:27Z
dc.date.issued 2015-08
dc.identifier.uri http://hdl.handle.net/10125/51087
dc.description Ph.D. University of Hawaii at Manoa 2015.
dc.description Includes bibliographical references.
dc.description.abstract This project considers how violent productions of queer otherness gesture toward the viability of unintelligibility. Chapter 1 examines how queer otherness and unintelligibility emerge as a response to the medicalization and pathologization of the body. As restrictive categorizations limit gender variance, cultural productions like R. Zamora Linmark’s novel Rolling the R’s and Loren “Rex” Cameron’s “Distortions” self-portraits contest the normative alignment of a sexed body, thwart a “born in the wrong body” narrative, and queer what it means to be embodied. By analyzing the films Soldier’s Girl (2003) and Brokeback Mountain (2005), Chapter 2 examines how the military and marriage function as state-sanctioned intuitions that violently police unruly bodies and nonnormative desires. Although the violence of heteronormativity sustains the production of heterosexual citizenship and quarantines volatile forms of queer otherness, these films point toward how unintelligible desires create fissures within the heteronormative matrix as they reformulate the possible ways that bodies can interact, collide, and share intimacy. By examining the film Fight Club (1999) and the character Jenny Schecter from the television series The L Word (2004-2009), Chapter 3 addresses how queer negativity can mobilize unintelligibility as a volitional practice. These representations direct the audience toward embracing the violence of sensation and, by doing so, produce a disidentificatory spectatorship that remains oppositional toward hetero-/homonormative social value and “appropriate” affective responses to selfdestruction and trauma. Extending this discussion, Chapter 4 argues for a queer spectatorial framework that is not reliant on the legibility of desire and intimacy. New Queer Cinema (NQC) films, like Pansexual Public Porn (1997), redefine how desire and intimacy can function between an audience and nonnormative bodies and desires. The final chapter draws upon Keir McCoy’s 2002 self-portrait “Shatter” to illustrate how queer otherness offers a glimpse at the political agency unintelligibility might forge. As a provisional position and as a practice that cuts into the subjective experience and across the discursive field, unintelligibility guides us to “kiss the ugly parts” that cannot be discursively contained; also, it ruptures, dismantles, and subverts hetero-/homonormative processes of recognition that often determine the viability of an individual’s life.
dc.language.iso eng
dc.publisher [Honolulu] : [University of Hawaii at Manoa], [August 2015]
dc.relation Theses for the degree of Doctor of Philosophy (University of Hawaii at Manoa). English
dc.subject queer
dc.subject transgender
dc.subject narrative
dc.subject embodiment
dc.subject film
dc.title Kissing the Ugly Parts: Violent Productions of Queer Otherness & the Embrace of Unintelligibility
dc.type Thesis
dc.type.dcmi Text
Appears in Collections: Ph.D. - English


Please email libraryada-l@lists.hawaii.edu if you need this content in ADA-compliant format.

Items in ScholarSpace are protected by copyright, with all rights reserved, unless otherwise indicated.