126 research outputs found

    Research/Advocacy/Community: Reflections on Asian American trauma, heteropatriarchal betrayal, and trans/gender-variant health disparities research

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    This article first examines the author’s positionality with reference to the historical and inter-generational transmission of Asian trauma, the contemporary plight of North Koreans, and the betrayal of anatomically-female individuals (including those who are sexual minority/gender-variant) within Asian heteropatriarchal systems. An analysis of the relevance of empirical research on low-income trans/gender-variant people of color is then discussed, along with an examination of HIV and health disparities in relation to the socio-economic positioning of low-income trans/gender-variant people of color and sexual minority women, and how social contexts often gives rise to gender identity, including transmasculine identities. What next follows is an appeal to feminist and queer/trans studies to truly integrate those located on the lowest socio-economic echelons. The final section interrogates concepts of health, well-being, and happiness and how an incorporation of the most highly disenfranchised/marginalized communities and populations challenges us to consider more expansive visions of social transformation

    The transmen community is still overshadowed by phallocentric logic in Malaysia

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    Alicia Izharuddin asks why the transmen community in Malaysia is regularly marginalised and continues to be poorly understood even within liberal and activist circles. This article has been published collaboratively by LSE Equality and Diversity and LSE Engenderings blog to mark LGBT History Month

    Review article on queer studies

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    Review article on queer studie

    'I became a man in a military camp' : negotiating a transmasculine identity in Aleksandr Aleksandrov (Nadezhda Durova)’s personal documents and literary fiction

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    Notes of a Cavalry Maiden [Zapiski kavalerist-devitsy, 1836], an autobiographical narrative by Aleksandr Aleksandrov (born Nadezhda Durova) (1783-1866), a Russian-Ukrainian hero of the Napoleonic wars, has been popular with readers since its first publication in 1836. Despite the obvious gender ambiguity of the narrator in this text, most adaptations and biographies interpret ‘Nadezhda Durova’s’ grammatically female gender as proof that her army service was a brief instance of military cross-dressing in the otherwise conventional life of a patriotic woman. However, Aleksandrov’s legacy includes not just Notes and other published fiction, but also a substantial corpus of personal documents, some of which have only recently been recovered from the military archives. These texts form a record of Nadezhda Durova’s documented transition to Aleksandr Aleksandrov and, I argue, testify that from 1808 Aleksandrov consistently identified as a man until his death in 1866. In this article, I focus on Aleksandrov’s military and civil correspondence, to compare his transmasculine voice in personal documents to the more ambiguously gendered voices of his narrators in fiction. Using the narratological category of ‘autofiction’, I argue that even though Aleksandrov had to choose between two binary gender identities in everyday life, literary fiction created a space for him to inhabit the personas of both ‘Nadezhda Durova’ and ‘Aleksandr Aleksandrov’.Publisher PDFPeer reviewe

    Rich Dykes from L.A. are called Lesbians

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    “Have you ever thought about suing The L Word crew for stealing so many of your ideas?” writes DeLandDeLakes on the blog of Alison Bechdel, the creator of Dykes to Watch Out For. Another blogger described DTWOF as “The L Word, in comic strip form, before The L Word ever existed.” I would like to present how The L Word does indeed share quite a few traits with DTWOF. Indeed, both series portray a group of lesbian friends who live the lesbian life, speak about and experience such community events as gay pride or lesbian cruises, have babies through artificial insemination, and famously set up charts to keep track of reported sexual encounters. In both cases, the serial form allows for strong identification with diverse characters, who present conflicting takes on gender and sexuality, personal and political ethics. One major element, however, is the difference in medium and audience range. As a comic strip published exclusively in underground, queer magazines, Bechdel’s series never reached the mainstream audience The L Word had to seduce to survive its first season on Showtime. The two series offer different approaches to American late 20th c. / early 21st c. lesbian culture, showing how targeting a much broader TV audience might have resulted in a slightly different depiction of how women navigate their gender and sexuality to self-identify as lesbians, rather than dykes.« Vous n’avez jamais pensĂ© Ă  intenter un procĂšs contre l’équipe The L Word pour avoir volĂ© vos idĂ©es ? » Ă©crit DeLandDeLakes sur le blog d’Alison Bechdel, crĂ©atrice des Dykes to Watch Out For. Une autre blogueuse Ă©crit de DTWOF comme « The L Word, en forme de BD, avant que The L Word n’ait Ă©tĂ© crĂ©Ă©. » Je voudrais prĂ©senter comment The L Word partage un nombre considĂ©rable de traits avec DTWOF. En effet, les deux sĂ©ries mettent en scĂšne un groupe d’amies lesbiennes qui ont un mode de vie lesbien, discutent de et expĂ©rimentent des Ă©vĂ©nements communautaires tels que les dĂ©filĂ©s gay pride et les croisiĂšres lesbiennes, ont des enfants par insĂ©mination artificielle et sont rĂ©putĂ©es pour Ă©tablir des graphiques pour se tenir au courant de leurs conquĂȘtes amoureuses. Dans les deux cas, la forme sĂ©rielle permet une forte identification avec de nombreux personnages, qui prĂ©sentent des perspectives conflictuelles sur le genre et la sexualitĂ©, l’éthique personnelle et politique. Un Ă©lĂ©ment majeur constitue pourtant la diffĂ©rence des supports et de l’envergure des publics. En tant que bande dessinĂ©e publiĂ©e exclusivement par des magazines queer de l’underground, la sĂ©rie de Bechdel n’a jamais atteint le public du courant dominant que The L Word a dĂ» sĂ©duire pour survivre sa premiĂšre saison sur Showtime. Les deux sĂ©ries proposent de diffĂ©rentes approches de la culture lesbienne amĂ©ricaine de la fin du 20e et du dĂ©but du 21e siĂšcle, en montrant comment le choix de viser un public bien plus large Ă  la tĂ©lĂ©vision a pu rĂ©sulter en une reprĂ©sentation diffĂ©rente de la maniĂšre dont les femmes nĂ©gocient leur genre et leur sexualitĂ© pour s’identifier elles-mĂȘmes comme lesbiennes, plutĂŽt que gouines
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