| Les deux révisions précédentesRévision précédenteProchaine révision | Révision précédenteDernière révisionLes deux révisions suivantes |
| oeuvres:la_chair_du_maitre [2015/09/21 11:42] – Virginie Savard | oeuvres:la_chair_du_maitre [2015/09/23 09:47] – Modified from the form at oeuvres:la_chair_du_maitre Virginie Savard |
|---|
| |
| ### Porte également sur l'adaptation du //Goût des jeunes filles//. ### | ### Porte également sur l'adaptation du //Goût des jeunes filles//. ### |
| | |
| | SAINT-MARTIN, Lori, « "Un hurlement de bête blessée" : désir, pourvoir masculin et parole féminine dans //Vers le sud// de Dany Laferrière », //Québec Studies//, vol. 51 (printemps-été 2011), p. 139-155. +++ Article de revue |
| | |
| | ### [[http://online.liverpooluniversitypress.co.uk/doi/10.3828/qs.51.1.139|Saint-Martin, 2011, PDF]] ### |
| | |
| | GONZALEZ, Belkis, « Getting Papers: The Terms of Legalizing Intimacies, Labors, and Kinship », thèse de doctoat, New York University, 2013, 267 f. +++ Thèse de doctorat / mémoire de maîtrise |
| | |
| | ### **Abstract**\\ |
| | This dissertation mines popular visual and literary representations of undocumented migrants and queer subjects to investigate what their currency reveals about viable forms of relationality under global neoliberal logics. Attentive to the mutual constitution of sexuality and citizenship, this project traces competing notions of kinship and labor in texts that negotiate the conditions under which legitimating "papers" may be conferred or adduced. |
| | |
| | Chapter 1, The Nanny as Dangerous Supplement, situates the "nanny novel" in relation to nineteenth-century sentimental literature before turning to two contemporary novels, Victoria Brown's //Minding Ben// and Mona Simpson's //My Hollywood//, to demonstrate how the figure of the nanny operates as a disavowed absence whose labor sustains structures of kinship from which she is nonetheless elided. Chapter 2, Migrant Intimacies, focuses on the affective labor performed through diasporic networks of care in Edwidge Danticat's memoir //Brother, I'm Dying// and through sex tourism in Dany Laferrière's story collection //Vers le sud//, exploring affiliative practices across traumatic transnational histories. Chapter 3, 'Interlopers' Across National Borders, argues that Cary Fukunaga's film //Sin nombre// and Patricia Riggen's film //La misma luna// portray Latino undocumented migrants as ultimately resistant to integration into normative kinship structures and a neoliberal economic order. The disparity in the relative success of campaigns defending the interests of undocumented immigrants and campaigns for same-sex marriage is a point of departure for Chapter 4, 'Interlopers' Across Kinship Lines. This chapter addresses the assimilation of queer subjects into privatizing discourses of the egalitarian nation state, examining the abjection of alternate forms of filiation in Lisa Cholodenko's film The Kids Are All Right alongside forms of kinship that remain in more ambivalent relation to domestic security in the photography of Catherine Opie. Finally, an epilogue, Alien Affects, argues that the equivocal self-representational modes of youth immigrant activists evince the fractures in available terms for claiming legitimacy within the nation. |
| | |
| | This dissertation seeks to contribute to the growing body of work that brings migration scholarship into dialogue with queer of color critique and investigations of sexuality and citizenship, bringing these interdisciplinary currents of inquiry to bear on literary and visual cultural production.\\ |
| | \\ |
| | //La version PDF de la thèse est disponible pour les membres de communautés universitaires qui ont un abonnement institutionnel auprès de [[http://www.proquest.com|UMI - Proquest]]// ### |
| |
| <pagemod add_ref>@@Référence@@ +++ @@Type@@ | <pagemod add_ref>@@Référence@@ +++ @@Type@@ |