Open Access. Powered by Scholars. Published by Universities.®
![Digital Commons Network](http://assets.bepress.com/20200205/img/dcn/DCsunburst.png)
Lesbian, Gay, Bisexual, and Transgender Studies Commons™
Open Access. Powered by Scholars. Published by Universities.®
Articles 1 - 3 of 3
Full-Text Articles in Lesbian, Gay, Bisexual, and Transgender Studies
Chupa Chuparosas Y Chupacabras, Ruben U. Rodriguez
Chupa Chuparosas Y Chupacabras, Ruben U. Rodriguez
Theses and Dissertations
A Rascuache Nahual that uses therianthropy on the border between the US and Mexico border.
The Wild Beasts, Peter Cochrane
The Wild Beasts, Peter Cochrane
Theses and Dissertations
The Wild Beasts springs from my desire to thank my ever-expanding queer chosen family and mentors for their strength. Working through the often violent and othering aspects of the lens and photographic histories I create floral portraits responding to each person’s being and our relationship. Using the 19th century, 8x10 large format view camera—the same used by colonialists and ethnographers to “capture” the divinity of Nature—I erect each as a traditional still life studio setup at the threshold between the natural world and that constructed by humans. These environments speak both to the character of each friend and also to …
New Patriarchies: A Turbulence Of Source And Subject, Stephen Fuller
New Patriarchies: A Turbulence Of Source And Subject, Stephen Fuller
Theses and Dissertations
Experiencing a turbulence of source and subject in the variable inversions and supports of one source to another--the wreck of the U-352, Carpeaux’s Ugolino and his Sons, a movie poster for J.A. Bayona’s The Impossible, and Cassiopeia mythology--these four sources as sons, in sacrifice to and surviving by way of “daddy” documentation, are here refigured to reenact and critique the patriarchally recreational, monumental, cinematic, and mythological infrastructures supporting the sources of this work and thereby serving to critique the newer patriarchies to which these sources and their subjectifications here seek to cross consumptively dead end. Following three public …