User:Senka/Thesis Proposal: Difference between revisions

From XPUB & Lens-Based wiki
No edit summary
No edit summary
 
(2 intermediate revisions by the same user not shown)
Line 1: Line 1:
Use this as a starting point:
a. What do you WANT to write? [What will the text be about? (thesis). What do you want to explore?
Be clear about HOW you want to tell your story.]
=What=
=What=
I would like to explore forgotten and overlooked queer histories in the context of the Balkans in order to counter the idea that queerness is an export of the 'rotten West'.
I would like to explore forgotten and overlooked queer histories in the context of the Balkans in order to counter the idea that queerness is an export of the 'rotten West'. <br>
This thesis serves as a backbone to the project, by providing the text for the narrative structure the project, possibly in a slightly edited format in order not loose narrative-immersion.
=How=
=How=
I want to tell the story as a porous essay which allows for more fictional formats to seep into it. I want to do this in order to challenge how knowledge is produced in an academic context, as well as offer more narrative-driven and immersive writing. I want to employ a non-linear, fragmented, scattered mode of writing, (much like what Hedva has described in 'In Defence of the De-persons' or Machado in 'In the Dream House' ) which will reflect fragments of the histories I am getting to know.  
In order to challenge how knowledge is produced in an academic context, I want to write a porous essay which allows for more fictional formats to seep into it. This thesis will be akin to theory fiction and will offer more narrative-driven and immersive writing. <br>
I want the reader to feel the text on their skin, to learn new things and be challenged (in what they consider knowledge). The thesis may or may not be written in the second person.
Apart from this, considering that the content of my research (archives of queer histories) is often full of gaps and violence, I want the writing to reflect the difficulty of this kind of unearthing. Which is why I will employ a non-linear, fragmented, scattered mode of writing <ref>For reference this mode of writing has been practiced in different ways by writers such as Johanna Hedva (in 'In Defence of the De-persons') and Carmen Maria Machado (in 'In the Dream House'). </ref> to bring the archival material and its value closer to the reader. I want to employ the scavenger methodology, which is a queer methodology that comprised of different methods fused together to cultivate wonder, offers possibilities for repair and challenges academic modes of knowledge production (this method has also said to make worlds) <ref> A scavenger methodology is a queer methodology that refuses to produce knowledge in the same way as white cishet academia acknowledges and allows for a mix of approaches. It recognizes undervalued sources as a possible site in which knowledge is produced. </ref>. <br>
For mode of address, I have been considering writing the thesis in the second person. This is a tool I have used in previous writing to bring political ideas and realities closer to the general reader. This approach allows the reader to feel the text on their skin as if they were the ones going on this search to begin with. Additionally, it opens up the space to learn new things and be challenged (in what they consider knowledge). I would love for my encounters with the stories of the archives to be fleshed out in the thesis through scenes or people the reader speaks with. The footnotes could be a place where these interactions get fully fleshed out. <br>


=Key Issues=
The 3 key issues I would like to explore are: <br>
The 3 key issues I would like to explore are: <br>
1. Narrative structure: homo nationalist narratives in the west (of the Balkans) and the narrative of queerness as inherently western (in the Balkans). <br>
1. Narrative structure: homonationalist <ref> Homonationalism is an ideology which affirms nationalist ideology and LGBTQIA+ rights. It is often built on the notion of othering those whose nation is considered to be anti-LGBTQIA+ and ‘backwards’. This ideology often results in islamophobia, anti-immigration stances and racism.</ref> narratives in the west (of the Balkans) and the narrative of queerness as inherently western (in the Balkans). <br>
For this part I want to look into the structures of narratives, with what political agenda are they crafted with, as well look into the use of language. <br>
For this part I want to look into the structures of narratives, with what political agenda are they crafted with, as well look into the use of language. <br>
'''Questions:''' <br>
'''Questions:''' <br>
* What can be done to get out of the one way street in which LGBT questions are considered a marker of Europeanness? And therefore other to a local context?
* What can be done to get out of the one way street in which LGBT questions are considered a marker of Europeanness? And therefore other to a local context? (Modified question taken from: Ulićević, J. & Brković Č. (2022) „Trans otpornost u Crnoj Gori: Medijski narativi o životima trans ljudi“. Postjugoslo/avenski TRANS. Multimedijalni institut: Zagreb. pp. 49. Translation by me)
* How can one counter homonationalist narratives that posit the west as a the source of queerness and non-western countries as a source of backwardness?
* How can one counter homonationalist narratives that posit the west as a the source of queerness and non-western countries as a source of backwardness?
* How has the conception of national identities influenced the attitude towards queer identities?
* How has the conception of national identities influenced the attitude towards queer identities?
This will be written about in the following way:

* You encounter the narratives about queer people created in the West and the Balkans

* You start to understand how you are being used, weaponized and why

* You look into the intersectional struggles that cause these ideas to arise (you ask yourself: how has the idea of the rotten west arised? How was homonationalism conceived? Who here is being othered and how?)


2. Gaps and inconsistencies in archival knowledge (and alternative archival approaches as remedy) <br>
2. Gaps and inconsistencies in archival knowledge (and alternative archival approaches as remedy) <br>
I want to research queer Balkan histories and what forms of othering affect this region. Along with this I want to explore more fluid approaches to archival practices which experiment in what way knowledge is shared and distributed. <br>
I want to research queer Balkan histories (from a variety of archives) and what forms of othering affect this region. Along with this I want to explore more fluid approaches to archival practices which experiment in what way knowledge is shared and distributed. <br>
'''Questions:''' <br>
'''Questions:''' <br>
* How could one dig up queer histories that have been hiding in plain sight, or overshadowed by violence?
* How could one dig up queer histories that have been hiding in plain sight, or overshadowed by violence?
* How does one address the violence cemented in archives? Or address the histories it choose not to include?
* How does one address the violence cemented in archives? Or address the histories it chooses not to include?
This will be written about in the following way:

* You encounter the archival material (traces of the lived of queer people)

* You encounter critical fabulation (Hartman)

* You encounter the confiscation of memory and conversation footnotes (Ugresic)
 


3. Political imaginaries <br>
3. Political imaginaries <br>
I want to see what potential political imaginaries have in changing the detrimental narrative that circulate about queer people. In exploring political imaginaries (int eh queer balkan context) I want to utilize different methods of creating narratives (imagining exercises, critical fabulation, theory fiction), to see what role they can play in bringing about a change. <br>
I want to see what potential political imaginaries have in changing the detrimental narrative that circulate about queer people. In exploring political imaginaries, I want to utilize different methods of creating narratives (imagining exercises, critical fabulation, theory fiction), to see what role they can play in bringing about a change.<br>
'''Questions:''' <br>
'''Questions:''' <br>
* Which forgotten queer Balkan histories would help us imagine the future differently?
* Which forgotten queer Balkan histories would help us imagine the future differently?
* What do a local queer culture and a queer vocabulary look like when they are not forcefully copy pasted from western queer pop culture?
* What do a local queer culture and a queer vocabulary look like when they are not forcefully copy pasted from western queer pop culture?
* How can (3d/immersive) fictioning from archival gaps and remains allow for new political imaginaries of queer futures?
* How can (3d/immersive) fictioning from archival gaps and remains allow for new political imaginaries of queer futures?
 
This will be written about in the following way:

Once you identify these you can begin your chapter outline (build on the 3 key issues by asking what research questions these lead to? Why is this key point important to you?). You will now have a frame for your text:
* You encounter the idea of a political imaginary

Introduction (what is this text about)
* You encounter the imagination that is allowed to persist (how the archival material has been shaped into narrative)

key issue 1 = chapter 1
* You speculate on what the futures that could be and follow different roads of thought to see them
key issue 2 = chapter 2
key issue 3 = chapter 3
Conclusion


=Research Questions=
=Research Questions=
For previous research questions look >[[User:Senka/a_bas_nije_da_nas_nikad_nije_bilo#Research_Methods|here]]<
For previous research questions look >[[User:Senka/a_bas_nije_da_nas_nikad_nije_bilo#Research_Methods|here]]<
=Bibliography and references=
Alreadymade. (2023) [Mp4]. Directed by Barbara Visser. The Netherlands: Tomtit Film and VPRO. <br>
Bakić-Hayden, M. (1995) "Nesting Orientalisms: The Case of Former Yugoslavia". Slavic Review, Vol. 54, No. 4. pp. 917–931. Available at: https://www.jstor.org/stable/2501399 (Accessed: 21 October 2024). <br>
Bilić, B. & Milanović A. (2022) "Uvod: U postjugoslovenskim trans svetovima". Postjugoslo/avenski TRANS: životi aktivizmi kulture. Multimedijalni institut: Zagreb. pp. 12–31. <br>
Blagojević J. & Dimitrijević O. (2014) Među nama: Neispričane priče gej i lezbejskih života. Beograd: Hartefakt Fond. <br>
Butler, O. E. (1979) Kindred. Boston: Beacon Press. <br>
Burrows, D. & O’Sullivan, S. (2019) Fictioning: The Myth-Functions of Contemporary Art and Philosophy. <br>
dys4ia. (2023) PC [Flash Game]. itch.io: anna anthropy. <br>
Hartman, Saidiya V. (2021) Venus in Two Acts. Los Angeles, Calif, New York, N.Y.: Cassandra Press ; Museum of Modern Art. <br>
Hartman, Saidiya V. (January 1, 2021) “Intimate History, Radical Narrative.” The Journal of African American History 106, no. 1. pp. 127–35. https://doi.org/10.1086/712019. <br>
Hedva, J. (2016) "In Defence of De-persons". GUTS, Issue 6: Futures. Available at: https://gutsmagazine.ca/in/ (Accessed: 21 October 2024). <br>
Kolev, K. (2023) "Yugoslavia's Digital Twin", The Dial, Issue 9: Weapons. Available at: https://www.thedial.world/articles/news/issue-9/yugolsav-wars-yu-domain-history-icann. (Accessed: 21 October 2024) <br>
K. Le Guin, U. (1969) The Left Hand of Darkness. <br>
Kosofsky Sedgwick, E. Paranoid Reading and Reparative Reading, or You're so Paranoid You Think This Essay is About You. <br>
Keser Battista, I. (2023) 'Places, non-places, spaces', Zbornik radova Akademije umetnosti, (11), pp. 48-61. doi:10.5937/ZbAkU2311048B. <br>
Lorenz, R. (2012) Queer Art: A Freak Theory. <br>
Machado, C. M. (2018) In the Dream House. London: Serpent's Tail. <br>
Milački, A. (2018) “Once Upon a Time in Yugoslavia”. The Avery Review 35. Available at: https://www.averyreview.com/issues/35/once-upon-a-time (Accessed: 21 October 2024). <br>
Todorova, M. Imagining the Balkans. <br>
The Yugoslawomen+ Collective. (2020) "The tale of ‘good’ migrants and ‘dangerous’ refugees." Yugosplaining the World. Available at: https://thedisorderofthings.com/2020/07/19/17977/ (Accessed: 21 October 2024). <br>
Ugrešić, D. (1996) “The Confiscation of Memory”. New Left Review 218, pp. 26-39. Translated by Celia Hawkesworth. <br>
Vidojković, M. (2017) E baš vam hvala. <br>
Wilson D. & Sicart M. (2008) Now It’s Personal: On Abusive Game Design. Copenhagen: IT University of Copenhagen, Center for Computer Games Research. <br>
Zvan B. & Schifter M. (2022) There is no Abusive Game Design: A typology of Counter Game Design. Copenhagen: IT University of Copenhagen. <br>
2.22am. (?) PC [Game]. itch.io: umbrella-isle. <br><br><br>

Latest revision as of 16:30, 17 November 2024

What

I would like to explore forgotten and overlooked queer histories in the context of the Balkans in order to counter the idea that queerness is an export of the 'rotten West'.
This thesis serves as a backbone to the project, by providing the text for the narrative structure the project, possibly in a slightly edited format in order not loose narrative-immersion.

How

In order to challenge how knowledge is produced in an academic context, I want to write a porous essay which allows for more fictional formats to seep into it. This thesis will be akin to theory fiction and will offer more narrative-driven and immersive writing.
Apart from this, considering that the content of my research (archives of queer histories) is often full of gaps and violence, I want the writing to reflect the difficulty of this kind of unearthing. Which is why I will employ a non-linear, fragmented, scattered mode of writing [1] to bring the archival material and its value closer to the reader. I want to employ the scavenger methodology, which is a queer methodology that comprised of different methods fused together to cultivate wonder, offers possibilities for repair and challenges academic modes of knowledge production (this method has also said to make worlds) [2].
For mode of address, I have been considering writing the thesis in the second person. This is a tool I have used in previous writing to bring political ideas and realities closer to the general reader. This approach allows the reader to feel the text on their skin as if they were the ones going on this search to begin with. Additionally, it opens up the space to learn new things and be challenged (in what they consider knowledge). I would love for my encounters with the stories of the archives to be fleshed out in the thesis through scenes or people the reader speaks with. The footnotes could be a place where these interactions get fully fleshed out.

Key Issues

The 3 key issues I would like to explore are:
1. Narrative structure: homonationalist [3] narratives in the west (of the Balkans) and the narrative of queerness as inherently western (in the Balkans).
For this part I want to look into the structures of narratives, with what political agenda are they crafted with, as well look into the use of language.
Questions:

  • What can be done to get out of the one way street in which LGBT questions are considered a marker of Europeanness? And therefore other to a local context? (Modified question taken from: Ulićević, J. & Brković Č. (2022) „Trans otpornost u Crnoj Gori: Medijski narativi o životima trans ljudi“. Postjugoslo/avenski TRANS. Multimedijalni institut: Zagreb. pp. 49. Translation by me)
  • How can one counter homonationalist narratives that posit the west as a the source of queerness and non-western countries as a source of backwardness?
  • How has the conception of national identities influenced the attitude towards queer identities?

This will be written about in the following way:


  • You encounter the narratives about queer people created in the West and the Balkans

  • You start to understand how you are being used, weaponized and why

  • You look into the intersectional struggles that cause these ideas to arise (you ask yourself: how has the idea of the rotten west arised? How was homonationalism conceived? Who here is being othered and how?)

2. Gaps and inconsistencies in archival knowledge (and alternative archival approaches as remedy)
I want to research queer Balkan histories (from a variety of archives) and what forms of othering affect this region. Along with this I want to explore more fluid approaches to archival practices which experiment in what way knowledge is shared and distributed.
Questions:

  • How could one dig up queer histories that have been hiding in plain sight, or overshadowed by violence?
  • How does one address the violence cemented in archives? Or address the histories it chooses not to include?

This will be written about in the following way:


  • You encounter the archival material (traces of the lived of queer people)

  • You encounter critical fabulation (Hartman)

  • You encounter the confiscation of memory and conversation footnotes (Ugresic)


3. Political imaginaries
I want to see what potential political imaginaries have in changing the detrimental narrative that circulate about queer people. In exploring political imaginaries, I want to utilize different methods of creating narratives (imagining exercises, critical fabulation, theory fiction), to see what role they can play in bringing about a change.
Questions:

  • Which forgotten queer Balkan histories would help us imagine the future differently?
  • What do a local queer culture and a queer vocabulary look like when they are not forcefully copy pasted from western queer pop culture?
  • How can (3d/immersive) fictioning from archival gaps and remains allow for new political imaginaries of queer futures?

This will be written about in the following way:


  • You encounter the idea of a political imaginary

  • You encounter the imagination that is allowed to persist (how the archival material has been shaped into narrative)

  • You speculate on what the futures that could be and follow different roads of thought to see them

Research Questions

For previous research questions look >here<

Bibliography and references

Alreadymade. (2023) [Mp4]. Directed by Barbara Visser. The Netherlands: Tomtit Film and VPRO.
Bakić-Hayden, M. (1995) "Nesting Orientalisms: The Case of Former Yugoslavia". Slavic Review, Vol. 54, No. 4. pp. 917–931. Available at: https://www.jstor.org/stable/2501399 (Accessed: 21 October 2024).
Bilić, B. & Milanović A. (2022) "Uvod: U postjugoslovenskim trans svetovima". Postjugoslo/avenski TRANS: životi aktivizmi kulture. Multimedijalni institut: Zagreb. pp. 12–31.
Blagojević J. & Dimitrijević O. (2014) Među nama: Neispričane priče gej i lezbejskih života. Beograd: Hartefakt Fond.
Butler, O. E. (1979) Kindred. Boston: Beacon Press.
Burrows, D. & O’Sullivan, S. (2019) Fictioning: The Myth-Functions of Contemporary Art and Philosophy.
dys4ia. (2023) PC [Flash Game]. itch.io: anna anthropy.
Hartman, Saidiya V. (2021) Venus in Two Acts. Los Angeles, Calif, New York, N.Y.: Cassandra Press ; Museum of Modern Art.
Hartman, Saidiya V. (January 1, 2021) “Intimate History, Radical Narrative.” The Journal of African American History 106, no. 1. pp. 127–35. https://doi.org/10.1086/712019.
Hedva, J. (2016) "In Defence of De-persons". GUTS, Issue 6: Futures. Available at: https://gutsmagazine.ca/in/ (Accessed: 21 October 2024).
Kolev, K. (2023) "Yugoslavia's Digital Twin", The Dial, Issue 9: Weapons. Available at: https://www.thedial.world/articles/news/issue-9/yugolsav-wars-yu-domain-history-icann. (Accessed: 21 October 2024)
K. Le Guin, U. (1969) The Left Hand of Darkness.
Kosofsky Sedgwick, E. Paranoid Reading and Reparative Reading, or You're so Paranoid You Think This Essay is About You.
Keser Battista, I. (2023) 'Places, non-places, spaces', Zbornik radova Akademije umetnosti, (11), pp. 48-61. doi:10.5937/ZbAkU2311048B.
Lorenz, R. (2012) Queer Art: A Freak Theory.
Machado, C. M. (2018) In the Dream House. London: Serpent's Tail.
Milački, A. (2018) “Once Upon a Time in Yugoslavia”. The Avery Review 35. Available at: https://www.averyreview.com/issues/35/once-upon-a-time (Accessed: 21 October 2024).
Todorova, M. Imagining the Balkans.
The Yugoslawomen+ Collective. (2020) "The tale of ‘good’ migrants and ‘dangerous’ refugees." Yugosplaining the World. Available at: https://thedisorderofthings.com/2020/07/19/17977/ (Accessed: 21 October 2024).
Ugrešić, D. (1996) “The Confiscation of Memory”. New Left Review 218, pp. 26-39. Translated by Celia Hawkesworth.
Vidojković, M. (2017) E baš vam hvala.
Wilson D. & Sicart M. (2008) Now It’s Personal: On Abusive Game Design. Copenhagen: IT University of Copenhagen, Center for Computer Games Research.
Zvan B. & Schifter M. (2022) There is no Abusive Game Design: A typology of Counter Game Design. Copenhagen: IT University of Copenhagen.
2.22am. (?) PC [Game]. itch.io: umbrella-isle.


  1. ↑ For reference this mode of writing has been practiced in different ways by writers such as Johanna Hedva (in 'In Defence of the De-persons') and Carmen Maria Machado (in 'In the Dream House').
  2. ↑ A scavenger methodology is a queer methodology that refuses to produce knowledge in the same way as white cishet academia acknowledges and allows for a mix of approaches. It recognizes undervalued sources as a possible site in which knowledge is produced.
  3. ↑ Homonationalism is an ideology which affirms nationalist ideology and LGBTQIA+ rights. It is often built on the notion of othering those whose nation is considered to be anti-LGBTQIA+ and ‘backwards’. This ideology often results in islamophobia, anti-immigration stances and racism.
Retrieved from "https://pzwiki.wdka.nl/mw-mediadesign/index.php?title=User:Senka/Thesis_Proposal&oldid=280975"