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Titlebook: RuPaul’s Drag Race and the Shifting Visibility of Drag Culture; The Boundaries of Re Niall Brennan,David Gudelunas Book 2017 The Editor(s)

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樓主: 和尚吃肉片
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發(fā)表于 2025-3-23 12:40:27 | 只看該作者
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發(fā)表于 2025-3-23 16:04:45 | 只看該作者
Drag Culture, Global Participation and ,,ors situate RPDR within a framework of gender/drag performativity (Butler 1990) and camp sensibility (Newton 1972). Following, they account for RPDR’s elevation of lesbian, gay, bisexual, transgender and queer/questioning (LGBTQ) visibility through public and private queer histories. The authors dis
13#
發(fā)表于 2025-3-23 20:46:15 | 只看該作者
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發(fā)表于 2025-3-24 01:33:27 | 只看該作者
Contradictions Between the Subversive and the Mainstream: Drag Cultures and ,y in terms of how drag is articulated by men performing femininity. I also interrogate authenticity (Hill 2009) for the way it contradicts the inauthentic spaces that drag occupies on RPDR. Additionally, I consider competition (Kavka 2012) and consumption (Silverstone 1999) as institutional and narr
15#
發(fā)表于 2025-3-24 03:55:53 | 只看該作者
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發(fā)表于 2025-3-24 09:06:16 | 只看該作者
North American Universalism in ,: Stereotypes, Linguicism, and the Construction of “Puerto Rican Que fall under this category, however, is a consistent emphasis upon their English language capabilities, and more broadly, a focus on their knowledge of North American popular culture. In both areas, queens from Puerto Rico are depicted as lacking, with jokes often made at their expense. Through an an
17#
發(fā)表于 2025-3-24 14:05:35 | 只看該作者
18#
發(fā)表于 2025-3-24 18:28:16 | 只看該作者
The Werk That Remains: Drag and the Mining of the Idealized Female Formshow is said to have challenged not only heteronormativity but gender normativity as well. It, however, has not escaped criticism. This essay examines RPDR and the many ways in which the show reinforces cultural norms associated not only with race and ethnicity but also with the body. Despite statem
19#
發(fā)表于 2025-3-24 19:08:42 | 只看該作者
20#
發(fā)表于 2025-3-25 01:19:48 | 只看該作者
“I Am the Drag Whisperer”: Notes from the Front Line of a Cultural Phenomenonirector who created the initial Logo TV viewing parties for the first five seasons of RPDR. He also produced the first five RPDR Tours for Logo TV and Absolut Vodka. This allowed him to witness, first hand, the immediate celebrity experienced by the contestants and offer behind-the-scenes stories an
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