Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

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Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

Cruising Utopia: The Then and There of Queer Futurity (Sexual Cultures)

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Muñoz offers a view of queer utopia that recognizes queerness as the coming potentiality, something that has not yet arrived, a hopeful future beyond normativity and reproductive futurism. Another reason for Cruising Utopia‘s enduring influence is the critique it offered of the ‘anti-relational thesis’ that dominated North American queer studies in the early 2000s, exemplified by Lee Edelman’s 2004 No Future: Queer Theory and the Death Drive.

To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average. Instead we should consider them to be the blueprints to a better world that queer utopian aesthetics supply. there is the suggestion that these traces can change your outlook and give you Hope, and that Hope is important for change, but not very many bones beyond that. Cruising Utopia: The Then and There of Queer Futurity is a book in the field of queer theory by José Esteban Muñoz, published in 2009. Ann Pellegrini is Professor of Performance Studies and Social and Cultural Analysis at NYU and author of Love the Sin: Sexual Regulation and the Limits of Religious Tolerance (NYU, 2003).

However, the analysis ultimately falls flat for me when it approaches material culture; I question the way Muñoz often distracts from lack of engagement with the material realities of visual art by focusing on performative function, assuming his own associative/felt resonance to be self-evident without close visual and historical analysis. so i liked the idea of queerness as reaching, but i just think there is something fatalistic also; at times this book seems to romanticize where you're reaching *from* (homophobic violence, poverty, drug addiction, etc). The bestselling LGBTQ+ graphic novel about life, love, and everything that happens in between: this is the fifth volume of the Heartstopper series. As he moves continually between one historical moment and the present, Muñoz gleefully undermines the linear, sequential logic of traditional cultural history. More than ten years on from its original publication, in the face of our own stagnant and negative present, the book remains a joyful and provocative read, not just for students of queer cultural history, but anyone keen to accept Muñoz’s invitation to collectively step out of ‘this place and time to something fuller, vaster, more sensual, and brighter’ (189).

He insists that even in eras of failure and tragedy for the movement, by reflecting on utopian movements of the past and looking towards the future, we can retain hope of our queer utopia arriving. I was less compelled by the actual overarching theme of seeking utopia and making the world a better place by dreaming of the future. it helped also to think about Louis Gluck's Eros the Bittersweet; which was sort of about knowledge+love, and how knowledge+love is an action of reaching towards something perfect but not attaining it perfectly, just reaching all the time.The foreword offers an intimate introduction to Cruising Utopia, with the three authors having been close friends and colleagues of Muñoz at New York University and the current editors of Sexual Cultures, an influential book series Muñoz co-founded with Pelligrini.

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