{"id":36926,"date":"2022-06-27T07:31:35","date_gmt":"2022-06-27T05:31:35","guid":{"rendered":"http:\/\/a-desk.org\/?p=36926"},"modified":"2023-07-09T14:33:19","modified_gmt":"2023-07-09T12:33:19","slug":"dar-vueltas-y-vueltas","status":"publish","type":"post","link":"https:\/\/a-desk.org\/ca\/magazine\/dar-vueltas-y-vueltas\/","title":{"rendered":"Donar voltes i voltes"},"content":{"rendered":"<p>Des del 2018 porto donant-li voltes el concepte \u201c<a href=\"http:\/\/www.injuve.es\/sites\/default\/files\/2018\/24\/publicaciones\/folleto_nueva_sinceridad.pdf\" target=\"_blank\" rel=\"noopener\">nova sinceritat<\/a>\u201d, aquest terme paraigua del qual ens apropiem maltraduint la New Sincerity anglosaxona i que consisteix en aquest llindar de desconfian\u00e7a que es genera entre la sinceritat extrema i una mica exagerada i la post-ironia desafectada.<\/p>\n<p>En aquesta ocasi\u00f3 volia abordar la nova sinceritat des de la idea de la repetici\u00f3, de les coses que tornen, les temporalitats c\u00edcliques, les espirals, el deixa vu, l&#8217;anacronisme o el pensament m\u00edtic i la seva relaci\u00f3 amb les temporalitats i les est\u00e8tiques queer. Vull pensar que hi ha quelcom neosincer en all\u00f2 que torna, perqu\u00e8 les voltes mai no s\u00f3n del tot genu\u00efnes. Quan alguna cosa es torna a posar de moda, s&#8217;entremescla amb all\u00f2 contemporani i per tant d\u00f3na lloc a formes est\u00e8tiques de pastitx, de barreja. Es generen anacronismes estranys que creen sospita sobre si aquesta est\u00e8tica \u00e9s ir\u00f2nica o sincera. Com totes hem apr\u00e8s a cop de seq\u00fcela de pel\u00b7l\u00edcules: \u201csegones parts mai no van ser bones\u201d.<\/p>\n<p>Una de les coses que em va portar a pensar la nova sinceritat en relaci\u00f3 amb la repetici\u00f3 i les est\u00e8tiques queer \u00e9s aquesta estampeta de Fernanda Laguna que ens va regalar Mar\u00eda Salgado en una sessi\u00f3 del seminari Euraca sobre l&#8217;editorial argentina <em><a href=\"https:\/\/bellezayfelicidadfiorito.com\/es\/home-2\/\" target=\"_blank\" rel=\"noopener\">Belleza y felicidad.<\/a><\/em>\u00a0Una cosa petita. Com una petit\u00edssima carta d&#8217;invitaci\u00f3 que va arribar fins a nosaltres i que no tindria perqu\u00e8 haver-nos arribat mai. Un regal.<\/p>\n<div id=\"attachment_36905\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-36905\" decoding=\"async\" class=\"wp-image-36905 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/estampita-Collage.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/estampita-Collage.jpg 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/estampita-Collage-533x400.jpg 533w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/estampita-Collage-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-36905\" class=\"wp-caption-text\">\u00a1Vamos nenx! de Fernanda Laguna, imatge de l&#8217;autora<\/p><\/div>\n<p>Segons Cynthia Francica, bona part de les edicions de <em>Belleza y felicidad\u00a0<\/em>tenen a veure amb aquest gest de fer un regal, a trav\u00e9s de petits objectes com arracades o joguines que s&#8217;inclo\u00efen dins de les bossetes de pl\u00e0stic on venien embolicats els fanzins<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_1');\" onkeypress=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_1');\" ><sup id=\"footnote_plugin_tooltip_36926_1_1\" class=\"footnote_plugin_tooltip_text\">[1]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36926_1_1\" class=\"footnote_tooltip\">FRANCICA, Cynthia (2015) &#8220;Lo &#8216;queer infantil&#8217; en la literatura de Belleza y Felicidad. Temporalidad, crisis y pol\u00edtica.&#8221; en Pret\u00e9rito Indefinido: Afectos y emociones en las&nbsp;&#x2026; <span class=\"footnote_tooltip_continue\"  onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_1');\">Continue reading<\/span><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36926_1_1').tooltip({ tip: '#footnote_plugin_tooltip_text_36926_1_1', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Aquesta joguina que es regala converteix la lectora en nena i el llibre en un objecte per jugar. Es produeix aix\u00ed un viatge infantil en qu\u00e8 la lectora fa de criatura a trav\u00e9s de les narracions infantils, fant\u00e0stiques, cursis que defineixen aquestes edicions. Per\u00f2 on aquest fer de criatura est\u00e0 tamb\u00e9 carregat d&#8217;erotisme i sexe queer, on all\u00f2 infantil, per tant, \u00e9s reapropiat per ser el mitj\u00e0 de narraci\u00f3 de viv\u00e8ncies i hist\u00f2ries queer.<\/p>\n<p>Aquest desig de vulnerabilitat o d&#8217;infantitzaci\u00f3 queer no t\u00e9 a veure simplement amb un desig d&#8217;inf\u00e0ncia, sin\u00f3 amb una inf\u00e0ncia negada on l&#8217;escriptura es pot tornar, com diu Camila Insulsa, un exercici d&#8217;acunament i tendresa que ens permeti evocar tamb\u00e9 les inf\u00e0ncies que no vam tenir: \u201cAndo siempre en mi ronda infantil, dando c\u00edrculos dentro de m\u00ed. Tengo otra edad cuando escribo. Soy una ni\u00f1a travesti perversa y atribulada. Soy la ni\u00f1a que se escapa de sus padres y termina en los brazos de la literatura. O que por fin se acuna a s\u00ed misma cuando escribe\u201d<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_2');\" onkeypress=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_2');\" ><sup id=\"footnote_plugin_tooltip_36926_1_2\" class=\"footnote_plugin_tooltip_text\">[2]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36926_1_2\" class=\"footnote_tooltip\">SOSA VILLADA, Camila (2021) <em>El viaje in\u00fatil<\/em>, Segovia: La U\u00f1a Rota, p. 29.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36926_1_2').tooltip({ tip: '#footnote_plugin_tooltip_text_36926_1_2', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Per\u00f2 insisteixo, les voltes sempre s\u00f3n per segona vegada, mai no s\u00f3n del tot genu\u00efnes, sinceres, i per tant ja no ens bressolen els nostres pares, sin\u00f3 que ens bressolem nosaltres, a nosaltres mateixes, com diu Camila Insulsa: per fi.<\/p>\n<p>Aquesta volta de la tendresa, aquest <em>per fi\u00a0<\/em>d&#8217;una vulnerabilitat negada, em fa pensar en all\u00f2 que Sianne Ngai identifica com un gir cap a all\u00f2 plaent dins dels corrents est\u00e8tics contemporanis. A <em>Nuestras categor\u00edas est\u00e9ticas: cute, interesting, zine\u00a0<\/em>Ngai ens diu que all\u00f2 \u201ccute\u201d, all\u00f2 mono, t\u00e9 a veure amb les cosetes petites, els \u00e9ssers i objectes que ens generen desig de protecci\u00f3 davant la seva vulnerabilitat i particularment amb all\u00f2 dom\u00e8stic<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_3');\" onkeypress=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_3');\" ><sup id=\"footnote_plugin_tooltip_36926_1_3\" class=\"footnote_plugin_tooltip_text\">[3]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36926_1_3\" class=\"footnote_tooltip\">NGAI, Sianne (2010) <em>Our <\/em><em>Aesthetic Categories: Zany, Cute, Interesting<\/em>, Cambridge: Harvard University Press.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36926_1_3').tooltip({ tip: '#footnote_plugin_tooltip_text_36926_1_3', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Est\u00e8tiques que podr\u00edem anomenar encoixinades, peluix\u00edstiques, per\u00f2 tamb\u00e9 i en molts casos alien\u00edgenes i monstruoses. Imatges i \u00e9ssers suaus, que vols tocar, que ens toquen.<a href=\"applewebdata:\/\/A7FD92C0-BC75-400C-8E64-73E32612A896#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"YouTube video player\" src=\"https:\/\/www.youtube.com\/embed\/9Fapj05tHw0\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p>\n<p>ASMR 360\u00ba (VR-IMMERSIVE) -\ud83d\udc96ERES MI MU\u00d1ECA, BIENVENIDO A MI CASA DE MU\u00d1ECAS ASMR\ud83d\udc96de Cruelaudia, 2019Fotograma de Bolloisla.<\/p>\n<p>Elizabeth Freeman parla de la relaci\u00f3 er\u00f2tica que desenvolupem amb certes obres d&#8217;art, amb les imatges, que remeten a sensacions t\u00e0ctils i que, per a ella, est\u00e0 molt relacionat amb la producci\u00f3 d&#8217;un art queer<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_4');\" onkeypress=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_4');\" ><sup id=\"footnote_plugin_tooltip_36926_1_4\" class=\"footnote_plugin_tooltip_text\">[4]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36926_1_4\" class=\"footnote_tooltip\">FREEMAN, Elizabeth (2010) <em>Time Binds, <\/em>Durham: Duke University Press.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36926_1_4').tooltip({ tip: '#footnote_plugin_tooltip_text_36926_1_4', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Escultures suaus, que no podem tocar, olis en museus que no podem xuclar, avatars i imatges de fades digitals que no podem acariciar, que no podem abra\u00e7ar. Totes aquestes imatges ens conviden a pensar una est\u00e8tica per venir, uns codis no antropomorfs per arribar i desperta una er\u00f2tica no coneguda on el peluix es converteix en un mitj\u00e0 de fabulaci\u00f3 de futurs m\u00e9s amables, m\u00e9s dol\u00e7os i tous.<\/p>\n<div id=\"attachment_36917\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-36917\" decoding=\"async\" class=\"wp-image-36917 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/mitchell.png\" alt=\"\" width=\"800\" height=\"598\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/mitchell.png 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/mitchell-535x400.png 535w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/mitchell-768x574.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-36917\" class=\"wp-caption-text\">Allyson Mitchell, <em>Ladies Sasquatch<\/em>, 2006-2010<\/p><\/div>\n<p>Amb la meva amiga, companya ont\u00f2loga i <em>partner in crime <\/em>Laura Tabar\u00e9s encunyem un terme, que ara us regalo tamb\u00e9 a vosaltres, lectores, que \u00e9s lletgisme \u00e8lfic. El lletgisme \u00e8lfic representa, precisament, aquest gest neosincer, sospit\u00f3s, amb qu\u00e8 adultis reclamen aquestes est\u00e8tiques que van viure en les seves adolesc\u00e8ncies, en les seves inf\u00e0ncies per\u00f2 que en aquesta volta ho facin de forma fant\u00e0stica. Una mica deformades, fins i tot. El lletgisme \u00e8lfic, el <em>cottagecore<\/em>, el <em>fairycore<\/em>, all\u00f2 peluix\u00edstic, all\u00f2 neosincer. Tots aquests termes que us llan\u00e7o ens poden ajudar per pensar una est\u00e8tica queer, que abraci les temporalitats no lineals i que critiquin amb aquestes voltes trasbalsades la crononormativitat de qu\u00e8 parla Elizabeth Freeman. Aquelles que fan que tornin figures i hist\u00f2ries que van quedar enrere. A la inf\u00e0ncia, per\u00f2 tamb\u00e9 al mite o a la fantasia. Heather Love tamb\u00e9 parla al seu llibre <em>Feeling Backward<\/em>de com les est\u00e8tiques queer tenen a veure amb el gest de mirar enrere, de tornar-se o del que torna. La hist\u00f2ria estaria plena de refer\u00e8ncies a aquests subjectes que no compleixen el mandat modern de progressi\u00f3 i que es giren, es queden enrere, no avancen<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_5');\" onkeypress=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_5');\" ><sup id=\"footnote_plugin_tooltip_36926_1_5\" class=\"footnote_plugin_tooltip_text\">[5]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36926_1_5\" class=\"footnote_tooltip\">LOVE, Heather (2007) <em>Feeling Backward, <\/em><em>Loss and the Politics of Queer History<\/em><\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36926_1_5').tooltip({ tip: '#footnote_plugin_tooltip_text_36926_1_5', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. Les mateixes sirenes, de les quals s&#8217;ha parlat tamb\u00e9 en aquest <a href=\"https:\/\/a-desk.org\/magazine\/cuatro-anunciaciones-para-un-bestiario-cuir\/\">monogr\u00e0fic <\/a>s\u00f3n aquelles que fan que ens tornem, amb el seu cant, alhora passat. Aquelles que retenen els que volien avan\u00e7ar.<\/p>\n<p>Pregunto a l&#8217;editora del mes d&#8217;aquest Magazine, blanca arias quina relaci\u00f3 troba ella amb aquest reclam de les est\u00e8tiques elfiques, les fades, les genealogies fantasioses des d&#8217;una perspectiva queer que abraci les temporalitats i est\u00e8tiques infantils en relaci\u00f3 a la seva producci\u00f3 art\u00edstica i concretament en relaci\u00f3 a la seva pe\u00e7a <a href=\"https:\/\/blanc4rias.hotglue.me\/?portfolio\"><em>Bolloisla<\/em><\/a>. Em comenta que quan estava fent la pe\u00e7a es va trobar que la complexitat de crear un m\u00f3n en 3D tamb\u00e9 passava perqu\u00e8 moltes vegades havia de simplificar les coses. I que en aquesta simplificaci\u00f3 ella escollia imatges conegudes de la seva adolesc\u00e8ncia, com unes ales en png cutre similars a les que hauria enviat Messenger.<\/p>\n<div id=\"attachment_36911\" style=\"width: 810px\" class=\"wp-caption alignnone\"><img aria-describedby=\"caption-attachment-36911\" decoding=\"async\" class=\"wp-image-36911 size-full\" src=\"http:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/bolloisla2.png\" alt=\"\" width=\"800\" height=\"447\" srcset=\"https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/bolloisla2.png 800w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/bolloisla2-595x332.png 595w, https:\/\/a-desk.org\/wp-content\/uploads\/2022\/06\/bolloisla2-768x429.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><p id=\"caption-attachment-36911\" class=\"wp-caption-text\">blanca arias, Bolloisla, fotograma, 2020<\/p><\/div>\n<p><a href=\"applewebdata:\/\/0646A7DC-3EAB-457E-AC02-17919DAC11C6#_ftnref1\" name=\"_ftn1\"><\/a><\/p>\n<p>Per\u00f2 que tamb\u00e9 va llegir el cap\u00edtol final de <em>Seguir con el problema\u00a0<\/em>de Donna Haraway, on planteja un relat en clau especulativa per a futurs sostenibles en interrelaci\u00f3 amb altres esp\u00e8cies<span class=\"footnote_referrer\"><a role=\"button\" tabindex=\"0\" onclick=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_6');\" onkeypress=\"footnote_moveToReference_36926_1('footnote_plugin_reference_36926_1_6');\" ><sup id=\"footnote_plugin_tooltip_36926_1_6\" class=\"footnote_plugin_tooltip_text\">[6]<\/sup><\/a><span id=\"footnote_plugin_tooltip_text_36926_1_6\" class=\"footnote_tooltip\">HARAWAY, Donna (2020) <em>Seguir con el problema<\/em>, Bilbao: Consonni.<\/span><\/span><script type=\"text\/javascript\"> jQuery('#footnote_plugin_tooltip_36926_1_6').tooltip({ tip: '#footnote_plugin_tooltip_text_36926_1_6', tipClass: 'footnote_tooltip', effect: 'fade', predelay: 0, fadeInSpeed: 200, delay: 400, fadeOutSpeed: 200, position: 'top center', relative: true, offset: [-7, 0], });<\/script>. En aquest text Haraway genera tota una mitologia, uns nous mites queer, estranys, centrada en les papallones monarca i les seves relacions amb <em>Els Nens del Compost<\/em>, que va fer que es planteg\u00e9s aquests mateixos personatges en termes posthumans, a interrogar-se per qu\u00e8 significa que aquests cossos tinguin ales. En aquest desig de seguir pensant les fades, hi ha una mica de connexi\u00f3 amb una creen\u00e7a i un anhel per all\u00f2 fant\u00e0stic en la inf\u00e0ncia, per\u00f2 tamb\u00e9 per pensar noves mitologies a futur.<\/p>\n<p>Donar tantes voltes sobre el mateix per fer que el temps no es reconegui, que segueixi trasbalsat. Fer exercicis de repetici\u00f3, memoritzaci\u00f3, oblit i generaci\u00f3 de llegendes i de mites. De noves llegendes, tamb\u00e9. Seguir amb el problema, que torna una vegada i una altra implica tamb\u00e9 generar mitologies per fer front als futurs queer i estranys que necessitem.<\/p>\n<p>&nbsp;<\/p>\n<p>[Foto de portada: Irene Izard, <em>Alas negras (Cuervo)<\/em>, 2021. Imatge de la exposici\u00f3\u00a0<em>Rebel Soft\u00a0<\/em>Casa Antill\u00f3n]<\/p>\n<div class=\"speaker-mute footnotes_reference_container\"> <div class=\"footnote_container_prepare\"><p><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_label pointer\" onclick=\"footnote_expand_collapse_reference_container_36926_1();\">&#x202F;<\/span><span role=\"button\" tabindex=\"0\" class=\"footnote_reference_container_collapse_button\" style=\"display: none;\" onclick=\"footnote_expand_collapse_reference_container_36926_1();\">[<a id=\"footnote_reference_container_collapse_button_36926_1\">+<\/a>]<\/span><\/p><\/div> <div id=\"footnote_references_container_36926_1\" style=\"\"><table class=\"footnotes_table footnote-reference-container\"><caption class=\"accessibility\">References<\/caption> <tbody> \r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36926_1('footnote_plugin_tooltip_36926_1_1');\"><a id=\"footnote_plugin_reference_36926_1_1\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>1<\/a><\/th> <td class=\"footnote_plugin_text\">FRANCICA, Cynthia (2015) &#8220;Lo &#8216;queer infantil&#8217; en la literatura de Belleza y Felicidad. Temporalidad, crisis y pol\u00edtica.&#8221; en <em>Pret\u00e9rito Indefinido: Afectos y emociones en las aproximaciones al pasado<\/em>, Buenos Aires: Blatt &amp; R\u00edos.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36926_1('footnote_plugin_tooltip_36926_1_2');\"><a id=\"footnote_plugin_reference_36926_1_2\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>2<\/a><\/th> <td class=\"footnote_plugin_text\">SOSA VILLADA, Camila (2021) <em>El viaje in\u00fatil<\/em>, Segovia: La U\u00f1a Rota, p. 29.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36926_1('footnote_plugin_tooltip_36926_1_3');\"><a id=\"footnote_plugin_reference_36926_1_3\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>3<\/a><\/th> <td class=\"footnote_plugin_text\">NGAI, Sianne (2010) <em>Our <\/em><em>Aesthetic Categories: Zany, Cute, Interesting<\/em>, Cambridge: Harvard University Press.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36926_1('footnote_plugin_tooltip_36926_1_4');\"><a id=\"footnote_plugin_reference_36926_1_4\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>4<\/a><\/th> <td class=\"footnote_plugin_text\">FREEMAN, Elizabeth (2010) <em>Time Binds, <\/em>Durham: Duke University Press.<\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36926_1('footnote_plugin_tooltip_36926_1_5');\"><a id=\"footnote_plugin_reference_36926_1_5\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>5<\/a><\/th> <td class=\"footnote_plugin_text\">LOVE, Heather (2007) <em>Feeling Backward, <\/em><em>Loss and the Politics of Queer History<\/em><\/td><\/tr>\r\n\r\n<tr class=\"footnotes_plugin_reference_row\"> <th scope=\"row\" class=\"footnote_plugin_index_combi pointer\"  onclick=\"footnote_moveToAnchor_36926_1('footnote_plugin_tooltip_36926_1_6');\"><a id=\"footnote_plugin_reference_36926_1_6\" class=\"footnote_backlink\"><span class=\"footnote_index_arrow\">&#8593;<\/span>6<\/a><\/th> <td class=\"footnote_plugin_text\">HARAWAY, Donna (2020) <em>Seguir con el problema<\/em>, Bilbao: Consonni.<\/td><\/tr>\r\n\r\n <\/tbody> <\/table> <\/div><\/div><script type=\"text\/javascript\"> function footnote_expand_reference_container_36926_1() { jQuery('#footnote_references_container_36926_1').show(); jQuery('#footnote_reference_container_collapse_button_36926_1').text('\u2212'); } function footnote_collapse_reference_container_36926_1() { 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