They/them的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列問答集和資訊懶人包

Leaking Vessels: Issue 1

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為了解決They/them的問題，作者 這樣論述：

Leaking Vessels is a new platform forwriting by visual and performance artists. Moving between critical, conversational, autobiographical, and poetic approaches, the journal entanglestheory, practice, and everyday life. For this first issue, we askedcontributors to consider the journal’s title. Leak

ing vessels are porous siteswhere bodies, histories, and ecologies are constituted and contested. Thepieces gathered here reflect on messy beds and menstrual art, ectoplasm anduncanny figuration, obsolete currency, rematriated cultural belongings, andmore. Contributors include Juan Betancurth, Tsohi

l Bhatia, Agnes Borinsky, LenaChen, Tara Fay Coleman, Matthew Constant, Jamison Edgar, Emily Johnson, AdilMansoor, and Zoe Sandoval. JamisonEdgar is aqueer southerner working between Los Angeles and Atlanta. Their work entanglespainterly abstraction, devised performance, video installation, and cr

eativenonfiction to share stories of flourishing, joy, and exuberance within the USAmerican south and beyond. A graduate of Carnegie Mellon University (MFA) andThe University of Georgia (BFA), Jamison is often covered in glitter, and theycollaborate with filmmakers, historians, archivists, data scie

ntists, andperformance makers to abstract historical records and sculpt cultural memories.They have shown in solo and group exhibitions throughout the United States aswell as London, Berlin, Singapore, and Budapest. They have been invited toparticipate in the Pilotenkueche International Arts Program

(Leipzig, Germany), and the D’Clinic Residency (Budapest, Hungary) and are the recipient of theFrank-Ratchye Fund for Art at the Frontier, The Carnegie MellonInterdisciplinary Project Grant, and the New Works Artist Fellowship at theKelly Strayhorn Theater (Pittsburgh). Their writing has been publi

shed by the Miller Institute forContemporary Art and ContemporaryPerformance, and they are currently writing a counter history of Bermuda grassthat will be part of the Estonian pavilion at the The59th Venice Biennale. WesleighGates (they/them) is aperformance maker, writer, and researcher based in L

os Angeles. Inperformance, they deploy queer, choreographic, and participatory strategies tocreate structures of connection and care that imagine and realize collectivespaces. As a researcher, they attend to the embodied experience ofnavigating urban space, investigating the everyday choreographies

imposed bystate and corporate power, as well as counter-choreographies of resistancecreated by artists and activists. Wesleigh’s work as a creator and director hasbeen seen in New York, Pittsburgh, Philadelphia, Boston, and Prague, and hasbeen supported by the Foundation for Contemporary Arts and th

e Frank-RatchyeFund for Art at the Frontier. They have been published by Gulf Coast Journal, PARtake: The Journal of Performance as Research, and Contemporary Performance, and were writer-in-residence at the 2019 zürich moves! festival. Wesleigh holdsan MFA in Directing from Carnegie Mellon Universi

ty and is currently a PhDstudent in Culture and Performance at UCLA.

They/them進入發燒排行的影片

論「跨性別」群體之就業歧視－以「平等權」與「性別工作平等法」為討論中心

為了解決They/them的問題，作者陳佳君 這樣論述：

　　隨著多元性別意識在本土社會中逐漸抬頭，「性別認同」的概念也隨著跨性別主體於社會脈絡中的現身，而打破了主流將「『生理性別』當然視為個人所擁護的性別身分」，這樣的立場。然我國現行的反就業歧視法制，針對跨性別群體則尚缺乏完整的規範，釋憲實務就公權力措施，於性別認同干預的正當性判斷上，亦未明確揭示出司法就此所應採擇之審查標準，此等由制度、實務所構成的保障闕漏，均激發了筆者欲以「性別認同就業歧視」，作為本文研究主題的動機開端。　　而於爬梳完美國法相關論理及實務後，本文認為，在立法層次的討論上，「性別認同」實應獨立納為性別工作平等法的禁止歧視事由，除應落實對「招募、進用分發、薪資給付、解僱」等等現行

法既有之就業歧視態樣的保護以外，並應增添「性別空間近用、性別服儀選擇、生理照護假」等等專屬跨性別者所面臨之歧視態樣，以完善跨性別者在性別工作平等法上之保障。而於憲法平等權的討論上，亦應將以「性別認同」作為分類標準的公權力措施，於違憲審查的層面上，提升至「中度審查標準」，僅於運動競賽、軍隊、監所的脈絡情境下，得例外以性別認同作為就業資格的界定標準，其餘則不應以性別認同，作為不利差別待遇的分類標準。

Màgòdiz

為了解決They/them的問題，作者Calderón, Gabe 這樣論述：

GabeCalderón (they/them & kiin/wiin) is nij-manidowag, ayahkwêw & îhkwew (Two-Spirit& trans & queer) Omamiwinini Anishnaabe, L’nu and mixed white (Frenchand Scottish). They originate from Omawinini Anishinabeg aki and currentlythrive in Treaty 6- Amiskwacîwâskahikan as a poet, author and educator.

女人的身體與性意識--女星寫真集的文本建構與青少女的解讀策略

為了解決They/them的問題，作者李宜玲 這樣論述：

【摘 要】1996年起，台灣社會興起了一股「寫真集風潮」。這些寫真集由於將以往被視為私密性的女性裸體公開，包裝成商品加以販賣，並受到媒體大幅報導，廣泛地流通，因此引來許多輿論的批評。其中，寫真集文本內容是否具有進步的女性意識以及其對於閱聽人的影響便是爭論焦點之一。本研究基於女性主義立場，以女性身體、性意識為研究主題，從文本分析與閱聽人的解讀兩個面向，對於這個具有台灣當代身體、性慾政治豐富意涵的案例「台灣女星寫真集風潮」進行進一步的探討。希望藉此能對於台灣女星寫真集的文本內容所代表的社會文化意涵、以及寫真集對於青少女閱聽人可能產生的效果有更深入的瞭解。在文獻探討中，本研究首先以傅科的知識╱權

力分析觀點，探討「身體」與「性意識」所具有的社會意涵，以及父權社會對其的權力展佈，並歸納、檢視國內外相關媒體研究；其次概述閱聽人研究的流變，並整理近來文化研究中對於閱聽人主動解讀能力的相關討論。最後則探討青少女時期的身體與性意識轉變，以及國外的青少女閱聽人解讀型態研究。在針對四本女星寫真集進行符號學分析以後，本研究有四點發現：（1）瘦身美貌迷思；（2）缺乏力量的女性形象；（3）被窺看的客體，以滿足窺看者；（4）文本裡充斥著陽具象徵物，女性在裡面仍被視為性玩物等四點。而青少女閱聽人研究分析則發現，青少女的解讀策略雖略有差異，但大抵仍不脫父權異性戀的意識型態，鮮少能對於寫真文本中的性別歧視意涵加以

批判。