Against Homochrononormativity: New Queer Times in French and Greek Literature

“酷儿时间”描述了一种现象，即酷儿的一生可以存在于传统的异性恋规范的“生活经历标记”之外，比如“家庭、继承和抚养孩子”（Halberstam, 2005:1）。虽然某些西方国家声称已经实现了平等，但问题依然存在。当英国考虑改革《性别承认法案》，跨性别者自杀率在“宽容”文化中持续存在时，我们如何重新考虑欧洲政治格局中酷儿叙事的时间性？在Saxey的同形情节理论（2008）和Freeman的“时间规范”理论（2010）的基础上，我将使用“出柜”叙事作为文化文献来探索酷儿群体是否感到有压力根据某些规范发展他们的性取向或性别。我之所以选择比较法国和希腊的叙事，是因为这两种文化在历史上都对酷儿话语感到不安，它们都在经历一种关注时间的自传体转向，而这两种语言之间的翻译，以及人们和思想的流动，都被证明是重要的。这些规范如何影响酷儿作家讲述自己的故事，反之亦然？这些故事如何尝试年代和自我改造，回应阶级、种族和性别的交叉点，并通过翻译相互影响？为此，我的研究将重申流动性和酷儿自决，而跨性别和非二元群体则努力控制自己的转变。在法国，这些叙述包括Didier Eribon， Édouard Louis, Constance debr<s:1>和Anne garr<s:1>，以及s<s:1> bastien Lifshitz的纪录片。在希腊，埃里本和路易斯的作品被翻译成广受好评，影响了山姆·阿尔巴特罗斯（Sam Albatros）等跨性别作家。他和其他跨性别作家，如埃罗菲利·科克卡利（Erofili Kokkali），也对科斯塔斯·塔奇西斯（Kostas Tachtsis）和玛格丽塔·卡拉帕努（Margarita Karapanou）早期的希腊文本做出了回应。与此同时，跨性别活动家Paola Revenioti在她的纪录片《Pikrodafnes》中探索了雅典的跨性别和酷儿历史，此前Panos Koutras的跨性别电影《Strella》取得了成功，希腊媒体对跨性别的关注也越来越多。这些叙事关注的是时间，以及在这些文化中，酷儿（主要是跨性别者）的生活是否有未来，或者“暂时性”。如果酷儿的生活变得“清晰”，它必须遵循“认可的”时间线，弗里曼称之为“时间规范”（2010:3）。因此，我的研究问题是：在这些国家，生命政治规范在多大程度上决定了酷儿个人的发展轨迹，决定了酷儿作家讲述自己的故事，反之亦然？这些法语和希腊语文本是如何相互阐释的？以这种方式将英语文学从比较研究中分离出来可能会产生新的观点。我的方法的独创性在于将“同性性”和跨性别经历扩展到之前对酷儿时间的理解。通过仔细阅读并将这些文本与早期的例子结合起来，我将确定随着时间的推移，不断变化的社会规范是否产生了不同的叙事修辞，反之亦然。利用创伤理论，我将探索非线性创伤叙事与他们所描述的“流动”酷儿自我之间的联系。我将使用接受和翻译理论，看看希腊作家是否对这些法国叙事形式进行了协商阅读，以描述他们自己的文化情境。为了使我的研究具有交叉性，我将通过分析路易斯和埃里本如何将其与酷儿自我重塑联系起来来引入课堂。我将使用布迪厄的资本和阶级区分理论，将他们对酷儿和阶级的讨论与那些不那么特权的希腊创作者（如Kokkali和Revenioti）进行对比。利用garr<s:1>和debr<s:1>，我将结合女性的经验。最后，我将使用关于跨时间性的著作（例如Preciado， 2020）来细微差别时间规范性，我将找到在我的语料库中包含更多种族多样性的方法。

'Queer time' describes the phenomenon that queer lifetimes can exist outside of conventional heteronormative "markers of life experience" like "family, inheritance, and childrearing" (Halberstam, 2005:1). While certain countries in the West claim that equality has been achieved, issues remain. As the UK considers reforming the Gender Recognition Act and trans suicide rates persist in 'tolerant' cultures, how might we reconsider queer narrative temporality in the European political landscape? Building on Saxey's theory of the homoplot (2008) and Freeman's theory of 'chrononormativity' (2010), I shall use 'coming out' narratives as cultural documents to explore whether queer communities feel pressured to develop their sexuality or gender according to certain norms. I have chosen to compare French and Greek narratives because both cultures, historically uneasy with queer discourse, are experiencing an autobiographical turn focused on time, and translation between these languages, as well as the movement of people and ideas, have proven significant. How do these norms affect the stories queer writers narrate about themselves and vice versa? How do these stories experiment with chronology and self-reinvention, respond to intersections of class, race and gender, and influence each other through translation? To this end, my study will reassert fluidity and queer self-determination while trans and non-binary communities fight to control their own transitions. In French, these narratives include the life-writing of Didier Eribon, Édouard Louis, Constance Debré and Anne Garréta, as well as the documentaries of Sébastien Lifshitz. In Greek, Eribon and Louis's work has been translated to acclaim, influencing trans life-writers such as Sam Albatros. He and fellow trans writers like Erofili Kokkali have also responded to earlier Greek texts by Kostas Tachtsis and Margarita Karapanou. Meanwhile, the trans activist Paola Revenioti has explored trans and queer histories of Athens in her documentary Pikrodafnes, following the success of Panos Koutras' trans film Strella and increasing trans visibility in Greek media. These narratives concern themselves with time and whether queer (and principally trans) life has a future, or 'temporality', in these cultures. If queer life has become 'legible', it must nevertheless follow 'approved' timelines, a discourse Freeman calls "chrononormativity" (2010: 3). Therefore, my research questions are: to what extent do biopolitical norms determine the trajectory of queer individuals in these countries, the stories queer writers narrate about themselves and vice versa? How do these French and Greek texts illuminate one another? Decentring Anglophonic literature from comparative studies in this way may yield novel perspectives.The originality of my approach lies in extending 'homonormativity' and trans experiences to previous understandings of queer time. Through close reading and contextualising these texts with earlier examples, I will ascertain if changing social norms have yielded different narrative tropes over time and vice versa. Using trauma theory, I will explore the links between non-linear traumatic narratives and the 'fluid' queer selves they describe. I will use reception and translation theory to see if Greek authors have conducted negotiated readings of these French narrative forms to describe their own cultural situations.To make my study intersectional, I will introduce class by analysing how Louis and Eribon link it with queer self-reinvention. I shall contrast their discussions of queerness and class to those of less-privileged Greek creators like Kokkali and Revenioti, using Bourdieu's theories of capital and class distinction. Using Garréta and Debré, I will incorporate women's experiences. Finally, I will use writings on trans temporalities (e.g. Preciado, 2020) to nuance chrononormativity and I will find ways of including more racial diversity in my corpus.