págs. 3-15
In Perfect (a)Synchrony: Queer Style in The Line of Beauty
págs. 19-34
“I Am Where I Need to Be”: Queer Homemaking in Fulbright’sGone Home
págs. 35-48
Identity in the In-Between: Narrative Temporality and theQueer Experience in Tangerineand Moonlight
págs. 49-63
Disruptions to the Linear and Individual Narrative of Psychic Distress in Mike Barnes’s The Lily Pond: A Memoir of Madness, Memory, Myth, andMetamorphosis
págs. 64-80
págs. 81-95
Disrupting Binaries and Linearities: Queer and Trans Temporalities in Imogen Binnie’s Nevada
págs. 96-110
págs. 113-131
págs. 132-145
A Faded Photograph: Ghosts, Specters, and OtherPhantoms in Rebecca Makkai’sThe Great Believers
págs. 146-159
“Be Three Now”: Queering the Postwar Heterosexual Marriage in Ann Quin’s Three
págs. 160-175
The Rogue as a Queer Agent in Video Games: The Picaresque Novel Legacy
págs. 176-189
Genesis Noir and Cosmological Time: How I Learned to Stop Worrying and Love the Big Bang
págs. 193-209
Posthuman Temporalities and Shared Timings: Kinship in the Work of Jim Jarmusch
págs. 210-225
“All the Ages We’ve Shaped Together”: Examining Queer Genealogies, Science Fiction and Non-Linear Storytelling Through El-Mohtar and Gladstone’s This Is How YouLose the Time War (2019)
págs. 226-240
Unbound and Loving It!: Pleasure, Dressage and Queer Rhythmic Resistance in Monáe’s Dirty Computer
págs. 241-254
Imagining Neuroqueer Futures: Crip Time and Care-Ful Connections in Night in the Woods
págs. 255-269
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