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The current moment is different, other demands related to sexual and gender diversity have gained visibility, forcing us to rethink the meanings and the possibilities of existence of these subjects. The way tourism products are marketed to LGBT people, often alluding to sex, is questioned.

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For this research, therefore, we start from the assumption tha t there is not only one question able to guide the analysis, since we understand that it is necessary to problematize the way in which LGBT Tourism segmentation occurs, i. Thus, we develop the present exposition by interweaving our theoretical framework with the materiality, with the analysis, and with the issues that emerge as the text unfolds. In doing so, we hope to have contributed to the elucidation of the processes of identification and interpellation of LGBT subjects with and by the materiality, as well as have evidenced the contradictions inherent to this process.

Before the analytical exposition, we need to present the theoretical and methodological device that guides it. In this way, discourse is understood in terms of the functioning of language making sense, the way in which the text signifies, and not what it signifies Orlandi, In this line of though, Pêcheux b considers as the discursive subject the one interpellated by ideology so that language makes sense, so that he can say and be said, there is no discourse without a subject or a subject without ideology.

From the reflections of Campos , p. Guiya Editora, We selected this campaign as the object of analysis because of the period in which this research began. Consequently, the data and information used throughout the text have as time frame the period of the campaign. We acknowledge, however, that the interpretive and reflective views on materiality and on this text, specifically, are not limited, or disregard, more current contexts as of We also acknowledge that the promotional material analyzed was produced by Guiya Editora in partnership with Palco - Comparsaria Primeira de Talentos Guiya Editora, n.

The latter, in turn, at the time of the campaign had a contract with the Federal Government.

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The conditions of production of the promotional material, therefore, are manifold and crossed by different places in the structure of social formation, places over which we do not have control and whose evidence of meaning are not totally transparent to us. For this reason, the device selected for the elaboration of this work is also justified because it allows us to assume that the interpretation and analysis takes place in the relation between analyst and materiality, a relationship that does not aim to dominate the meanings at play, but to approach their construction processes.

In this sense, discourse analysts are responsible for constructing their own devices of analysis, guided by theoretical and methodological assumptions that support them, but not only. The analysis begins at the same time as the process of defining the corpus, taking into consideration the specific characteristics of the materiality of analysis, the objective, and even, the analyst's personal path.

That is, the analysis is always the analysis of analysts under their conditions of production. This is the way we outlined the methodological process of this analysis.

Because of the reading and interpretation movements that we establish in relation to the materiality of analysis, we tried to think about the set of imaginary formations that slips made possible to infer, from the concept proposed by Pêcheux a. In interpreting this concept, Campos says the imaginary formations:. In anticipation, the sender projects an imaginary representation of the receiver.

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From this representation establishes their discursive strategies, in a game of mirrors of subjects and reserved positions in the structure of the social formation that determine the discursive conditions of production, defining the position occupied by the subjects in the discourse.

The subject in DA is this positioning symbolic , made from an imaginary identification. Imaginary identification because it is the one from which the subject is alienated by the evidence game, of himself and of meanings, produced by his subjection. For Pêcheux a , p. In terms of the methodological process, we understand that the presentation of some initial theoretical aspects is necessary, because they appear throughout the text.

For now, we examine Indursky's formulation about the subject in DA. Personally, and socially. In the constitution of his psyche, this subject is endowed with unconscious. In this way, we need to address the notions of subject, unconscious, and ideology, so that we can reflect on the positions and meanings that are brought into play in our analysis. As the psychoanalytic theory proposes, the subject fails because he is constituted by a primordial lack that makes him desire and, at the moment when the lack sets in, is when the unconscious is structured Lacan, The understanding of the unconscious as a structure is Lacan's structuralist reinterpretation of Freud's work and of this concept, meaning that to gain access to language, the subject had to give up his condition of primordial wholeness experienced vis-à-vis his mother, where nothing was lacking.

This lack is, thus, what causes desire to arise, but desire is different from necessity. It is the desire for wholeness, that is, of the re encounter with the idealized mother.

Therefore, the object of desire, while it is elusive and remains hidden, because it cannot be re encountered, refers to the very cause of desire Lacan, In the impossibility of this re encounter, the subject channels his drives to objects that require little investment of energy, i. This in no way means that experiences of displacement cannot cause suffering, only that they present themselves as a possibility of partial gratification of an unconscious desire.

Displacement, therefore, is the psychic process by which unconscious contents can, even if partially, be gratified, manifested, appeared, enjoyed. The displacement is understood by Lacan , p. Here the power relationship between censorship, ideology, and desire stands out. That is, psychic displacement is a form of resistance to the interpellation of the subject of the unconscious, by which desire is controlled. Desire, therefore, is interpreted here as that which moves the subject toward something, a metonymic object that marks this desire, but that differs from a need.

The latter belongs to the order of satisfaction, generated by corresponding objects as, for example, food meets the nutritional needs of the body. In this eternal cutting and moving, the subject does not displace only physically in time and space, but he displaces physically in time and space because of a process of psychic displacement, an unconscious process that causes him to move toward something, even without knowing what.

With this conception, Althusser tells us that, in the common sense, ideology is a conception of the world, but that such a conception does not correspond to the concrete reality and, therefore, it is an imaginary conception.

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In order for the subject to move, we see through Pêcheux b , p. For him, it is at this point of evidence that the delineation of a materialist theory of discourse begins, comparing the evidence of the existence of the subject, as the origin or as cause of himself, with the evidence of the transparency of language, which determines that what is said could only to be said and meant in a way. This evidence game is called ideological effect, referring to the concept already proposed by Althusser and extended by Pêcheux b.

In this relationship between evidences, the evidence of the subject and the evidence of meaning is where the interpellation is. It is through the interpellation that the subject is summoned to identify himself - symbolic and imaginary identification - as a tourist, so that he moves. For this exposition, we have selected four discursive sequences DS , slices of materiality experienced in the form of strangeness. The first slice of materiality is the cover of a promotional brochure, where the first two discursive sequences are located.

DS1 is the background image on the top half of the page Figure 1 and DS2 is the two images that share the bottom half of the page Figure 2. The image that occupies the top half of the cover, DS1, shows a plaza at night and therefore lit by artificial light. The brochure does not identify the city depicted, so we assume that this plaza is surrounded by commercial establishments and further to the bottom there are tall buildings. As we look beyond the plaza, the lights fade into the background until darkness. The light draws all attention to the plaza as a place of identification.

Those who occupy the darkness in the image do not belong to the plaza and vice versa. More than that, the plaza as that which is in itself and makes visible, where we can see and be seen. The plaza, as a field of symbolic exchange, along all its historical, social, and cultural materiality, is linked to an imaginary of co existence, being together Gastal, As public places, plazas have a great flow of people during the day, they are used to the practice of physical exercises, shelter from the sun under the trees, rest, leisure activities or simply as a pathway.

In different cities, in different places, plazas assume different uses, but never cease to be places of interaction between subjects. Instead of thinking the image as discourse, we dare to go beyond. In line with Orlandi , we propose to think of the represented place, the plaza, as a discourse, which is meaning effect Pêcheux, a. We start by questioning: why a plaza? Why a plaza at night? What meanings are mobilized around this place? How important is a plaza to occupy half the leaflet of a promotional action aimed at LGBT subjects?

What is the relation of meanings between a plaza at night and LGBT subject? From these questioning, we started to write on a sheet of paper, containing this image, everything that came to our mind. The words that arose were: plaza, night, prostitution, sex, nature, instinct, heavy petting sic , violence.

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These words are related in the significant game instituted by an imaginary. While these words relate the body of the subjects producing meanings on the plaza, the latter produces meanings on the subjects' bodies. Natural environment in the middle of the urban concrete, the bodies that transit through the plaza come into contact and mix their nature, because they are part of it. This relationship between the natural and instinctual remains repressed in the urban environment through plazas, where it is possible to re encounter the drive.

In this instinctual place, the inscription of the subject torn between the order imposed by the urban routine and the intrinsic disorder of the drive. The plaza becomes the place of inscription of the impossible, censored, marginal desires. The plaza becomes the stage for the drive and real, therefore, of the uncontrollable. A place where the business of prostitution can only be invisible, place of affective and sexual relationships for all impossible sexualities, place of drug addiction for those who find in the hallucination the escape from daily suffering, place of housing for those expelled by private property, place of cultural practices inappropriate for houses of culture and high-performance sports centers.

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The plaza, in its essence and historical materiality, is the place for vagrancy par excellence. And since:. The bodies of the subjects are attached to the body of the city and these are signified by that connection. And they are so intertwined that the destiny of one is not separated from the destiny of the other, in its various and varied dimensions: material, cultural, economic, historical, etc. The body of the subjects and the body of the city become one.

Our urban body, which is textualized as a city body, occupies a space and is occupied by it Orlandi, , p. Dialectically, we interpret the plaza as a space of control of the subject's desire for the dominant ideology that offers him as an object of desire. The night represents the censorship of what cannot be seen in daylight, so that there is no disturbance in the organization of the fictional social imaginary, thus ensuring the impossibility of a symbolic re-elaboration of unauthorized desires. Around the plaza the signifier of power is glued sic , because it is around the plaza that the public institutions and the church will be positioned watching what takes place in it.

Directing the look to the lower half of the cover, where DS2 Figure 2 is positioned, a composition of two images occupies it. The first image, in the lower left corner, has in the foreground a fragment of the rainbow flag over the sand of a deserted beach, without people. In the background, there is the sea and a mountain against a blue sky, some clouds, and intense sunshine. The second image, located in the lower right half of the cover page, shows what can be interpreted as a LGBT Pride Parade.