{"id":{"repo_id":"uiuc","oai_identifier":"oai:www.ideals.illinois.edu:2142/105599"},"canonical_url":"https://search.dev.ndltd.org/etd/uiuc/oai:www.ideals.illinois.edu:2142/105599","repository":{"repo_id":"uiuc","name":"University of Illinois - Urbana-Champaign","base_url":"https://www.ideals.illinois.edu/oai-pmh"},"display":{"title":"Mother of the house of no shame: The queer economy of Rupaul’s Drag Race","abstract":"The student, Ted Faust, submitted this Dissertation for approval on 2019-06-13 at 15:37.","abstract_html":"The student, Ted Faust, submitted this Dissertation for approval on 2019-06-13 at 15:37.","abstract_has_math":false,"creators":["Faust, Ted R."],"institution":"University of Illinois at Urbana-Champaign","degree_name":"Ph.D.","degree_level":"Dissertation","degree_discipline":"Communications and Media","degree_department":null,"school":null,"contributors":["Hay, James","Cole, Cheryl L.","Rodriguez, Richard T.","Ciafone, Amanda"],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2019,"date_issued":"2019-11-26T20:33:39Z","date_published":"2019-11-26T20:33:39Z","updated_at":"2026-07-22T22:24:44Z","subjects":["RuPaul","Drag Race","RuPaul's Drag Race","gay","queer","trans","transgender","lesbian","queer theory","gender","television","reality television","Foucault","technologies of the self","aesthetics","ethics","social media","YouTube","brands","gender performance","drag queens","LGBTQIA+","LGBT","political economy","Logo","Viacom","VH1","MTV","celebrity","capitalism","selfhood","entrepreneurship","commodity culture","popular culture","pop culture","history","queer history","gay history","Paris Is Burning","Pose"],"languages":["en"],"rights":["Copyright 2019 Ted Faust"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"http://hdl.handle.net/2142/105599","outbound_label":"Handle","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:contributor","label":"Contributor","values":["Hay, James","Cole, Cheryl L.","Rodriguez, Richard T.","Ciafone, Amanda"]},{"key":"dc:creator","label":"Author","values":["Faust, Ted R."]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2019-11-26T20:33:39Z","2019-06-14","2019-08"]},{"key":"dc:type","label":"Dc Type","values":["text"]},{"key":"thesis:degree_discipline","label":"Discipline","values":["Communications and Media"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Dissertation"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Ph.D."]},{"key":"thesis:institution_name","label":"Thesis Institution Name","values":["University of Illinois at Urbana-Champaign"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["RuPaul","Drag Race","RuPaul's Drag Race","gay","queer","trans","transgender","lesbian","queer theory","gender","television","reality television","Foucault","technologies of the self","aesthetics","ethics","social media","YouTube","brands","gender performance","drag queens","LGBTQIA+","LGBT","political economy","Logo","Viacom","VH1","MTV","celebrity","capitalism","selfhood","entrepreneurship","commodity culture","popular culture","pop culture","history","queer history","gay history","Paris Is Burning","Pose"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["en"]},{"key":"dc:rights","label":"Dc Rights","values":["Copyright 2019 Ted Faust"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["http://hdl.handle.net/2142/105599"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["The student, Ted Faust, submitted this Dissertation for approval on 2019-06-13 at 15:37.","Submission original under an indefinite embargo labeled 'Open Access'. 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I seek to understand the history and evolution of the changing economics and production practices of the reality television genre that led to the emergence of (and have been deployed, tweaked, and recirculated by) the semi-satirical Drag Race; to better understand its position, as a “broadcast” cable television show, in a wider network of “new” and “spreadable” social media enterprises flowing into and out of it; to analyze the artistic, aesthetic, ethical and ascetic technologies of the self practiced by the contestants on the show, alongside a genealogical account of their origins in queer spaces and subcultures; and to explore the show’s position in a wider television landscape, asking how it is related to other programs of the current conjuncture, its technologization and commodification of a queer mode of belonging, and its relationships to virtual and material queer spaces as a globalized cultural technology. In this project, I hope to explicate a governmentality by which we learn to govern ourselves as sexual and gendered subjects, and which circuitously feeds into and off of the culture industries and post-industrial “creative” economic production more generally. By thinking through and theorizing a political economy of drag through its interconnections with the popular media that circulates particular variations of it, I am seeking to explore the ways that the technologies of the self - the means by which we learn to fashion and govern ourselves - are an essential part of a genealogy of a mode of production that defines the cultural, political, economic, and personal practices that define our current conjuncture.","This Dissertation was approved for publication on 2019-06-14 at 13:59.","DSpace SAF Submission Ingestion Package generated from Vireo submission #14038 on 2019-11-26 at 12:49:41","Made available in DSpace on 2019-11-26T20:33:39Z (GMT). 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