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Craig Taylor

–6 ]. It is hardly surprising that Joan’s enemies used her transvestism as a weapon against her. More interesting is the reaction of her supporters who clearly had to rationalise and assimilate her unconventional assumption of masculine roles and clothing with her status as a holy woman and visionary. Joan’s military activities were somewhat difficult to justify, given the clear gendering of such

in Joan of Arc
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Psychanalyse et Politique and the spaces of women’s art
Rakhee Balaram

(and visible tape) through several layers of imaging that construct or deconstruct the body (as a source of knowledge). Discussing her paintings from the series, some of which contain several layers of transvestism, critic Alain Jouffroy notes Dauriac's willingness to take on and use aspects of pornography as a source of inspiration mixed with latent voyeurism: Il n’y a pas d’autre sens à découvrir, je crois, dans ce tableau, intitulé le con de Carole où une femme masquée se tient, nue, renversée

in Counterpractice
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Mark S. Dawson

-stage to masquerade as a fishy foreigner. As a transvestism paralleling that of boy actors in female roles before about 1660, scholars have often remarked how the impersonation of non-­Europeans required ‘white [sic]’ actors to employ brown- or black-face, introducing ambiguity about the perdurability of the very difference being enacted.77 Granted that the evidence available to address it is sparse, but a more urgent question to ask would be: how often were (male) actors assuming elite (male) roles, not to mention any humoral complexion different from their own, made up

in Bodies complexioned
Jeremy Gregory

. 96 Ibid. , p. 352. Hyde, as Lord Cornbury, had been a controversial figure in New York and New Jersey politics, and was accused of transvestism by his political opponents. P. Bonomi, The Lord Cornbury scandal: the politics of reputation in British America (Chapel Hill, NC: University of North Carolina Press, 1998), p. 161 quotes a contemporary charge that he cross-dressed ‘on all the great

in The later Stuart Church, 1660–1714
Annalisa Oboe
Elisa Bordin

with inhabitation, aggression, usurpation, and vampirism’. 55 In this sense the impersonation can be seen as a positive source of play and energy. 56 Yet it also ‘castrates’ the performer, first because of the inability to ever match the icon; second because of the implicit ‘transvestism’ which destabilises the normativity of race, gender, and sexuality. 57 It is this ambivalence of Elvis-as-Elvis, an empowering but also castrating performance, a site of passivity but also of resistance, which I explore in the

in Chris Abani
Barry Reay

effects of testosterone and oestrogen on trans man masculinity and trans woman femininity.112 Finally, one could argue that the indeterminacy of trans is reflected in its archive. Is the history of what was then designated transsexuality really flattened in the gay histories of drag performers (Pittsburgh’s House of Tilden), or by what was then called transvestism (at Casa Susanna, or in Transvestia)?113 Or is the sexual and gender indecipherability at the transsexual moment of the 1960s and 1970s the very essence of that period’s transness?114 The queer archive, as the

in Sex in the archives
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Promiscuity, gender and sexuality
Sophie Vasset

to encounter the most accomplished form of transvestism. The ultimate example of cross-dressing in this case is the character rightfully named ‘Maidenhead’ in Thomas Baker's play Tunbridge-Walks , who acknowledges that he enjoys dressing as a woman in public places: L oveworth : But if you neither read, study, nor converse with Men, how do you employ your superfluous Hours

in Murky waters
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B. H. Fookes, ‘Some Experiences in the Use of Aversion Therapy in Male Homosexuality, Exhibitionism and Fetishism-Transvestism’, British Journal of Psychiatry , March 1969. 82 C. P. Seager, ‘Discussion’, in Freeman (ed.), Progress in Behaviour Therapy. 83 S. Rachman and J

in Odd men out
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’ journal The Practitioner published its own classification guide. Doctor C. G. Learoyd divided homosexual men into three types. ‘Puppy prurients’ who were in an ‘adolescent, exploratory phase’. ‘Emotionally immature’ men who were living ‘some strange fantasy life of their own’ caused by ‘an inability to develop emotionally beyond the adolescent’. They might exhibit other ‘sexual abnormalities’, such as masochism, sadism, exhibitionism, transvestism and ‘all the doglike interests in

in Odd men out
Tanya Cheadle

text, in conjunction with its 1896 companion essay ‘The moral evolution of sex’, also addressed the subject of sexuality, speaking to the more marginal, predominantly medical discourse of sexology. Emergent in Britain during the 1890s, sexology was concerned broadly with the analysis of sexual behaviour, and more particularly with the taxonomy and terminology of aberrant psycho-sexual identities such as homosexuality, lesbianism, paedophilia, sado-masochism, nymphomania, transvestism and zoophilia.12 In its new, medicalised way of speaking about sexuality, it

in Sexual progressives