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Abstract only
Geertje Mak

. However, the first ‘psycho-biological questionnaire’ (psychobiologischer Fragebogen) for an ‘objective diagnosis of homosexuality’ had already been developed and published by Magnus Hirschfeld, sexologist and fervent defender of the rights of what he called ‘sexual intermediates’ in 1899.28 According to his theory, there existed an endless variety of sexes ‘between’ the ideal Male and Female. By that time, Hirschfeld had just started to differentiate within the category of ‘sexual inversion’ between homosexuality, transvestism and hermaphroditism, and his questionnaire

in Doubting sex
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Geertje Mak

INTRODUCTION points of departure This book started with a single question. Ten years ago, when I was writing my book on masculine women on the European Continent in the nineteenth century, I found to my utter surprise that in narratives about passing women who sometimes lived as men for years the issue of an inner sexual identity was never raised. Not one text wondered about or discussed the possible inner motives of the woman involved, pointed to early childhood boyish inclinations, discussed the difficulties of transvestism in terms of identity, or tried to

in Doubting sex
Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

García Bernal, has been added to the Almodovarian universe. In this respect, the Spanish trailer of La mala educación is radically different in as much as it is significantly longer, it includes several bits of dialogue, it explicitly foregrounds the metacinematic dimension of the film and it emphasises the central themes of homosexuality and transvestism and their relationship with the repressive role

in Contemporary Spanish cinema and genre
Marie Helena Loughlin

as indicating the rise of new forms of ‘homosexuality’, involving markers of transvestism and effeminacy, and indicating ‘a radical extension of the meaning of homosexuality’ (Bray, Homosexuality 88–9); the largely ‘socially diffused homosexuality’ of the Renaissance and seventeenth century changed profoundly, becoming a ‘continuing culture’, with new material markers, such as ‘clothes, gestures, language, particular buildings and public places’ that came to connote ‘homosexuality’ for the subculture’s participants and for its observers in the larger society (92

in Same-Sex Desire in Early Modern England, 1550–1735
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An East End apocalypse
Brian Baker

, a knotted rope-end. Flattened nipples painted around with star-shapes, mapped skin: Sir William Withey Gull. 47 This scene of disguise and masquerade is overlaid with transvestism and the occult (‘painted around with star-shapes’), complicating the already troubled and split subjectivity of Gull. Hyde, the monstrous Doppelgänger , becomes Lady Gull, the monstrously impersonated wife. In the word ‘split’, the violence of the autopsy and of the murder is displaced onto images of somatic disruption, of the body

in Iain Sinclair
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Making novel readers
Gerd Bayer

-sexual phenomena in order to contextualise the various forms of cross-dressing and homosexual desire observable in Shakespeare’s play. What the chapter quickly abandons, however, is the intertextual debt the playwright may have owed to an anecdote told by Montaigne,62 an anecdote with which, tellingly, Greenblatt opens the chapter. While admitting that this tale of transvestism figures as ‘one of those shadow stories that haunt the plays’, Greenblatt in his analysis almost entirely shunts aside this literary source. What he rightfully chastises as ‘the textual isolation that is

in Novel horizons
Michèle Mendelssohn

‘rich investment’ of clippings ‘that matured their hard-core innocence’ (CCB 3). In the fourth section, he confesses: When I was very young my thrill was travesty: my tiny aunt’s stilettos were smuggled to school in a bag (CCB 4) The passage thrills with violence and sexual potential. Is it travesty, transvestism or tragedy? Or all three? The aunt’s stilettos may be shoes, but they are also daggers that lacerate normative ideas of masculinity with the faux-innocent question they generate: Was virility the first sortie, to Fledermaus, craning at the rail to see the

in Alan Hollinghurst
Stephen Orgel

exercised by the transvestism of the Elizabethan stage, arguing from both platonic and patristic examples that the wearing of female garments necessarily resulted in an effeminization of the actor’s masculine self, and from that to the corruption of the audience. The self, in such arguments, is the most fragile of entities, acutely permeable by externals. In the context of

in Spectacular Performances
Questioning gender roles
Brigitte Rollet

didn’t care whether you could afford or not to raise a child. They didn’t care who’d got you pregnant. They didn’t think about the fact that the man was just as guilty. It was the woman who had to put up with all the worry and the criticism. 11 ‘A woman can play a male role and vice versa without necessarily being homosexual. Transvestism is not a convention of the past, it represents a form of freedom wiped away by stupid traditions of naturalism and which we should be capable of restoring today

in Coline Serreau
Elizabeth Ezra

the cross turns into a female seductress), while the transformation of women into men reassuringly reverses this scenario, though more often through transvestism than through substitution splicing: Méliès’s films abound in women dressed as male sailors, courtiers, pages, etc. It is worth noting that the men who turn into women are almost invariably transformed back into men, whereas the cross-dressing women rarely shed their

in Georges Méliès