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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
Richard Werbner

the organization of rituals at physical puberty according to the existence of age-sets. In 38 Anthropology after Gluckman a part, published in 1935 before the dissertation, on Zulu women in hoecultural ritual, it examined comparative issues of gender (Gluckman 1935) and took account of Gregory Bateson’s early work on Sepik transvestism in Melanesia (Bateson 1935). Governance and variables linked to authority in ritual were surveyed across a culture area: ‘The Bantu chief is not usually – Tshaka’s excess being a mere aberration – a despot. The information we have

in Anthropology after Gluckman
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Neal Curtis

case, Will Brooker (2012) has very effectively deployed Bhaktin’s theory of the carnival to address The Joker’s theatricality and subversion. This is also something Morrison raises via The Joker’s sexuality. Although Morrison (2012) wanted a more polymorphously perverse Joker set against the ‘buttoned up’, conservative Batman – something DC would not agree to – he did manage to suggest The Joker’s transvestism by showing him in high heels as the story reaches its climax. The Joker crosses over and upsets the usual social categories. In doing so, he threatens the

in Sovereignty and superheroes
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
Bryce Lease

insofar as s/he remains excluded from natural discourses that constitutes ‘our’ culture (nasza kultura). Joanna Derkaczew compared the use of drag and transvestism between Kleczewska and Warlikowski, arguing that for the latter there is always first the question of drag queens, gender, sexuality and then, consequently, a diagnosis of culture (cited in Plata, 2007). Kleczewska, Derkaczew reasons, inverts this order. The drag queens that appear in Macbeth, for example, are not an interrogation of sexuality that will shed light on cultural values, rather they are framed as

in After ’89
Zalfa Feghali

rasquachismo is even more complex. Neustadt suggests that ‘Gómez-​Peña elaborates a kind of double border rasquachismo. He appropriates and merges Chicano poetics with Mexican and “Gringo” counterparts to engender an intertextual conflation of transnational signs’.25 One aspect of this is Gómez-​ Peña’s use of drag, which he uses to ‘underscore and efface’ the US–​Mexico border. According to Marjorie Garber, transvestism can indicate a cultural ‘category crisis’ where there is ‘a failure of definitional distinction, a borderline that becomes permeable, that permits of border

in Crossing borders and queering citizenship
Morality, mortality and masculinity in Sabbath’s Theater
David Brauner

to sudden inversion. In Elkin’s story there is merely a hint of androgyny and transvestism when Bertie dresses up in Norma Preminger’s clothes. The protagonists of Jacobson’s and Roth’s novels undergo more radical feminisation. Although Frank Ritz attempts to reduce male sexuality to a simple mathematical equation – ‘M.A.N. = F.U.C.K.’ – who, how, and why men fuck in Jacobson’s novel is a far from simple matter (Jacobson 1999: 140). Reminiscing about a former lover, Ritz muses that ‘[b]eauty in a woman either has to have some boy in it or some baby’ and later he

in Philip Roth
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What God was doing before he created the world
Daisy Black

Davidson, Gesture in Medieval Drama and Art (Kalamazoo, MI: Medieval Institute Publications, 2001) and Meg Twycross’ initiation of debates concerning cross-playing in her article ‘“Transvestism” in the Mystery Plays’, METh , 5.2 (1983), 123–80. 88 See Jody Enders on the transmission of biblical and social ‘truths’ through violence in medieval drama in Jody Enders, The Medieval Theater of Cruelty: Rhetoric, Memory, Violence (Ithaca, NY: Cornell University Press, 1999). 89 See Raphael Falco, ‘Medieval and Reformation Roots’, in A Companion to Renaissance

in Play time
Susan Hayward

inscribed into just so many cultural practices that surround us daily. Indeed, it is worth recalling that Hollywood is obsessed with selling gender difference and heterosexuality. The question becomes, where in gender ideology does one situate cross-dressing, transvestism, trans-sexualism, homosexuality? The answer is, one does not. These sexualities that do not fit get erased as difference and defined in terms of otherness – or as

in Luc Besson
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Sexualities on the move?
Andrew Asibong

conventionally feminine roles and attributes. Paul becomes a whore for a night (in contrast to Rose herself, who remains tightly in control of her body), while the dress foisted upon Luc by the Spanish girl forces him into a comically striking transvestism. What is crucial about both these enforced feminisations, though, is their ephemeral nature. The summer dress, in particular, works in the film as a strikingly visual symbol of provisional

in François Ozon