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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
Ann Radcliffe’s The Italian and Charlotte Dacre’s Zofloya: Or, The Moor
Robert Miles

characters’ open identification with these roles occurs conversationally in the Monastery garden where Twelfth Night rewrites itself, Rosario/Matilda closely echoing Viola’s ‘worm in the bud’ speech to Osario, a device that at once excites, and cleverly stills, suspicions of homosexuality and transvestism. Ambrosio claims ‘never did a Parent watch over a Child more fondly. . . . From the moment in which I first

in Gothic writing 1750–1820
Rebecca Munford

was a pirate ship, and went under false colours”’ ( NC 32). Identified as a suffragette, ‘a one for “Votes for Women”’ ( NC 38), Nelson is also a crossdresser. In an act of ‘authorial transvestism’ (Sage, 1992 : 173) that echoes the various citational travesties that constitute The Passion of New Eve , Ma Nelson borrows the words of Apollinaire to celebrate Fevvers as ‘the pure child of the

in Decadent Daughters and Monstrous Mothers
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
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Susana Onega

’s sense of identity is directly related to her chap 3.qxd 2/2/06 110 2:00 pm Page 110 Jeanette Winterson position in her mother’s religious community of female friends. In Boating for Beginners, the protagonist’s female friends decisively help Gloria in her maturation process and in the dismantling of Noah’s version of the Flood. In The Passion, the fluidity of Villanelle’s identity is symbolised in her transvestism: she dresses as a woman during the day and wears male drag during the night. In Sexing the Cherry, the Dog Woman enjoys the friendship of prostitutes

in Jeanette Winterson
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Steven Hutchinson

Charles V in his tent during his invasion of La Goletta and Tunis, as Ricardo remembers a story his father told him: ‘they presented to him a Mooress of rare beauty, and when they offered her to him, some rays of the sun shone into the tent and illuminated her hair, that in its golden colour competed with the sun itself – something unique in Mooresses, who always pride themselves for their black hair.’ 37 In her perceptive analysis of cultural transvestism, Barbara Fuchs comments on the ‘porosity between Christianity and Islam in the Eastern Mediterranean’, the

in Frontier narratives
Treachery, patriotism and English womanhood
Lucy Bland

These behaviours were���������������������������������������������������������������� later re-classified by others as hermaphroditism, bisexuality, transvestism, transsexuality etc. Von Krafft-Ebing claimed that homosexuality was either acquired (brought on by certain conditions or behaviour) or was congenital, and a sign of hereditary degeneracy. By 1901 he was arguing that homosexuality was always inborn and not pathological per se. Gert Hekma, ‘A Female Soul in a Male Body’, in Gilbert Herdt (ed.), Third Sex, Third Gender (New York, 1994).   94

in Modern women on trial
Chloe Porter

Puppet Dionysius’ to ‘venture the cause on’t’ (5.5.33–7). Idolatrously entering into an argument with a puppet, Busy tells Dionysius that his ‘main argument against you is that you are an abomination; for the male among you putteth on the apparel of the female, and the female of the male’ (5.5.96–8). Busy here refers to one of the central objections to the theatre as an arena which staged transvestism

in Making and unmaking in early modern English drama
Martin O’Shaughnessy

a critical distance when they watch a group of German soldiers parade to music and the seductiveness of the spectacle, especially the sound of marching feet, is brought home to them. They fail to learn the lesson and their own very different spectacle of music-hall songs and comic transvestism is drawn into the struggle in a way that will again emphasise the power of nationalist spectacle. Preparation for their show is

in Jean Renoir
Barry Jordan

character achieved a degree of agency, power or dominance in the film narrative, she was likely to come to a bad end and pay for her curiosity (i.e. sexual desire) with her life (1984: 85). 18 Moreover, the female spectator was denied a gaze of her own and on the whole had no active women characters to identify with. This being so, short of abandoning mainstream cinema, her only recourse was transvestism, i.e. she was obliged to

in Alejandro Amenábar