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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
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
Motherhood and comic narrative
Felicity Dunworth

’. 30 For a discussion of the representation of the maternal body by boy actors, see Peter Stallybrass, ‘Transvestism and the “Body Beneath”: Speculating on the Boy Actor’, in Erotic Politics , ed. Susan Zimmerman (London: Routledge, 1992), pp. 64–83. 31 Linda Woodbridge, Women and the English Renaissance (Brighton: Harvester Press

in Mothers and meaning on the early modern English stage
Annalisa Oboe and 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
Abstract only
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
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
Abstract only
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
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
Aritha van Herk and No Fixed Address
Susanne Becker

). Accoutrements – created textures themselves – create appearances; create gendered subjects: a sketch of the dynamics of the text/ures of dress. That gothic form should be ‘stripped’ in this way precisely in the 1980s is suggestive: in a context perceived as post-feminist, gender borders have become debatable; cross-dressing and other forms of transvestism start to develop into the

in Gothic Forms of Feminine Fictions