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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
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
Paul Henley

outside their normal social contexts and in a very abbreviated and reduced form. Even so, when these films are assessed in the light of the comparative ethnography and the historical accounts that have been published subsequently, they can yield valuable insights into the way of life of the subjects, some aspects of which would not have been available to the film-makers themselves. Thus, for example, without his being aware of it, Haddon's material appears to show that there was an element of transvestism in the traditional male initiation ceremony

in Beyond observation
John Kinsella

must not read Carey’s book as fact. The site decries the book’s elements of transvestism, Ned Kelly having a child and so on. Details, it claims, that don’t match the ‘true history’! On one level this is missing the point, but on another it is also a rebuttal of the hype that goes behind such a work. The novel is a work of pure advertising. It interweaves the language of Kelly as dictated to Byrne in the Jerilderie Letter – Australia’s manifesto of the oppressed Irishman, declaration of independence and map to the individual–community dichotomies of Australian

in Polysituatedness
Susana Onega

, Georgette, and a Roman Catholic priest with a taste for drinking and card-playing. Like the tender-hearted eponymous hero of Thomas Hardy’s Jude the Obscure, Henri abhors pain inflicted on animals. His friend Domino says that he ‘can’t pick up a musket to shoot a rabbit’ (P 28) and he himself admits that he can only bring himself to kill the moles that destroy the family crops ‘by looking the other way’ (P 31). By contrast, Villanelle is a resourceful and witty bisexual woman with sparkling blue eyes and flashing red hair (P 51) and a taste for transvestism (P 54), who

in Jeanette Winterson
Recent fiction
David Stirrup

adventures – not least the transvestism of Damien himself – introducing new questions and explorations into the theme of transformation and mutable identity, and engaging more directly with issues of Anishinaabe cultural sovereignty. While Catholicism, particularly its emphasis on revelation and devotion, is central to the plot of Last Report , Damien’s faith wavers. And of course as Pauline, like the saintly archetype she ironically aspires to, insists on notions of perfection, Damien, like Nanapush, more closely reflects the imperfections of the Anishinaabe culture

in Louise Erdrich
Guy Austin

fact that its transmission transcends moral judgement, has no place in the romantic, highly stylised world of Mauvais sang . Bertrand Blier’s evocation of Aids in his film of the same year, Tenue de soirée , is also peripheral, but is more germane to both his subject – sexual identity, role-playing and transvestism – and to the style of the film, which is at least partially realistic. During the

in Contemporary French cinema
S. H. Rigby

. As a result, ‘her performance is a kind of transvestism’. 66 Here, in contrast to those critics who argue that Chaucer intends us to sympathise with the Wife’s reflexive exposure of clerical misogyny, I will argue that Chaucer himself satirises her performance. Even though Alisoun relies on familiar clerical and scholastic modes of argument, such as appealing to traditional

in Chaucer in context
Polarized Approaches to Psychology, Poetics, and Patronage
Robert L. Reid

Antonio’s homoerotic bond with Bassanio and by Portia’s use of male transvestism. The biblical subtext provides a smokescreen and justification for the same-sex bond (i.e., the forbidden true love) at the embattled heart of the play. Judith Rosenheim, ‘Allegorical Commentary in The Merchant of Venice ’, Shakespeare Studies , 24 (1996), 156–210, explains how the allegory is

in Shakespeare and Spenser
Open Access (free)
Masculinity, mortaliity and sexual politics
David Brauner

mother suggested by his misappropriation of her underwear leads to an inability to identify with her at all, an emotional estrangement that renders him anything but a ‘mother’s boy’. If Shimi’s transvestism seems to exist in an appositional relation to his brother’s homosexuality, his queer masculinity is also defined in opposition to male authority figures. As a child, his shame at his cross-dressing is compounded by his father’s beating and by his own internalisation of what the beating implied: ‘He didn’t feel a man in the presence of his father’ (48). As a young

in Howard Jacobson