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representing slippages between them’. 3 In this respect the werewolf can be read as what Marjorie Garber, in the context of transvestism, has called a ‘third term’. For Garber, women dressed as men and vice versa are usually subsumed to one sex or the other by critical discourse, when in fact they operate as a third category in their own right. She explains: The ‘third’ is that which questions binary thinking and
structures of identity and relationships. David Punter argues that vestment and the ceremonial characterize Gothic narratives. 11 The novel takes this Gothic vestism one step further by developing a narrative transvestism whereby in his narrative performance Toby dons on and off the different accounts of the Oedipal myth that were produced throughout history. Spectacles of desire and performances of kinship are enhanced through
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
‘Tale of the Spaniard’ Alonzo di Monçada in Charles Maturin’s Melmoth the Wanderer (1820). Alonzo is relating to John Melmoth, in painstaking detail, the story of his escape from the monastery into which he had been coerced by his parents. While Alonzo and his accomplice, the parricide, are concealed in an underground vault, the latter recites a story of transvestism, cross-dressing and
contes de Perrault (Paris: Imago, 2004). 33 On Perrault and transvestism, see Orenstein, Little Red Riding Hood Uncloaked , 198–200. 34 See Walter Scherf, Das Märchenlexikon (Munich: Beck, 1995), 687–689; Bacchilega, Postmodern Fairy Tales
and ladylike, and her very modest garments would scarcely indicate transvestism to a modern viewer, her innovation generated numerous cartoons portraying women in trousers drinking, smoking and proposing to submissive men. Later in the century, trousers were associated with the new-fangled sport of bicycling, thus becoming a signifier of modernity, and specifically of modern femininity, mobile, healthy and independent
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
). 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
, incest, monstrosity and deformity, masturbation, transvestism and transexuality, dead children, cruelty to animals, the imbibing of urine, erotic asphyxiation, vampirism, voodoo, implicit cannibalism (a rare moment of restraint), limb grafting and a plague of nosebleeds. Add nudity, some violence and gore, the occasional use of the word ‘fuck’, and an