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The Manchester School, colonial and postcolonial transformations
Author: Richard Werbner

Anthropology after Gluckman places the intimate circle around Max Gluckman, his Manchester School, in the vanguard of modern social anthropology. The book discloses the School’s intense, argument-rich collaborations, developing beyond an original focus in south and central Africa. Where outsiders have seen dominating leadership by Gluckman, a common stock of problems, and much about conflict, Richard Werbner highlights how insiders were drawn to explore many new frontiers in fieldwork and in-depth, reflexive ethnography, because they themselves, in class and gender, ethnicity and national origins, were remarkably inclusive. Characteristically different anthropologists, their careers met the challenges of being a public intellectual, an international celebrity, an institutional good citizen, a social and political activist, an advocate of legal justice. Their living legacies are shown, for the first time, through interlinked social biography and intellectual history to reach broadly across politics, law, ritual, semiotics, development studies, comparative urbanism, social network analysis and mathematical sociology. Innovation – in research methods and techniques, in documenting people’s changing praxis and social relations, in comparative analysis and a destabilizing strategy of re-analysis within ethnography – became the School’s hallmark. Much of this exploration confronted troubling times in Africa, colonial and postcolonial, which put the anthropologists and their anthropological knowledge at risk. The resurgence of debate about decolonization makes the accounts of fierce, End of Empire argument and recent postcolonial anthropology all the more topical. The lessons, even in activism, for social scientists, teachers as well as graduate and undergraduate students are compelling for our own troubled times.

R. S. White

’s class. This becomes important in movies. Theatre was tenuously exempted from these laws except in the eyes of hard-line Puritans: The stage was a privileged site of transgression, in which two kinds of transvestism were permitted to players: changes of costume that violated edicts against wearing the clothing of the

in Shakespeare’s cinema of love
Bruce Woodcock

done. Ned’s feelings of losing his father date from the moment he discovers his father’s trunk with dresses in it (18), but the true meaning of this transvestism doesn’t become clear until Mary explains the activities of the Children of Molly or Sons of Sieve (271–3) that Hart is attempting to revive. Carey apparently got the idea for this thread of the novel from Sidney Nolan’s painting Steve Hart Dressed as a Girl 1947, which was based on historical sources for the Kelly story. 38 Anne Marsh has argued that the inclusion of transvestism is a ‘queering’ of the

in Peter Carey
Tommy Dickinson

of the RMPA certificate for admission to the register. They also agreed to the inclusion of psychology in the syllabus at the request of the RMPA.213 Training mental nurses regarding ‘sexual deviations’ There is a dearth of literature in nursing textbooks during this period which discuss sexual deviations. The texts that do mention homosexuality and transvestism do so under the categories of ‘Sexual Perversions’, ‘Sexual Anomalies’ or ‘Sexual Disorders’.214 Furthermore, the emphasis in these texts appears to be on describing these disorders rather than training

in ‘Curing queers’
A methodological induction
Yves Peyré

transposes onto young warriors’ dying bodies the purpureus and the niveus of a young girl’s blushing skin, with the effect of eroticising and feminising a young man’s death on the battlefield as an image of defloration. 27 In his unfinished Achilleid , it is in the story of Achilles’s transvestism that Statius blends Virgilian epic, Ovidian witty playfulness and Pindaric lyricism. When the Greeks

in Interweaving myths in Shakespeare and his contemporaries
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Thinking across
Alberto Fernández Carbajal

Germanic example is Kutluğ Ataman’s Lola and Billy the Kid , released in 1999 , a film about Turkish queerness and transvestism in contemporary Germany. Although the distinctiveness of Turkish Islamism has been explored in Özpetek’s work, the negotiation of Turkish queerness in other European locales would continue qualifying Kemalist and Islamist homophobia. If my critical attention in this book has been devoted to, chiefly, queer Muslim artists located in the Anglophone West, with the exceptions of France and Italy, the North/South axis

in Queer Muslim diasporas in contemporary literature and film
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The carnival as structuring motif
Sue Harris

as a trigger for total narrative rupture. On another level, narrative excess in Tenue de soirée is firmly encoded in notions of display, and exhibition of the sexual impulse, and this is located principally in the character of Bob, who is seen in a variety of states of dress and undress, and ends the film in a state of flamboyant transvestism. The question of looking at what is being displayed is explored in a series of

in Bertrand Blier
Transgender patients in early Swedish medical research
Julian Honkasalo

source material in their attempts to understand and create diagnostics and treatment methods for ‘transvestism’ and ‘transsexuality’. The life stories obtained from letters thus became part of data, case files, knowledge and intellectual property of the medical ‘experts’. In addition to Hirschfeld’s research, some early collected letters include those collected by Bernard S. Talmey in 1913 (Schaefer and Wheeler, 1995 ; Stryker, 2017 ; Talmey, 1914 ). Also Nordic trans persons established letter clubs. The most known of these are transvestite and trans clubs that

in Bodily interventions and intimate labour
John Yamamoto-Wilson

). 77 Crowne, Pandion and Amphigenia, p. 99. 78 Ibid., p. 123. 79 Ibid., p. 279. 80 Ibid., p. 119. 81 Ibid., pp. 186–7. 82 Ibid., p. 97. 83 Robert H.F. Carver, ‘ “Transformed in Show”. The Rhetoric of Transvestism in Sidney’s Arcadia’, English Literary Renaissance, 28:3 (2008), 323–52: 324. 84 Crowne, Pandion and Amphigenia, p. 305. 85 Ibid., pp. 291–2. 86 Carver, ‘Transformed in Show’, 306. 87 Winifred Schleiner, ‘Cross-Dressing and Transvestism in Renaissance Romances’, The Sixteenth Century Journal, 19:4 (1988), 605–19: 619. 88 Nashe, The Vnfortunate

in The hurt(ful) body
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La flor de mi secreto
Ana María Sánchez-Arce

peace-keeping mission abroad whilst advocating repression and censorship at home. Neither is it surprising that the disintegrating middle-class couple is sometimes so stylised as to suggest self-parody. Fouz-Hernández and Martínez-Expósito suggest as much when they state that Leo and Paco partake of transvestism: But the more encompassing and ‘unlimited’ sort of transvestism that J. Smith illustrates, amongst other scenes, with the moment ... (1996 [sic]) when husband and wife dress up (fetishized masculinity in his military uniform, iconic femininity in her

in The cinema of Pedro Almodóvar