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Le Thé au harem d’Archimède and Hexagone
Carrie Tarr

are notably more pessimistic in respect of the fortunes of their main characters: the immigrant/ beur protagonist remains fundamentally isolated, while the sympathetic young white French males of the first films constitute a significant new structuring absence. However, a more complex approach to questions of gender and sexuality is to be found. As noted in chapter 1 , Miss Mona tackles the topic of homosexuality, transvestism and prostitution, while

in Reframing difference
The Mediterranean movida and the passing away of Francoist Barcelona
Alberto Mira

motto of many closeted public figures who would neither identify with or deny homosexuality, although this is clearly not the case with Ocaña. He rejects labelling imposed from the outside and proposes some labels of his own (Mira 2004 : 458–9). Something similar happens when he engages with the notion of transvestism: although he uses drag, this is just, he claims, incidental: he just likes it (or

in Spanish cinema 1973–2010
Robert Shaughnessy

denounced the practice, usually refusing to make any distinction between transvestism onstage and off. Philip Stubbes, in his comprehensive catalogue of everyday Elizabethan wrongdoing, The Anatomy of Abuses (1583), complains: ‘Our Apparell was given us as a signe distinctive to discern betwixt sex and sex, & therfore one to weare the Apparel of another sex is to participate with the same and to

in As You Like It
Marie Helena Loughlin

’ celebration of the beauty of youths and boys, as it does to early modern social reality. On the nature of the ‘boy’ as an erotic object in this period, see (for example) P. Stallybrass, ‘Transvestism and the Body Beneath: Speculating on the Boy Actor’, in Erotic Politics, ed. S. Zimmerman (New York, 1992), pp. 65–83; and L. Jardine, Still Harping on Daughters (Brighton, 1983). 12 Loughlin, Same-sex desire in early modern England.indd 12 18/12/2013 15:25:00 General Introduction relationship between sodomitical desire and statecraft. In the anonymous satirical poem The

in Same-Sex Desire in Early Modern England, 1550–1735
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Emma Vickers

the next. Activity deemed acceptable in one unit could be totally unacceptable in another. To this end, units were closed societies that were governed by their own unwritten codes of behaviour. As we shall see in the next chapter, such codes supplemented and sometimes surpassed the laws laid down in the King’s Regulations. Playing away on stage One final arena that allowed some men and women the means to ‘play away’ was literally, performance. Both in Britain and elsewhere, there is a long and celebrated tradition of transvestism in the armed forces.91 In the

in Queen and country
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Fantasies of supersession and explosive questions in the York and Chester Flood plays
Daisy Black

Later Middle Ages , ed. by Isabel Davis, Miriam Müller and Sarah Rees Jones (Turnhout: Brepols, 2003), pp. 63–76 and Neil Cartlidge, Medieval Marriage: Literary Approaches, 1100–1300 (Cambridge: D.S. Brewer, 1997), pp. 1–32. 14 See Twycross, ‘“Transvestism” in the Mystery Plays’, 123–80; Peter Happé and others, ‘Thoughts on “Transvestism” by Divers Hands’, METh , 5.2 (1983) 110–22; Richard Rastall, ‘Female Roles in All-Male Casts’, METh , 7.1 (1985), 25–50; Robert L. A. Clark and Claire Sponsler, ‘Queer Play: The Cultural Work of Crossdressing in Medieval

in Play time
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Embodiment and adolescence in recent Spanish films
Sarah Wright

ageing transvestite (an excellent turn from José Luis Gómez), he will later befriend Álex and ask for lessons in cross-dressing so that he can fill his daughter’s longing for her dead mother by performing as her every might. Whilst not entirely endorsing camp (there is little joy to be had in his nightly transvestism), the film nevertheless reveals the discrimination suffered by Leo as he goes out dressed as his late wife. Emotive scenes of a cross-dressed father and his daughter may recall Pedro Almodóvar’s pre-op transsexual, Lola, who cradles his son in a reworking

in The child in Spanish cinema
Tommy Dickinson

setting it up, and then putting a couple of electrodes on this lad’s body, and plugging him to this machine – it was even crueller than ECT. I remember the first time I saw it [aversion therapy for transvestism] I thought it was barbaric. And I remember asking the Charge Nurse: ‘By administering the shock where is the treatment?’ And of course this was regarded as an insolent and impertinent question at the time. Because it went outside the training and the training was set pieces of knowledge you regurgitated in exams, and if you were able to do that you were a

in ‘Curing queers’
The contested marriage and motherhood of a curious modern woman
Lucy Bland

regular cross-dressing, whatever the class of the man, was thought to indicate effeminacy. Magnus Hirschfeld, leading German sexologist, had coined the term ‘transvestism’ in his 1910 book Die Transvestiten. Here he had asserted that the behaviour was a sexual variation unrelated to homosexuality.49 In 1920s England however, Hirschfeld’s book was not yet translated and the term ‘transvestism’ appears not to have j j 184 ‘hunnish scenes’ and a ‘virgin birth’ 14  John Russell dressed as a woman j j 185 modern women on trial been generally known. Nevertheless John

in Modern women on trial
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Andrew Dix

very easily becomes second nature. However, this Nature does not sit easily and shifts restlessly in its borrowed transvestite clothes’ ( 1989 : 33). Where transvestism offers Mulvey a resource for conceptualising female spectatorship, masquerade fulfils this function for Mary Ann Doane. In ‘Film and the Masquerade – Theorising the Female Spectator’, an important essay first published in Screen in 1982, Doane utilises feminist work on the performed quality , rather than biological rootedness, of femininity. To think of this gender performance in terms

in Beginning film studies (second edition)