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Making novel readers
Gerd Bayer

-sexual phenomena in order to contextualise the various forms of cross-dressing and homosexual desire observable in Shakespeare’s play. What the chapter quickly abandons, however, is the intertextual debt the playwright may have owed to an anecdote told by Montaigne,62 an anecdote with which, tellingly, Greenblatt opens the chapter. While admitting that this tale of transvestism figures as ‘one of those shadow stories that haunt the plays’, Greenblatt in his analysis almost entirely shunts aside this literary source. What he rightfully chastises as ‘the textual isolation that is

in Novel horizons
Almodóvar’s, Amenábar’s and de la Iglesia’s generic routes in the US market
Vicente Rodriguez Ortega

García Bernal, has been added to the Almodovarian universe. In this respect, the Spanish trailer of La mala educación is radically different in as much as it is significantly longer, it includes several bits of dialogue, it explicitly foregrounds the metacinematic dimension of the film and it emphasises the central themes of homosexuality and transvestism and their relationship with the repressive role

in Contemporary Spanish cinema and genre
From Le Thé au harem d’Archimède to Cheb
Carrie Tarr

instead appeals to the audience’s fascination with sexual ambiguity (like other French films of the 1980s such as Bertrand Blier’s 1986 film Tenue de soirée ). Miss Mona blatantly problematises issues of sexual identity and spectacle, and the spectacle that is foregrounded is that of male transvestism, announced by the film’s garish poster showing Jean Carmet in drag. (It was Jean Carmet who played the infamous racist in Yves Boisset’s Dupont Lajoie in 1974

in Reframing difference
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Geertje Mak

. However, the first ‘psycho-biological questionnaire’ (psychobiologischer Fragebogen) for an ‘objective diagnosis of homosexuality’ had already been developed and published by Magnus Hirschfeld, sexologist and fervent defender of the rights of what he called ‘sexual intermediates’ in 1899.28 According to his theory, there existed an endless variety of sexes ‘between’ the ideal Male and Female. By that time, Hirschfeld had just started to differentiate within the category of ‘sexual inversion’ between homosexuality, transvestism and hermaphroditism, and his questionnaire

in Doubting sex
Rebecca Jennings

way-out case of transvestism (if not indeed of trans-sexuality) was unfortunate, and could only add to the confusion of the public that the programme was meant to enlighten.67 MRG’s aim, ‘to promote intelligent and properly informed press and radio comment’, was indicative of a desire to emphasise those aspects of lesbianism which might be seen as more compatible with wider social mores.68 Press interest in the subject was, however, roused only sporadically, often prompted by related events. The formation of MRG and publication of Arena Three prompted a small

in Tomboys and bachelor girls
Dandies, cross-dressers and freaks in late-Victorian Gothic
Catherine Spooner

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

in Fashioning Gothic bodies
Barry Jordan and Rikki Morgan-Tamosunas

cultural radicalism in the 1980s came from Madrid’s Movida movement which, among its leading figures, produced Spanish cinema’s enfant terrible Pedro Almodóvar. The protagonists of the Movida seemed to espouse a radical apoliticism and practised a kind of ‘cultural transvestism’, trying on and casting off the range of different identities which suddenly became possible after the end of the

in Contemporary Spanish cinema
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Craig Taylor

–6 ]. It is hardly surprising that Joan’s enemies used her transvestism as a weapon against her. More interesting is the reaction of her supporters who clearly had to rationalise and assimilate her unconventional assumption of masculine roles and clothing with her status as a holy woman and visionary. Joan’s military activities were somewhat difficult to justify, given the clear gendering of such

in Joan of Arc
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Stephanie Dennison and Lisa Shaw

, ends up in bed with Oscarito’s character, mistaking him for his wife, and unwittingly tries to seduce him under the covers, while in Pistoleiro bossa nova , Grande Otelo’s new comic sidekick, Ankito, ends up sitting in the black character’s lap on a train journey. Such passing hints at a homo-erotic subtext conspire with the commonplace motif of transvestism in the chanchada , itself a mainstay of popular humour in the

in Popular cinema in Brazil, 1930–2001
Zalfa Feghali

rasquachismo is even more complex. Neustadt suggests that ‘Gómez-​Peña elaborates a kind of double border rasquachismo. He appropriates and merges Chicano poetics with Mexican and “Gringo” counterparts to engender an intertextual conflation of transnational signs’.25 One aspect of this is Gómez-​ Peña’s use of drag, which he uses to ‘underscore and efface’ the US–​Mexico border. According to Marjorie Garber, transvestism can indicate a cultural ‘category crisis’ where there is ‘a failure of definitional distinction, a borderline that becomes permeable, that permits of border

in Crossing borders and queering citizenship