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Mark S. Dawson

-stage to masquerade as a fishy foreigner. As a transvestism paralleling that of boy actors in female roles before about 1660, scholars have often remarked how the impersonation of non-­Europeans required ‘white [sic]’ actors to employ brown- or black-face, introducing ambiguity about the perdurability of the very difference being enacted.77 Granted that the evidence available to address it is sparse, but a more urgent question to ask would be: how often were (male) actors assuming elite (male) roles, not to mention any humoral complexion different from their own, made up

in Bodies complexioned
Jeremy Gregory

. 96 Ibid. , p. 352. Hyde, as Lord Cornbury, had been a controversial figure in New York and New Jersey politics, and was accused of transvestism by his political opponents. P. Bonomi, The Lord Cornbury scandal: the politics of reputation in British America (Chapel Hill, NC: University of North Carolina Press, 1998), p. 161 quotes a contemporary charge that he cross-dressed ‘on all the great

in The later Stuart Church, 1660–1714
Ann Radcliffe’s The Italian and Charlotte Dacre’s Zofloya: Or, The Moor
Robert Miles

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

in Gothic writing 1750–1820
Susan Hayward

inscribed into just so many cultural practices that surround us daily. Indeed, it is worth recalling that Hollywood is obsessed with selling gender difference and heterosexuality. The question becomes, where in gender ideology does one situate cross-dressing, transvestism, trans-sexualism, homosexuality? The answer is, one does not. These sexualities that do not fit get erased as difference and defined in terms of otherness – or as

in Luc Besson
Morality, mortality and masculinity in Sabbath’s Theater
David Brauner

to sudden inversion. In Elkin’s story there is merely a hint of androgyny and transvestism when Bertie dresses up in Norma Preminger’s clothes. The protagonists of Jacobson’s and Roth’s novels undergo more radical feminisation. Although Frank Ritz attempts to reduce male sexuality to a simple mathematical equation – ‘M.A.N. = F.U.C.K.’ – who, how, and why men fuck in Jacobson’s novel is a far from simple matter (Jacobson 1999: 140). Reminiscing about a former lover, Ritz muses that ‘[b]eauty in a woman either has to have some boy in it or some baby’ and later he

in Philip Roth
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What God was doing before he created the world
Daisy Black

Davidson, Gesture in Medieval Drama and Art (Kalamazoo, MI: Medieval Institute Publications, 2001) and Meg Twycross’ initiation of debates concerning cross-playing in her article ‘“Transvestism” in the Mystery Plays’, METh , 5.2 (1983), 123–80. 88 See Jody Enders on the transmission of biblical and social ‘truths’ through violence in medieval drama in Jody Enders, The Medieval Theater of Cruelty: Rhetoric, Memory, Violence (Ithaca, NY: Cornell University Press, 1999). 89 See Raphael Falco, ‘Medieval and Reformation Roots’, in A Companion to Renaissance

in Play time
Bryce Lease

insofar as s/he remains excluded from natural discourses that constitutes ‘our’ culture (nasza kultura). Joanna Derkaczew compared the use of drag and transvestism between Kleczewska and Warlikowski, arguing that for the latter there is always first the question of drag queens, gender, sexuality and then, consequently, a diagnosis of culture (cited in Plata, 2007). Kleczewska, Derkaczew reasons, inverts this order. The drag queens that appear in Macbeth, for example, are not an interrogation of sexuality that will shed light on cultural values, rather they are framed as

in After ’89
Rebecca Munford

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

in Decadent Daughters and Monstrous Mothers
Abstract only
Neal Curtis

case, Will Brooker (2012) has very effectively deployed Bhaktin’s theory of the carnival to address The Joker’s theatricality and subversion. This is also something Morrison raises via The Joker’s sexuality. Although Morrison (2012) wanted a more polymorphously perverse Joker set against the ‘buttoned up’, conservative Batman – something DC would not agree to – he did manage to suggest The Joker’s transvestism by showing him in high heels as the story reaches its climax. The Joker crosses over and upsets the usual social categories. In doing so, he threatens the

in Sovereignty and superheroes
Richard Werbner

the organization of rituals at physical puberty according to the existence of age-sets. In 38 Anthropology after Gluckman a part, published in 1935 before the dissertation, on Zulu women in hoecultural ritual, it examined comparative issues of gender (Gluckman 1935) and took account of Gregory Bateson’s early work on Sepik transvestism in Melanesia (Bateson 1935). Governance and variables linked to authority in ritual were surveyed across a culture area: ‘The Bantu chief is not usually – Tshaka’s excess being a mere aberration – a despot. The information we have

in Anthropology after Gluckman