Search results

Motherhood and comic narrative
Felicity Dunworth

illustrations of social practice, reduce the powerfully conflicting investments of the textual and pictorial representations of Boccaccio’s tale of Griselda’. 30 For a discussion of the representation of the maternal body by boy actors, see Peter Stallybrass, ‘Transvestism and the “Body Beneath”: Speculating on the Boy Actor’, in Erotic Politics

in Mothers and meaning on the early modern English stage
Abstract only
Sexualities on the move?
Andrew Asibong

conventionally feminine roles and attributes. Paul becomes a whore for a night (in contrast to Rose herself, who remains tightly in control of her body), while the dress foisted upon Luc by the Spanish girl forces him into a comically striking transvestism. What is crucial about both these enforced feminisations, though, is their ephemeral nature. The summer dress, in particular, works in the film as a strikingly visual symbol of provisional

in François Ozon
Barry Reay

effects of testosterone and oestrogen on trans man masculinity and trans woman femininity.112 Finally, one could argue that the indeterminacy of trans is reflected in its archive. Is the history of what was then designated transsexuality really flattened in the gay histories of drag performers (Pittsburgh’s House of Tilden), or by what was then called transvestism (at Casa Susanna, or in Transvestia)?113 Or is the sexual and gender indecipherability at the transsexual moment of the 1960s and 1970s the very essence of that period’s transness?114 The queer archive, as the

in Sex in the archives
Tanya Cheadle

text, in conjunction with its 1896 companion essay ‘The moral evolution of sex’, also addressed the subject of sexuality, speaking to the more marginal, predominantly medical discourse of sexology. Emergent in Britain during the 1890s, sexology was concerned broadly with the analysis of sexual behaviour, and more particularly with the taxonomy and terminology of aberrant psycho-sexual identities such as homosexuality, lesbianism, paedophilia, sado-masochism, nymphomania, transvestism and zoophilia.12 In its new, medicalised way of speaking about sexuality, it

in Sexual progressives
Aritha van Herk and No Fixed Address
Susanne Becker

). 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

in Gothic Forms of Feminine Fictions
Martin O’Shaughnessy

a critical distance when they watch a group of German soldiers parade to music and the seductiveness of the spectacle, especially the sound of marching feet, is brought home to them. They fail to learn the lesson and their own very different spectacle of music-hall songs and comic transvestism is drawn into the struggle in a way that will again emphasise the power of nationalist spectacle. Preparation for their show is

in Jean Renoir
Abstract only
Susana Onega

’s sense of identity is directly related to her chap 3.qxd 2/2/06 110 2:00 pm Page 110 Jeanette Winterson position in her mother’s religious community of female friends. In Boating for Beginners, the protagonist’s female friends decisively help Gloria in her maturation process and in the dismantling of Noah’s version of the Flood. In The Passion, the fluidity of Villanelle’s identity is symbolised in her transvestism: she dresses as a woman during the day and wears male drag during the night. In Sexing the Cherry, the Dog Woman enjoys the friendship of prostitutes

in Jeanette Winterson
Abstract only
Steven Hutchinson

Charles V in his tent during his invasion of La Goletta and Tunis, as Ricardo remembers a story his father told him: ‘they presented to him a Mooress of rare beauty, and when they offered her to him, some rays of the sun shone into the tent and illuminated her hair, that in its golden colour competed with the sun itself – something unique in Mooresses, who always pride themselves for their black hair.’ 37 In her perceptive analysis of cultural transvestism, Barbara Fuchs comments on the ‘porosity between Christianity and Islam in the Eastern Mediterranean’, the

in Frontier narratives
Chloe Porter

Puppet Dionysius’ to ‘venture the cause on’t’ (5.5.33–7). Idolatrously entering into an argument with a puppet, Busy tells Dionysius that his ‘main argument against you is that you are an abomination; for the male among you putteth on the apparel of the female, and the female of the male’ (5.5.96–8). Busy here refers to one of the central objections to the theatre as an arena which staged transvestism

in Making and unmaking in early modern English drama
Treachery, patriotism and English womanhood
Lucy Bland

These behaviours were���������������������������������������������������������������� later re-classified by others as hermaphroditism, bisexuality, transvestism, transsexuality etc. Von Krafft-Ebing claimed that homosexuality was either acquired (brought on by certain conditions or behaviour) or was congenital, and a sign of hereditary degeneracy. By 1901 he was arguing that homosexuality was always inborn and not pathological per se. Gert Hekma, ‘A Female Soul in a Male Body’, in Gilbert Herdt (ed.), Third Sex, Third Gender (New York, 1994).   94

in Modern women on trial