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
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
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
Transgender patients in early Swedish medical research
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
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
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
Transgender performance and the national imaginary in the Spanish cinema of the democratic era
Ian Biddle and Santiago Fouz-Hernández
La mala educación
Pedro Almodóvar’s La mala
educación (2004) provides some useful answers to this question. In
this film, narratives about the Transition and transvestism are played out
quite explicitly in a manner arguably indebted to Pons’s
Ocaña . As will be seen, the ‘doubled-ness’
identified in Ocaña is worked through in Almodóvar’s
film via the musical play of curtailed or partial forms in
encouraged to identify with and be sympathetic to Ruth in the opening scenes, by the end she is callous and evil: the final episodes can be seen as constituting a betrayal or trick in terms of the earlier characterisation. The change in direction has important ramifications for the semi-otic meanings attached to Ruth’s physical presentation, as it implies that her facial hair, which may originally have elicited pity, comes to allude to a range of ‘sexual perversions’: bestiality; lesbianism; transvestism; trans-sexuality and sado-masochism. Along with the editing style
governess’ was ‘an exercise in suppressed camp’,
while Bryden saw ‘straight if muted camping: a comic performance
based on recognizable masculine imitation of female mannerisms’
(as noted above, this was for Shulman ‘high queerdom’).
But while Audrey and Celia could be safely relegated to a zone of comic
transvestism where they posed no sexual threat, this was not the case
with Richard Kay’s Phoebe. He was
Catholicism, gender and race in two novels by Louise Erdrich
other theorists, it seems clear to me that within Gender and Sexuality Studies, a hierarchy has been established which accepts that certain manifestations of gender ambiguity are more subversive than others: male-to-female cross-dressing is more subversive than female-to-male transvestism; queer subjects are more subversive than heterosexual subjects. Those who subscribe to such assumptions could learn from the work of a growing body of critics of passing, who recognise the redundancy of the subversive versus complicit debate and wonder what else passing could