Catholicism, gender and race in two novels by Louise Erdrich
Sinéad Moynihan

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

in Passing into the present
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Popular culture and popular protest in early modern England
John Walter

political culture of the State. As important was the legitimation drawn from the claim that the community of commoners opposed enclosure. Even where this was not the case, crowds worked hard to represent themselves as the physical manifestation of community disapproval. To achieve this objective, they drew on the common social and cultural resources. Riots were organised in the twin centres of village life – hatched in the alehouse and announced in the church. They were deliberately public and carnivalesque in character, a colouring emphasised by masking and transvestism

in Crowds and popular politics in early modern England
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Tobias B. Hug

-Dressing and Cultural Anxiety (London, 1992); Rudolf Dekker and Lotte van de Pol, The Tradition of Female Transvestism in Early Modern Europe (Basingstoke, 1989); Julie Wheelwright, Amazons and Military Maids: Women Who Cross-Dressed in the Pursuit of Life, Liberty and Happiness (London, 1989). 13 5287P IMPOSTURES MUP-PT/lb.qxd 14/10/09 15:12 Page 14 Impostures in early modern England On castrati, see Roger Freitas, ‘The eroticism of emasculation: confronting the baroque body of the castrato’, Journal of Musicology, 20 (2003), pp. 196–249; id., ‘Un atto d’ingegno: a

in Impostures in early modern England
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
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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
Phil Powrie

feminine attire’ (Flügel 1930 : 119). This leads Flügel to consider transvestism, which ‘does not necessarily coincide with active homosexuality, or even with a tendency towards the physical characteristics of the opposite sex. Hercules himself . . . spent some time dressed as a woman’ (Flügel 1930 : 119). Korben Dallas may well be a modern Hercules in this narrative, fighting absolute evil which threatens

in The films of Luc Besson
The Man in Black
Richard J. Hand

, incest, monstrosity and deformity, masturbation, transvestism and transexuality, dead children, cruelty to animals, the imbibing of urine, erotic asphyxiation, vampirism, voodoo, implicit cannibalism (a rare moment of restraint), limb grafting and a plague of nosebleeds. Add nudity, some violence and gore, the occasional use of the word ‘fuck’, and an

in Listen in terror
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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
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
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’