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
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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
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
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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
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
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
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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
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
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