Zalfa Feghali

rasquachismo is even more complex. Neustadt suggests that ‘Gómez-​Peña elaborates a kind of double border rasquachismo. He appropriates and merges Chicano poetics with Mexican and “Gringo” counterparts to engender an intertextual conflation of transnational signs’.25 One aspect of this is Gómez-​ Peña’s use of drag, which he uses to ‘underscore and efface’ the US–​Mexico border. According to Marjorie Garber, transvestism can indicate a cultural ‘category crisis’ where there is ‘a failure of definitional distinction, a borderline that becomes permeable, that permits of border

in Crossing borders and queering citizenship
Abstract only
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
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
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
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
Barry Jordan

character achieved a degree of agency, power or dominance in the film narrative, she was likely to come to a bad end and pay for her curiosity (i.e. sexual desire) with her life (1984: 85). 18 Moreover, the female spectator was denied a gaze of her own and on the whole had no active women characters to identify with. This being so, short of abandoning mainstream cinema, her only recourse was transvestism, i.e. she was obliged to

in Alejandro Amenábar
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
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