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

-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

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

’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

). 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

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

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

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

, Georgette, and a Roman Catholic priest with a taste for drinking and card-playing. Like the tender-hearted eponymous hero of Thomas Hardy’s Jude the Obscure, Henri abhors pain inflicted on animals. His friend Domino says that he ‘can’t pick up a musket to shoot a rabbit’ (P 28) and he himself admits that he can only bring himself to kill the moles that destroy the family crops ‘by looking the other way’ (P 31). By contrast, Villanelle is a resourceful and witty bisexual woman with sparkling blue eyes and flashing red hair (P 51) and a taste for transvestism (P 54), who

in Jeanette Winterson

must not read Carey’s book as fact. The site decries the book’s elements of transvestism, Ned Kelly having a child and so on. Details, it claims, that don’t match the ‘true history’! On one level this is missing the point, but on another it is also a rebuttal of the hype that goes behind such a work. The novel is a work of pure advertising. It interweaves the language of Kelly as dictated to Byrne in the Jerilderie Letter – Australia’s manifesto of the oppressed Irishman, declaration of independence and map to the individual–community dichotomies of Australian

in Polysituatedness