Abstract only
Mental nurses and their patients, 1935–74

Anecdotal evidence of the testimonies of patients who received treatments for sexual deviations and medical attitudes towards them are scattered in the recorded accounts of gay, lesbian, bisexual, transgendered, intersex and queer/questioning (GLBTIQ) people. This book examines the plight of men who were institutionalised in British mental hospitals to receive 'treatment' for homosexuality and transvestism, and the perceptions and actions of the men and women who nursed them. It explores why the majority of the nurses followed orders in administering the treatment - in spite of the zero success-rate in 'straightening out' queer men - but also why a small number surreptitiously defied their superiors by engaging in fascinating subversive behaviours. The book is specifically about the treatments developed for sexual deviations in the UK. Transvestism was also treated fairly widely; however, not to the same extent as homosexuality. After an examination of the oppression and suppression of the sexual deviant, the introduction of aversion therapies for sexual deviance is considered. During the 1930s-1950s, mental health care witnessed a spirit of 'therapeutic optimism' as new somatic treatments and therapies were introduced in mental hospitals. The book also examines the impact these had on the role of mental nurses and explores how such treatments may have essentially normalised nurses to implement painful and distressing 'therapeutic' interventions . The book interprets the testimonies of these 'subversive nurses'. Finally, it explores the inception of 'nurse therapists' and discusses their role in administering aversion therapy.

Abstract only

perception in relation to the use of aversion therapy to ‘cure’ homosexuality and transvestism. 1 ‘Curing queers’ In this way, it seeks to offer fresh insight into both patients’ and nurses’ perspectives on these treatments. It uses testimonies of patients and nurses to explore the subject in ways that have not been attempted before, and to texture more broadly focused histories of these treatments and this period. This echoes recent moves towards ­micro-histories particularly when looking at sexuality and nursing, as a way of framing and answering questions about

in ‘Curing queers’
Abstract only

conflict with her or his gender role enters a treatment programme for transsexuals, he argues, but is also the result of a historical development. His historical analysis of this transformation was based on his reading of the secondary histories of ‘sexual inversion’, hermaphroditism and transvestism.2 Here I hope to present a more profound analysis of that very transformation based on hermaphrodite case histories. I hope to demonstrate, that what was once a social, moral and sometimes legal conflict concerning a person inscribed as male or female whose physical sex

in Doubting sex

ideal was threatened by the concept of effeminacy and transvestism. Indeed, many simply yielded to the prevailing attitude of heterosexual domesticity, which was promoted within the film. Albert Holliday recalls how the pressure of this ‘propaganda’ largely influenced his decision to get married: It seemed that every film I watched and book I read made marriage look like such an attractive option. Maybe I was brainwashed [. . .] I didn’t want to be lonely and there were a lot of questions from my family regarding me getting married [. . .] I had met a girl at art

in ‘Curing queers’

colourful clothes, the mini-skirt and bikini for women and long hair for men, defied conventional norms of behaviour and appearance. Popular music was changing as the glam rock era emerged and David Bowie appeared as the flamboyant, androgynous alter ego Ziggy Stardust. Peter Ackroyd argues that Bowie challenged traditional gender roles and made transvestism more broadly acceptable.42 There was also the emergence of anti-establishment thinking, including challenges to the institution of psychiatry with the emergence of the ‘counter-psychiatry’ movement.43 The ‘counter

in ‘Curing queers’
Gothic and the perverse father of queer enjoyment

‘Tale of the Spaniard’ Alonzo di Monçada in Charles Maturin’s Melmoth the Wanderer (1820). Alonzo is relating to John Melmoth, in painstaking detail, the story of his escape from the monastery into which he had been coerced by his parents. While Alonzo and his accomplice, the parricide, are concealed in an underground vault, the latter recites a story of transvestism, cross-dressing and

in Queering the Gothic

’s class. This becomes important in movies. Theatre was tenuously exempted from these laws except in the eyes of hard-line Puritans: The stage was a privileged site of transgression, in which two kinds of transvestism were permitted to players: changes of costume that violated edicts against wearing the clothing of the

in Shakespeare’s cinema of love

of Banshees (86–8), encounters with the Devil (75) and substitute children (112), to Steve Hart’s attempts to re-enact the activities of Irish rebels. Hart disturbs MUP_Woodcock_09_ch9 152 8/16/03, 9:13 True History of the Kelly Gang 153 Ned by appearing at various times in women’s dresses, as Ned believes his own father had done. Ned’s feelings of losing his father date from the moment he discovers his father’s trunk with dresses in it (18), but the true meaning of this transvestism doesn’t become clear until Mary explains the activities of the Children of

in Peter Carey

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 training

in ‘Curing queers’
A methodological induction

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

in Interweaving myths in Shakespeare and his contemporaries