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Louro, Teresa. "Cross-dressing in literature 1830-1930." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.410584.
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Pratesi, Noemi <1991>. "Il Cross-dressing nella cultura e subcultura giapponese." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/15170.
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La tesi ha l'obiettivo di analizzare e l'illustrare brevemente il tema del cross-dressing o travestitismo all'interno della cultura e subcultura giapponese ponendolo in relazione con il concetto di androginia.
L'elaborato si focalizzerà in particolare sulla letteratura, il cinema, il manga e la moda.
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Rolleri, Giulia. "Cross-dressing comedies: an analysis of structure and topoi." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017.
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The aim of this paper is to analyse the structure of films in which male to female cross-dressing is used as a plot as a comedic element. As a sample, four films produced in the last fifty years have been selected and eight main topoi have been observed to be present in each of them. This paper, after a brief introduction to cross-dressing in history, goes over said topoi and analyses their patterns and implications.
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Harris, Joseph. "Cross-dressing in seventeenth-century French literature and culture." Thesis, University of Cambridge, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.398507.
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Barbé, i. Serra Alba. "El cross-dressing en el context català del segle XXI." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/362098.
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La tesis pretende una aproximación a la práctica cross-dresser a través de una etnografía realizada, principalmente, al club EnFemme de Barcelona. El club se define como un espacio de soporte para personas “transgéneros: cross-dressers, transvestís y transsexuales”. El cross-dressing se caracteriza por una contemplación y expresión del género no persistente en el tiempo y el espacio. Refiere a la presentación y representación social del propio cuerpo, y por lo tanto del género, dependiendo de las esferas sociales en que éste se expresa; en particular, entre personas asignadas y leídas como hombres, y muchas quienes se identifican como heterosexuales. La tesis revela la experiencia dinámica de las identidades y la flexibilidad clasificatoria, así como las ambivalencias y la compleja situación que puede vivir o percibir la persona en relación a la identidad de género o a la expresión de género en las sociedades modernas occidentales. El Cd sólo se explica a través de un acoplamiento de otras posiciones como la clase social, la edad, el lugar de procedencia, etc. La tesis muestra como las decisiones de su modo de producción y expresión, a menudo a través de la ocultación en relación a sus entornos más inmediatos como la familia, no pueden desvincularse de los procesos de construcción sociocultural.
El abordaje teórico parte de la concepción del sexo-género-sexualidad como un hecho cultural. Toma como referencia los estudios que han problematizado las organizaciones categóricas basadas en sistemas binarios polarizados, y han propuesto la necesaria desnaturalización de las identidades [de género] como alternativa histórica, en términos simbólicos, materiales y políticos. La investigación no disocia la producción académica, de los feminismos y los activismos. La atención es en como toman forma entre ellos. Más allá de los reconocidos métodos cualitativos usados, la comprensión final ha emergido de las dinámicas de contacto, negociación y reconocimiento en el campo.
La investigación se ha orientado en comprender la forma que toma el Secreto del cross-dressing, los impactos que genera el contacto y el vínculo con una comunidad, así como los procesos de diferenciación del cross-dressing en relación a otras personas y colectivos: transformistas, travestis, transexuales, etc. Al final del recorrido, ha sido posible sintetizar la cuestión que orientó la investigación: qué entiendo por violencias tránsfobas. En particular, su producción e impacto en y a través del cross-dressing.
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Reisbig, Allison M. J. "The lived experiences of adult children of cross-dressing fathers : a retrospective account." Diss., Manhattan, Kan. : Kansas State University, 2007. http://hdl.handle.net/2097/303.
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Taylor, Jennifer Renee. "Ocular demonstrations: cross-dressing and the body in early american texts." Honors in the Major Thesis, University of Central Florida, 2001. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/250.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
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Cezar, Marina Seibert. "Gênero e moda: a construção da aparência na prática de cross-dressing." Universidade do Vale do Rio dos Sinos, 2016. http://www.repositorio.jesuita.org.br/handle/UNISINOS/5189.
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Fundamentada pelo campo das ciências sociais, esta tese tem como tema de investigação, a relação entre gênero e moda, através da perspectiva orientada pela mídia sobre a transgeneridade. Instigada pelo lugar da aparência construída por meio do uso de signos estéticos, a inquietude teórica é estabelecida na noção do corpo em permanente negociação com modelos estabelecidos, conforme o sexo designado ao sujeito no seu nascimento. Este estudo objetiva investigar os princípios do sistema de moda inseridos nos estudos de gênero, o qual propõe criar um panorama da inserção do corpo e sua identidade relacional a partir das experiências vestimentares, estas, orientadas pelas instâncias da cultura material. A tese também focaliza se tais sujeitos dados como masculinos e que transitam nas dimensões de gênero pela estetização pessoal através de recursos de enfeites que são convencionados ao universo das mulheres, projetam um arquétipo feminino para a sua produção visual. Para tanto, parte-se de uma pesquisa exploratória, envolvendo uma revisão bibliográfica interdisciplinar para gerar pontos de conexões entre as principais áreas dos saberes: ciências sociais, estudos de gênero, antropologia do consumo e noções da estética; associada a uma busca em campo, na qual o universo empírico é constituído por transgêneros da associação Brazilian Cross-dresser Club, bem como, por interlocutoras que identificam-se pela prática, além do resgate de relatos das que expuseram suas experiências em biografias ou em redes sociais. Por meio desta investigação, tem-se como um dos principais resultados alcançados, a validação da importância dada à linguagem visual, quando exercida sob um ângulo de observação de discurso social dado pela categoria binária de gênero. Nesse espaço de expressão e negociação com o meio, a prática de cross-dressing redimensiona os efeitos sociais já que conduzem a imagem pessoal para uma nova hierarquia dentro das dimensões políticas, em um processo constante de luta pelo reconhecimento.
Grounded by the social sciences field, this thesis has as its investigation theme, the relation between gender and fashion, through the perspective guided by media regarding transgenderism. Instigated by the role of appearance build by the use of aesthetics signs, the theoretical restlessness is stablished on the notion of the body in a permanent bargain with the established models, according to the gender designated at birth. This study investigates the principles of the fashion system inserted in gender studies, which proposes to create a panorama of body and its relative identity from clothing experiences, and those, guided by the instances of material culture. The thesis also focus on if such subjects, labeled as masculine and that transit on the dimensions of gender through personal aesthetic choices that conventionally belong to women’s universe, projects a feminine archetype for their visual production. Therefore, it starts from an exploratory research, encompassing an interdisciplinary bibliographic revision to generate the connection points between the main knowledge areas: social sciences, gender studies, consume anthropology and aesthetic notions; associated with a field research, on which the empirical universe is constituted by transgenders from the association Brazilian Cross-dresser Club, as well as by interlocutors that identify themselves through this practice, besides the collection of reports shared on biographies and social networks. Through this investigation, one of the main results achieved is the validation of the importance given to visual language, when exerted by an angle of observation of the social speech in which gender classification s binary. On this space of expression and negotiation with the environment, the practice of cross-dressing gives a new size to the social effects, since it takes the personal image to a new hierarchy within the political dimension, in a process of constant struggle for recognition.
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Bassan, Rachele Svetlana <1996>. ""Thinke nothing true": Cross-Dressing in Late Elizabethan and Early Jacobean Drama." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/18243.
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This thesis analyses the role of cross-dressing in late Elizabethan and early Jacobean drama, focusing on six comedies of the period. Contrary to previous studies, which underlined the transgressive qualities of onstage cross-dressing, this work will stress its role as a metatheatrical device for the upholding of social norms. In these comedies, references breaking the illusion of all-male cast conventions highlight the liminal features of theatrical travesty and of the theatrical "as-if" dimension. However, both such carnivalesque qualities and the comic framework have been shown to be deeply conservative, and these comedies reinforce the established social order also by restating the appropriateness of certain behaviours for each gender. This process seems to "under-power" assertive female characters and also to question previous assumptions on the homoerotic safety of the theatrical dimension.
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Mossakowski, Tomasz Filip. ""The sailors dearly love to make up" : cross-dressing and blackface during polar exploration." Thesis, King's College London (University of London), 2015. http://kclpure.kcl.ac.uk/portal/en/theses/the-sailors-dearly-love-to-make-up-crossdressing-and-blackface-during-polar-exploration(6d15743a-5976-4ea1-bf7f-a707b999590f).html.
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This research project writes against the hegemonic narratives of polar exploration in the nineteenth and early twentieth centuries. Using the published and unpublished diaries of explorers from 1819 to 1904, it asks how queer, critical race and postcolonial critiques of the hyper-masculine, all-white image of the polar explorer can open up new understandings of polar spaces both in the nineteenth century and today, when similar nationalistic, colonial enterprises are at play. Primarily informed by Lisa Bloom’s feminist, postcolonial review of American ideologies of polar exploration, this project discusses the large disparity between the intensely masculine image of the polar hero-adventurer and the particularly Anglo-American, but also Norwegian, tendency to perform drag during polar expeditions. It also examines the high incidence of blackface theatre: in one of the whitest spaces conceivable, sailors donned the black mask to air a complex constellation of white, colonial and class grievances and aspirations. Polar performance, which evolved to have its own idiosyncrasies shaped by the natural and social polar environment, affected colonial relations with Inuit, the stuff of farce being pressed into the service of imperial force. Indigenous populations witnessed grotesque displays of Anglo-American gendered and racial values through theatrical recreation, while simultaneously resisting the encroachment of expedition society through similar but seemingly smaller avenues of performative resistance. Broadly speaking, this project offers this more radical, revisionist interpretation at a time when interest in the Arctic and Antarctic is soaring due to anthropogenic climate change. It challenges the current reappropriation of heroic, hyper-masculine figures by national andprivate interests through celebrating their lesser-known but equally fascinating mid-winter activities.
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Franco, Chelsea E. "The (Wo)Man in the Masque: Cross-Dressing as Disguise in Early Modern English Literature." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1780.
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Characters’ identities are integral to how audiences relate to them. But what happens when the character suddenly alters his or her outward appearance? Are they still the same person? This thesis seeks to argue that disguise does not alter a character’s true nature, as evidenced by Pyrocles in Sir Philip Sidney’s The Countess of Pembroke’s Arcadia and the Prince in Margaret Cavendish’s The Convent of Pleasure. Both Pyrocles’ suit of Philoclea and the Prince’s suit of Lady Happy are successful because, however subversive they appear at first, they ultimately adhere to societal norms of the time. The relationship between the cross-dressed prince and his love interest in both works only appears to subvert heteronormative expectations for the time, but ultimately adheres to these societal norms once the disguised character’s true identity is revealed to his chosen partner.
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Liebman, Tobi. "The Jewish exegetical history of Deuteronomy 22:5 : required gender separation or prohibited cross-dressing?" Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79786.
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Deuteronomy 22:5 has sparked much interest and wonder for both readers and interpreters of the Bible, throughout Jewish history. Divided into three parts, the verse reads as follows: "A woman should not have keli gever (man's apparel, utensil or tool) on her; a man should not wear simlat isha (a woman's dress, robe, mantle, tunic); anyone who does these things is an abomination to the Lord your God." Each part of the verse has raised questions among exegetes, like how to define its key terms simlat isha and keli gever and what is the nature of the abomination. This thesis explores the responses to these questions through a presentation of the Jewish exegetical history of Deut. 22:5 from biblical times to the present. It demonstrates how the interpretations of this verse varied the application of the biblical law derived from it and thereby affected and altered dress codes, interactions, behhviours, and daily habits of Jewish men and women throughout history.
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Middlehurst, Lee Robert Jack. "Reconceiving cross-dressing : transphobia and support for MTF transgender people socialising in Manchester's gay village." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/332120/.
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This thesis presents investigations of Male-To-Female (MTF) transgender people, mostly those who are cross-dressers/transvestites, socialising in Manchester’s Gay Village. A systematic review of the academic literature related to transgender issues indicates that no previous extensive research has been presented which analyses contemporary gender divergent (trans*) people in Manchester. The incomplete academic knowledge on current transgenderism, particularly transvestic identities, has been recognised by representatives of the Equality and Human Rights Commission and the UK Government Home Office. These deficient understandings comprise transphobic discriminations. Therefore, this thesis enhances academic information of contemporary transgenderism. This thesis includes findings and developed theories, deriving from aspects of Grounded Theory and Template Analysis, which reflect the deconstructive methodologies developed in postmodern theory. Postmodernism rejects the ‘grand narratives' of truth and science, with a greater emphasis upon the lived experience and expertise of those studied. The investigations undertaken for this study include a reflective/reflexive ethnographic analysis of the assistance to trans* people in Manchester by individuals and support organisations. Thirty-seven interviews with key informants were conducted. This thesis also deploys digital ethnography to examine Internet trans* supportive discourses, which either relate to or emerge from social circles linked to the Gay Village. Additionally, related quantitative information concerning trans* matters is re-presented which is drawn from 390,227 international online data inputs. Moreover, this study documents the annual transgender Sparkle celebrations in Manchester from 2005 to 2012, which attracts thousands of MTF transgender people (trans* women). The analysis is further sustained by critical explorations of transgender supportive political actions by agents of trans* organisations, the Manchester City Council and the UK national Government. The thesis employs a mix of methods and critical methodology. It challenges conceptual hierarchies in which the trans* person is low down the scale of social acceptance, and instead deconstructs contemporary ‘scientific knowledge’ to provide innovative insights into the actual experiences of present-day trans* identities. The research contributes to knowledge concerning transgenderism and highlights the potentially harmful impacts from inadequate medical, legal and academic recognitions of trans* people.
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Jagodzinski, Mallory Diane. "Of Bustles and Breeches: Cross-dressing Romance Novel Heroines and the Performance of Gender Ideology." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276724423.
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Tietz, Lüder [Verfasser]. "Homosexualität, Cross-Dressing und Transgender: Heteronormativitätskritische kulturhistorische und ethnographische Analysen / Lüder Tietz. Institut für Materielle Kultur." Oldenburg : Institut für Materielle Kultur, Carl von Ossietzky Universität Oldenburg, 2015. http://d-nb.info/1073851532/34.
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Mason, Rebecca Mary. "Mutable Sex, Cross-dressing, and the mujer varonil: Understanding Non-Normative Sex in Early Modern Spain." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460991983.
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Sears, Clare. ""A dress not belonging to his or her sex" : cross-dressing law in San Francisco, 1860-1900 /." Diss., Digital Dissertations Database. Restricted to UC campuses, 2005. http://uclibs.org/PID/11984.
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Suthrell, Charlotte. "Clothing culture : sex, gender and cross-dressing with reference to UK transvestites and the hijras of India." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270148.
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Winqvist, Åsa. "Mangan lockar sina läsare till medskapande : etnografisk undersökning av en ungdomskultur." Thesis, Konstfack, Institutionen för Bildpedagogik (BI), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-3164.
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Uppsatsen syftar till att undersöka ungdomars reception av fenomenet manga/anime på ett etnografiskt arbetssätt, avgränsat med begreppet ungdomskultur. Fokus ligger på två mangayttringar som närmast berör ungdomar: shōjo för flickor och shōnen för pojkar. Resultatet redovisas i tre olika teman: Estetik/Stil, Makt/Könsroller och Berättelser/Myter,vilka tolkas med hjälp av ett raster på textuell, kontextuell och sociohistorisk nivå.Undersökningen är kvalitativ med sju ungdomar som informanter, och empirin består avfältanteckningar, fotodokumentation och intervjuer.Ungdomarnas fascination av mangaserier kan delvis förklaras med att de ritas i ett utstuderat ”filmiskt” maner, med snabba bildväxlingar och många olika bildvinklar, och delvis med att läsaren kan följa protagonistens utveckling under många år, parallellt med sin egen utveckling till ett vuxnare jag. Kulturyttringen uppmuntrar även till eget medskapande och egenamatörmanga-produktion, vilket medför att många ungdomar publicerar sitt eget material,både i pappersform och på internet. Detta gör fenomenet förhållandevis ohierarkiskt.Manga/anime-traditionen är ofta ironisk och lekfull, motiven i den tidiga sekventiellabildkonsten i Japan hämtades från nöjes- och teatervärlden, men under den flamsiga ytan döljsofta allvarliga resonemang. Berättartraditionen kan uppfattas utifrån tre olika modus: vardagligt, humoristiskt och poetiskt. Ungdomarna kan i postmodernistisk anda ta del av det främmande och egendomliga, men kan också; när de själva vill, stänga av och avskärma sigifrån det.Estetiken betecknas av eklekticism, brottstycken, lekfull inställning till form och konventionoch raserandet av hierarkiska traditionerna. Könsroller utmanas med crossdressing, och demanliga protagonisterna ritas ofta med påfallande feminina anletsdrag. Uppsatsen beskriverdetta med bakgrund av queerteoriska tankegångar, där en given norm ifrågasätts. Läsandet avserietidningar har nästan alltid betraktats nedlåtande, med någon form av moralpanik i sitt kölvatten. Detta kan betraktas som en reaktion mot en pågående modernisering. Resultatet av uppsatsen visar inte på någon större förändring i det traditionella könsrollstänkandet, men en viss omformulering pågår.
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Page, Jennifer Renee'. "'And he shall be called woman': behind the mask of selected black male actors cross-dressing in entertainment." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/98.
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This research explored Dunbar’s concept of the mask in order to examine why select black male actors, Flip Wilson (as Geraldine), Eddie Murphy (as Rasputia), Martin Lawrence (as Sheneneh), and Tyler Perry (as Madea), have worn the mask of femininity to survive the vicissitudes of the American stage. It explained what factors compelled these selected black male actors to mask their appearance and why the outward signs of femininity are used as vehicles of communication in their artistic expression. The methodology involved a visual deconstruction of media utilizing literary texts as the instrument to analyze the movies and television shows of these actors, and the research centered on the theories of W. E. B. Du Bois’ notions of the veil and double consciousness, Stephen Greenblatt’s idea of self-fashioning and self cancellation, and Franz Fanon’s views on language found in the book Black Skin White Masks. While wearing the mask, Wilson, Murphy, Lawrence, and Perry challenge society’s notion of black manhood, the limitation of the black man’s freedom of speech, and the role of black women in their plight for an uninhibited existence. These actors also tackle crucial matters, namely black female sexuality, classism, obesity, and the black family. These actors achieve their objective and combat the gaze of both black and white America by self-fashioning and self-canceling their identities at will.
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Eichenlaub, Kathryn L. "Putting On Her Man Pants: Social Reaction to Female Cross-Dressing and Gender Transgression in America 1850-1880." Oberlin College Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1273686010.
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Seymour, Brett. "Making and breaking order via clothing Clothing regulation, cross-dressing, and the ordering mentality in later medieval and early modern England." Thesis, Department of History, 2012. http://hdl.handle.net/2123/8837.
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Following the events which disrupted social stability in fourteenth and fifteenth-century England, individuals from a variety of social contexts demonstrated a particular necessity to see order visibly displayed in society. This thesis examines sumptuary regulations and cross-dressing side by side to demonstrate clothing's relationship to both making and breaking order. In the act of revealing this relationship, this thesis will argue that the two cases demonstrate clothing’s importance in creating a visible confirmation of social order which ultimately brings to the surface an underlying collective ordering mentality that equated a sense of security with arranging everyone in society in their rightful place.
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Shiller, Romy Sara. "A critical exploration of cross-dressing and drag in gender performance and camp in contemporary North American drama and film." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0007/NQ41312.pdf.
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Murray, Marcy Wynn. "Cross-dressing in Sarah Grand's The Tenor and the Boy and E.D.E.N Southworth's The Hidden Hand : gender, class, and power." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001722.
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Jonsson, Lovisa. ""Not exactly as a boy" : A Study of Queer Gender Performances, Cross-dressing, and Love Between Women in Sarah Waters’ Tipping the Velvet." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-71459.
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This study consists of an analysis of the novel Tipping the Velvet by Sarah Waters, in terms of cross-dressing as self-representation. The study aims to emphasise how cross-dressing can be significant when expressing one’s gender identity, by examining the gender identity and sexual orientation of the male impersonator Nancy Astley/Nan King and how she reacts to her own queerness. With the use of queer literary theory, Judith Butler’s theories on gender performativity, and ideas of gender as social constructs, this study argues that the novel is a powerful representation of the fluidity and inconsistency of gender and the non-existence of the gender binary. Throughout the novel, the main character disrupts the expected gender roles of the British Victorian era, and through the use of cross-dressing, uses masculinity and masculine femininity to discover and express her gender identity.
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Jünke, Sarah Lynne. ""Take Another Look At 'Em": Passing Performances of Gender in the Junior-Freshman Weddings of Florida State College for Women, 1909-1925." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3177.
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Junior-freshmen weddings were all-female mock weddings that were performed as annual traditions on college campuses throughout the U.S. in the early part of the twentieth-century. In the weddings, college women played both the men's and women's roles, and were joined as husband and wife by their college administration. This thesis focuses on the junior-freshman weddings of Florida State College for Women during the years 1909-1925 and argues that the weddings expressed the conflicted cultural contexts that college women in the Progressive Era confronted, but that, significantly, this expression was done through passing performances of gender. The women's choice of passing performances in the junior-freshman weddings allowed them to appropriate metaphors of masculinity as their own, thereby challenging a dominant gender ideology that limited their roles within society and their relationship with structures of power. In their performances of gender, play is the language they used to express this challenge.
Because there were no existing scholarly studies of junior-freshmen weddings, it was necessary to comparatively examine analyses of other types of mock weddings. Through this examination it was possible to elucidate a working definition of what mock weddings are, which helps to understand not only junior-freshmen weddings, but also provides a framework from which to investigate the many other types of mock weddings that are as of yet unstudied.
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Gadelha, Josà Juliano Barbosa. "Masculinos em MutaÃÃo: A Performance Drag Queen em Fortaleza." Universidade Federal do CearÃ, 2009. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=4281.
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Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgicoFundaÃÃo de Amparo à Pesquisa do Estado do CearÃ
Esta dissertaÃÃo demonstra como a experiÃncia drag queen ocorrente na cidade de Fortaleza, situada no nordeste brasileiro, constitui uma experiÃncia ritual e performÃtica que desafia os limites dos binarismos de gÃnero e sexo alÃm de aproximar o que temos como sendo o mundo das artes ao que entendemos como sendo o mundo cotidiano. O trabalho de campo se fundamenta em observaÃÃes diretas nos locais que dÃo passagem a performance drag queen em Fortaleza tais como boates, bares e outras casas de show bem como na coleta de mais de 50 entrevistas, no estilo histÃria de vida, gravadas entre os anos de 2004 e 2007 com drag queens, transformistas, transexuais e travestis residentes na aludida cidade. Ao revelar o carÃter ritual/performÃtico da experiÃncia drag queen por meio de uma anÃlise daquilo que essas personagens denominam montagem, o autor conclui que um devir-artista à encontrado pelas drag queens sob o trajeto de certas liminaridades. O escopo teÃrico do trabalho se fundamenta na antropologia dos rituais, na etnoestÃtica, nos Performance Studies, na Queer Theory e na sociologia da agÃncia. A metodologia segue os rumos de uma metaetnografia em diÃlogo com a experiÃncia cartogrÃfica, desenvolvida por Gilles Deleuze e FÃlix Guattari.
This dissertation shows how the drag queen experience present in the city of Fortaleza, located in the Northeastern region of Brazil, consists of a ritualistic and performative experience which challenges the limits of the binary of gender and sex and also narrows what we understand as the world of arts and the everyday life. The field research is based on direct observations in the places where the drag queen performances happen in Fortaleza such as nightclubs, bars and other cabaret entertainment clubs, as well as on the collection of data in more than 50 interviews in life-story model recorded between the years 2004 and 2007 with drag queens, transformists, transsexuals and transvestites in this city. The ritualistic and performative aspects of the drag queen experience is evidenced through an analysis of what these characters name âmontagemâ (cross-dressing), the author can conclude that an becoming-artist can be found by the drag queens in the form of certain liminalities. The theoretical scope of this work is based on the anthropology of the ritual, the ethno-aesthetics, the Performance Studies, the Queer Theory and the sociology of agency. The methodology follows the steps of a meta-etnography in dialogue with the cartography experience, developed by Gilles Deleuze and FÃlix Guattari.
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Koski, Paula. "No, I'm not shopping for my girlfriend! : A Millennial perspective on gender in fashion retail." Thesis, Högskolan i Borås, Akademin för textil, teknik och ekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-12927.
Full textAbstract:
The idea of this thesis is to achieve deeper understanding of how gender is materialised in the retail environments of brands challenging the traditional division between male and female especially in their marketing and style direction. Furthermore, the research aims to give deeper understanding on how the gendered shop environments are understood by a sample of Millennial consumers and how the consumers reflect on gender in these settings. Using varying data collection methods from in-store observations to go-along interviews with participants chosen with purposive sampling technique, the thesis uses qualitative method as a research tool and further analyses the data upon framework of servicescape theory. Using constructivist grounded theory as main analysis method, the findings suggest that there are significant differences between merchandising womenswear and menswear assortments. The research also indicates that among Millennial consumers there is clear interest and market potential towards the assortment of opposite gender, and the consumers also recognise the gendered differences in the materialised retail environments.
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Grunvald, Vitor Pinheiro. "Existências, insistências e travessias: sobre algumas políticas e poéticas de travestimento." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-23032016-131857/.
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Esta tese é sobre políticas e poéticas do travestimento e, especialmente, sobre os regimes de produção de imagens-corpo agenciados a partir de algumas práticas de pessoas que se vestem com roupas do gênero associado ao sexo oposto. Inicialmente delimitada pelo trabalho de campo que realizei com pessoas que se autointitulam crossdressers, a pesquisa acabou se ampliando para abarcar sujeitos que se pensam a partir de outros territórios existenciais. Essa ampliação foi guiada pela própria dinâmica do campo, já que algumas pessoas com as quais fiz pesquisa passaram a entender suas experiências de maneira diversa daquela sugerida pela palavra crossdressing, propiciando uma compreensão desta prática ora como instanciação de um processo mais amplo de transformação ora como identidade reivindicada. Trata-se de refletir sobre os diferentes regimes de funcionamento do crossdressing e as travessias entre formas de vida distintas. Busco também pensar como alguns artistas se valeram do travestimento em seus agenciamentos artísticos na tentativa de acessar outras referências a partir das quais estas vivências pudessem ser compreendidas, além ou aquém de normatizações médico-legais tão presentes nos estudos sobre pessoas que se travestem. Desejo igualmente fomentar um campo de reflexão antropológica bastante escasso, a saber, aquele cuja consideração envolve tanto a arte contemporânea quanto seu cruzamento com discussões relativas ao gênero e à sexualidade.This thesis is about politics and poetics of cross-dressing, and especially about regimes of production of the images-body assembled through some practices undertaken by people who dress themselves with clothes associated with the opposite sex. Initially bounded by the fieldwork I conducted with people who call themselves cross-dressers, the research was eventually expanded to encompass subjects who think of themselves out of others existential territories. This expansion was driven by the dynamics of the fieldwork, since some people with whom I did the research came to understand their experiences in a way different than the one suggested by the word cross-dressing, comprehending this practice as either an instantiation of a broader process of transformation or an identity. I aim to think distinct operating regimes of crossdressing and the crossings between different forms of life. I also consider the way some artists took advantage of the cross-dressing in their artistic assemblages in an attempt to access other references out of which these experiences could be understood, beyond or below the medical-legal norms usually taken into account in the studies of people who cross-dress. I also wish to foster an anthropological field quite scarce, namely, the one that gives consideration both contemporary art practices and its intersection with discussions related to gender and sexuality.
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Bolmefalk, Jennifer. "Removing the Blindfold and Adding a Fedora : Challenging the Role of Women in Patriarchal Society through the Act of Cross-dressing in Siri Hustvedt’s The Blindfold. A Feminist/Queer Reading." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25405.
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Bolmefalk, Jennifer. "Removing the Blindfold and Adding a Fedora : Challenging the Role of Women in Patriarchal Society through the Act of Cross-dressing in Siri Hustvedt’s The Blindfold. A Feminist/Queer Reading." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24430.
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Chaitas, Maria. "Bortom ”könet”? : om Simones förvandling, avslöjande och återställande i Ulf Starks Dårfinkar & dönickar (1984)." Thesis, Södertörn University College, School of Gender, Culture and History, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-112.
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The aim of this paper is to analyse how subject, gender and sexuality is constructed in the book Dårfinkar & dönickar (1984), by Ulf Stark. In relation to this I have also analysed how the main character, Simone, develops from being a child into becoming a teenager.
Queertheory is the theoretical basis of this paper. Queer theory questions heteronormativity and aims to dissolve conceptions and notions that function in an excluding and limiting way. Queer theory also questions conceptions that seem obvious and/or natural, for example “woman”/”man” and “homo-/heterosexuality”.
I have chosen to focus the analysis on a number key events in the book and they are categorised according to Tiina Rosenberg`s three dramaturgic concepts: transformation, unveiling and restoration. I have also focused on how masculinities are constructed and to be able to this I have used R. W Connel`s theory. The result of my analysis is that the representation of gender in the book are constructed in accordance to the heterosexual matrix. It is also clear that Simone`s development from childhood to teenager follows Rosenberg`s three dramaturgic concepts.
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Machit, Melissa Renee. "Bad Habits: Gender Made and Remade in Guillén de Castro's La fuerza de la costumbre." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11147.
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Guillén de Castro's play La fuerza de la costumbre (1625) depicts the process of re-teaching gender to Hipólita and Félix, a sister and brother who have grown up performing the gender opposite to their physical sex. This dissertation provides the first edition of the play since 1927, and the first ever critical edition, which contains notes, critical apparatus and essays, and compiles information from all extant sources, including the manuscripts (not used in the 1927 edition). The 1625 print edition serves as the base text, with variants from the four manuscript witnesses compiled in an index. The critical apparatus includes a biography of the author, textual history, editorial methodology, metrical analysis, bibliography and notes on the text.Romance Languages and Literatures
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Albero, Teijeiro Agustín. "Extensiones corporales en el contexto del Body Art. Revolución del deseo." Doctoral thesis, Universitat Politècnica de València, 2010. http://hdl.handle.net/10251/8496.
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Tras la Revolución Industrial la máquina fue adoptada como epicentro de las prácticas artísticas del siglo XX. Esta fusión con lo popular creó la ecuación arte = vida y, con ello, lo somático se transformó en una manera de reflexionar sobre las repercusiones que la técnica infligía en el cuerpo así como su papel en la sociedad. La Segunda Guerra Mundial silenció este capítulo hasta que ciertos sectores intelectuales se negaron a aceptar un contenido cultural desideologizado. A finales de la década de 1950 se reemprendió la acción corporal en la práctica artística como un lenguaje necesario para atacar la ideología burguesa.
Llegamos al año 1968, fecha en la que se despertó la conciencia social contra el totalitarismo y en la que el cuerpo recuperó su categoría. La performance se transformó en el lenguaje apropiado para representar los nuevos valores. Poco a poco se consolidaba un concepto de arte sociológico que defendía la integración del cuerpo en el proceso creativo surgiendo así el Body Art. Sin embargo, algunos y algunas artistas adoptaron elementos configuradores de la corporeidad tales como vestidos, complementos y objetos de diversa naturaleza. Aquel interés que la vanguardia mostró por la tecnología se había transformado en otra de distinta naturaleza que cumplía las mismas funciones que la máquina adquirió a principios de siglo XX: la de "extensión corporal".Albero Teijeiro, A. (2010). Extensiones corporales en el contexto del Body Art. Revolución del deseo [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/8496
Palancia
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Lublin, Robert I. "Costuming the Shakespearean stage visual codes of representation in early modern theatre and culture /." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060614385.
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Thesis (Ph. D.)--Ohio State University, 2004.Document formatted into pages; contains x, 256 p. Includes bibliographical references. Abstract available online via OhioLINK's ETD Center; full text release delayed at author's request until 2005 Aug. 11.
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Berg, Martin. "Självets garderobiär : självreflexiva genuslekar och queer socialpsykologi." Doctoral thesis, Lunds universitet, Lund, Sverige, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-2451.
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Det övergripande syftet med föreliggande studie är tudelat. För det första syftar den till att på teoretisk väg etablera en dialog mellan queerteoretisk och socialpsykologisk teoribildning om aktörer och aktörsskap med utgångspunkt i en kritisk läsning av Judith Butler och George Herbert Mead. För det andra syftar den till att på empirisk väg utveckla och fördjupa denna dialog i syfte att demonstrera och resonera kring de möjligheter som uppstår i spänningen mellan dessa teoretiska perspektiv. På detta sätt är avsikten att föra ett bidrag till såväl den queer- och genusteoretiska debatten som dess socialpsykologiska motsvarighet. Ambitionen är att detta sammantaget kan utgöra ett ramverk i vilket möjligheterna med en queer socialpsykologi skisseras. I jämförelsen mellan dessa teoretiska perspektiv fokuseras på frågan om hur människor antas bli till som aktörer och under vilka villkor och genom vilka processer detta äger rum. I centrum för denna diskussion positioneras relationen mellan deras respektive antagande om struktur och aktör samt hur denna relaterar till och förutsätts vara uppburen genom något slags praktik. För det andra diskuteras individens möjlighet att omförhandla sitt förvärvade aktörsskap och genom vilka processer och praktiker detta eventuellt kan göras möjligt. Avhandlingen är uppdelad i fyra delar. Den inledande delen (del 1: Inledande ord) introducerar studiens övergripande bakgrund, teoretiska position, syfte, material och de metodologiska överväganden som har gjorts under forskningsresans gång. Den andra delen (del 2: Teoretiska interventioner) utvecklar i tre kapitel den diskussion om spänningen mellan queerteori och socialpsykologi som påbörjades i avhandlingens första och inledande kapitel. I ett första kapitel fokuseras på Judith Butler för att ringa in och granska några centrala argument och faktorer i hennes tänkande. I ett andra kapitel diskuteras George Herbert Mead för att, i likhet med föregående kapitel, presentera hans övergripande argument och huvudsakliga tankegångar. Avslutningsvis avrundas avhandlingens andra del med ett kapitel som syftar till att summera och utveckla den spänningsrelation som hittas mellan dessa två teoretiker samtidigt som en diskussion förs om de möjligheter en empirisk utveckling av den teoretiska problematiken skulle kunna bidra med. Den teoretiska spänning som lokaliseras mellan Mead och Butler kretsar i första hand kring deras förståelse av relationen mellan aktör och praktik och med utgångspunkt i denna formuleras arbetsbegreppen transaktör och transpraktik som genomgående används i presentationen av det empiriska materialet. Avhandlingens tredje del (del 3: Empiriska nedslag) är i första hand av empirisk karaktär och är uppdelad i två kapitel. I det första av dessa förs en diskussion om hur de självreflexiva genuslekarna inbegriper formulerandet av ett särskilt transgenus och på vad sätt det är möjligt att förstå iscensättandet av genus som en i första hand självkommunikativ praktik. Gradvis demonstreras hur det går att utläsa en önskan om att iscensätta genus tillsammans med andra människor och därför kretsar det följande kapitlet kring en diskussion om betydelsen av social interaktion för detta iscensättande. Med andra ord går det att utläsa en rörelse från självkommunikation till (önskad) social interaktion och detta är ett tema som tydligt ringar in en stor del av den teoretiska problematik som genomsyrar denna studie. I den fjärde och avslutande delen (del 4: Avslutande reflektioner) knyts i tre kapitel de resonemang som hittills har presenterats och diskuterats ihop. Det inledande kapitlet för en teoretiskt orienterad diskussion om den föregående genomgången av det empiriska materialet. I ett därpå följande kapitel fokuseras på olika aspekter av självreflexiva genuslekar i relation till den klädda kroppen för att visa hur den tidigare presenterade praktik- och aktörsproblematiken är avhängig den klädda kroppens genusprägling. I detta sammanhang visas hur det är möjligt att upprätta en relation mellan självets framväxt, subjektivitet och den klädda kroppen. Avslutningsvis förs ett kortfattat resonemang kring avhandlingens huvudsakliga argumentationslinjer och vilka möjligheter ett tänkande inspirerat av queer socialpsykologi för med sig.Med sammanfattning på engelska
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Sá, Cristina Ferrari de. "Dilatando o corpo da arte: provocações de Um Crime Delicado na literatura e no cinema." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=9009.
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A dissertação estuda o romance Um Crime Delicado, de Sérgio SantAnna (1996), ao filme quase homônimo, de Beto Brant (2005), tendo como principal questão a imagem do corpo no contexto sócio-cultural urbano e a sua representação na arte contemporânea. O romance de SantAnna acolhe, na urdidura ficcional, subtemas da maior relevância, tais como o lugar da deficiência física no horizonte de uma cultura hedonista, violência sexual (contra a mulher) e os poderes da crítica de arte (da autojustificação ao desvirtuamento de seus fins). A adaptação fílmica, por sua vez, introduz mudanças na obra de partida que complementam e enriquecem o romance e suas questões. No exercício comparativo, a tradicional discussão sobre as relações interartísticas (calcadas em Lessing), o culto à beleza e respectiva hostilização da feiura, os limites da exacerbação sensorial a partir do uso artístico da nudez provocaram a incorporação de outras obras de arte e de artistas à discussão de conceitos imprescindíveis: o abjeto, o contraditório, a intermidialidade. No primeiro capítulo, circunscrevemos historicamente nosso tema, focalizando a representação do corpo como lugar de multiplicação e relativização de significações; a seguir, apresentamos o painel de contradições que a sociedade excitada do século XX (Christoph Türcke, 2010) projeta sobre a questão corporal; e, para finalizar, propusemos a dilatação teórica do adágio horaciano ut pictura poesis /a poesia é como a pintura ao cinema poético (com suporte teórico de Claus Clüver, 2011, e Wolfgang Moser, 2006). Concluímos sugerindo que as intermidializações propõem novas interpretações aos textos literários, mas podem ser bem mais contundentes como formas de potenciação estética e de crítica social.The dissertation studies the novel A Delicate Crime, Sérgio Sant'Anna (1996), the film almost homonym, Beto Brant (2005), the main issue of body image in the urban socio-cultural context and its representation in contemporary art. The romance of Sant'Anna welcomes, in the fictional warp, sub-themes of paramount importance, such as the place of disability on the horizon of a hedonistic culture, sexual violence (against women) and the powers of art criticism (self-justification of the distortion its purposes). The film adaptation, in turn, introduces changes in starting work that complement and enrich the novel and its issues. In the comparative exercise, the traditional discussion of the art transposition (modeled on Lessing), which implicate midia, technique and content changes, the cult of beauty and ugliness of their harassment, the limits of sensory exacerbation from the artistic use of nudity caused the incorporation of other works of art and artists the discussion of essential concepts: the abject, the contradictory, the intermediality. In the first chapter, historically circumscribe our theme, focusing on the representation of the body as a place of multiplication and relativity of meanings; the following are the contradictions panel that "excited society" of the twentieth century (Christoph Türcke, 2010) projected on the body concerned; and, finally, we proposed the theoretical expansion Horation adage - ut pictura poesis / "Poetry is like painting" - the poetic cinema (with theoretical support Claus Clüver 2011, and Wolfgang Moser, 2006). We conclude by suggesting that the questions about midia transposition propose new interpretations to literary texts, but can be much more forceful as forms of cosmetic enhancement and social criticism.
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Banville, Scott D. "“A Mere Clerk”: Representing the urban lower-middle-class man in British literature and culture: 1837-1910." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1124222668.
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GUPTA, PREETI. "HYDROGEL BASED WOUND DRESSING MATERIAL." Thesis, DELHI TECHNOLOGICAL UNIVERSITY, 2021. http://dspace.dtu.ac.in:8080/jspui/handle/repository/18806.
Full textAbstract:
Weak mechanical strength of hydrogels in wet condition limits their use for load
bearing applications. Their mechanical strength can be raised by grafting them over
some support or by converting them into nanofibrous form. Present thesis is focused on
the preparation of poly (acrylamide-co-acrylic acid) hydrogel grafted over cotton fabric
using two different cross-linkers i.e. PEG and MBAAm for making medicated dressing
and nanofibers of hydrogel of poly (acrylamide-co-acrylic acid). FTIR was used to
confirm the insertion of cross-links into the polymer chains. Grafting of uniform
hydrogel layer on cotton surface and formation of hydrogel nanofibers were confirmed
by using SEM. The average fibre diameter was found to be 275±94.5 nm.
Swelling of composite prepared using PEG followed first-order kinetic model
at acidic and neutral pH whereas second-order kinetic model at pH 8.5 while that
prepared using MBAAm followed second-order kinetic equation at all the pHs studied.
The kinetics of swelling was also governed by Peppas model at all pHs. Release of drug
from both the composites was studied in phosphate buffers having pH 5.5,7 and 8.5 at
37±0.1°C and observed that it was fastest in phosphate buffer having pH 7. On fitting
drug release data into different models, it was observed that drug release was diffusion
controlled and followed Fickian diffusion mechanism in case of composite prepared by
using PEG as cross-linker whereas it was controlled by diffusion as well as chain
relaxation in case of composite prepared by using MBAAm. Mechanical testing using
Universal Testing Machine supported a higher mechanical strength of the hydrogel
composite as compared to its film. Swelling behaviour of Nanofibrous mats was found to be highest at neutral pH and it followed second order kinetics at all pHs. The drug release kinetics was further
evaluated and found that it took place by Fickian diffusion (n < 0.5) and followed
second order release kinetics. Antimicrobial tests were performed to show the
effectiveness of drug loaded within the hydrogel samples.
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GADELHA, José Juliano Barbosa. "Masculinos em mutação: a performance drag queen em Fortaleza." http://www.teses.ufc.br, 2009. http://www.repositorio.ufc.br/handle/riufc/1480.
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GADELHA, José Juliano Barbosa. Masculinos em mutação: a performance drag queen em Fortaleza. 2009. 265f. Dissertação (Mestrado em Sociologia) – Universidade Federal do Ceará, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2009.Submitted by nazareno mesquita (nazagon36@yahoo.com.br) on 2011-12-04T12:26:24Z No. of bitstreams: 1 2009_Dis_JJBG.pdf: 1841154 bytes, checksum: a26999f3f7c6335f1314b720d00a868a (MD5)
Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2012-01-05T10:25:27Z (GMT) No. of bitstreams: 1 2009_Dis_JJBG.pdf: 1841154 bytes, checksum: a26999f3f7c6335f1314b720d00a868a (MD5)
Made available in DSpace on 2012-01-05T10:25:27Z (GMT). No. of bitstreams: 1 2009_Dis_JJBG.pdf: 1841154 bytes, checksum: a26999f3f7c6335f1314b720d00a868a (MD5) Previous issue date: 2009
This dissertation shows how the drag queen experience present in the city of Fortaleza, located in the Northeastern region of Brazil, consists of a ritualistic and performative experience which challenges the limits of the binary of gender and sex and also narrows what we understand as the world of arts and the everyday life. The field research is based on direct observations in the places where the drag queen performances happen in Fortaleza such as nightclubs, bars and other cabaret entertainment clubs, as well as on the collection of data in more than 50 interviews in life-story model recorded between the years 2004 and 2007 with drag queens, transformists, transsexuals and transvestites in this city. The ritualistic and performative aspects of the drag queen experience is evidenced through an analysis of what these characters name “montagem” (cross-dressing), the author can conclude that an becoming-artist can be found by the drag queens in the form of certain liminalities. The theoretical scope of this work is based on the anthropology of the ritual, the ethno-aesthetics, the Performance Studies, the Queer Theory and the sociology of agency. The methodology follows the steps of a meta-etnography in dialogue with the cartography experience, developed by Gilles Deleuze and Félix Guattari.
Esta dissertação demonstra como a experiência drag queen ocorrente na cidade de Fortaleza, situada no nordeste brasileiro, constitui uma experiência ritual e performática que desafia os limites dos binarismos de gênero e sexo além de aproximar o que temos como sendo o mundo das artes ao que entendemos como sendo o mundo cotidiano. O trabalho de campo se fundamenta em observações diretas nos locais que dão passagem a performance drag queen em Fortaleza tais como boates, bares e outras casas de show bem como na coleta de mais de 50 entrevistas, no estilo história de vida, gravadas entre os anos de 2004 e 2007 com drag queens, transformistas, transexuais e travestis residentes na aludida cidade. Ao revelar o caráter ritual/performático da experiência drag queen por meio de uma análise daquilo que essas personagens denominam montagem, o autor conclui que um devir-artista é encontrado pelas drag queens sob o trajeto de certas liminaridades. O escopo teórico do trabalho se fundamenta na antropologia dos rituais, na etnoestética, nos Performance Studies, na Queer Theory e na sociologia da agência. A metodologia segue os rumos de uma metaetnografia em diálogo com a experiência cartográfica, desenvolvida por Gilles Deleuze e Félix Guattari.
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Bremerich, Stephanie. "Maskerade." Universitätsbibliothek Leipzig, 2017. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-219411.
Full textAbstract:
Der Begriff Maskerade unterscheidet sich trotz etymologischen Verwandschaft vom Begriff Maske. Unter Maskerade werden vor allem Strategien der Inszenierung von Geschlechtsidentitäten verstanden, weshalb synonymisch häufig von Geschlechtermaskerade die Rede ist. Das Konzept hat in den Theater-, Film- und Literaturwissenschaften sowie in der Philosophie und der Psychologie Einzug gehalten. In den Gender Studies etablierte sich der Begriff in den 1990er Jahren, maßgeblich beeinflusst durch psychoanalytische und poststrukturalistische Theoriebildung. Mit der Maskerade können sehr verschiedene Phänomene bezeichnet werden, von der Pseudonymität weiblicher Autor_innenschaft bis hin zu alltagskultureller Performance und Körperinszenierung, etwa im Transvestitismus.
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Bremerich, Stephanie. "Maskerade." Universität Leipzig, 2014. https://ul.qucosa.de/id/qucosa%3A15348.
Full textAbstract:
Der Begriff Maskerade unterscheidet sich trotz etymologischen Verwandschaft vom Begriff Maske. Unter Maskerade werden vor allem Strategien der Inszenierung von Geschlechtsidentitäten verstanden, weshalb synonymisch häufig von Geschlechtermaskerade die Rede ist. Das Konzept hat in den Theater-, Film- und Literaturwissenschaften sowie in der Philosophie und der Psychologie Einzug gehalten. In den Gender Studies etablierte sich der Begriff in den 1990er Jahren, maßgeblich beeinflusst durch psychoanalytische und poststrukturalistische Theoriebildung. Mit der Maskerade können sehr verschiedene Phänomene bezeichnet werden, von der Pseudonymität weiblicher Autor_innenschaft bis hin zu alltagskultureller Performance und Körperinszenierung, etwa im Transvestitismus.
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Torefeldt, Stina. "Kärlekens skugg-gömma : om det queera begäret i Maria Gripes skuggromaner." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37545.
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Maria Gripe’s shadow-series consists of four novels written in the 1980s and feature a character who present themselves as both as a girl and a boy. Carolin, also known as Carl has got a mysterious and captivating aura that leaves everybody fascinated and most people enamoured with him/her. Carolin shares many similarities with the 19th century author Carl Jonas Love Almqvist’s character Tintomara from the novel The Queen’s Tiara (Drottningens juvelsmycke). This essay examines the desire that is aimed at Carolin and explores the queer situations that arises as consequences of his/her cross dressing. I comparatively analyse the desire expressed in the shadow-series and The Queen’s Tiara to find similarities in who is affected by it and where the queer situations occur. The damaging effect of the desire is explored as well. The essay concludes that while most situations can be viewed as both heterosexual and homosexual Gripe uses genres and metaphors that amplify the queerness. Both Carolin and Tintomara are greatly affected by the desire toward them and get hurt because of it. Gripe and Almqvists charismatic androgynous characters bring desire and despair wherever they go, at least as long as they do not conform to society’s norm of gender dichotomy.
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Navarrete, Carolina. "La construction de la subjectivité dans les chroniques de Pedro Lemebel." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20038/document.
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Ce travail d’analyse s’intéresse à la construction des différents sujets dans les chroniques de l’écrivain chilien Pedro Lemebel. Suite à la dictature d’Augusto Pinochet et à l’implantation du néolibéralisme la société chilienne s’est profondément transformée. Le chroniqueur interroge ces mutations à partir des sujets participants à cette réalité, mais qui n’ont pas de véritable place dans les discours institutionnels, littéraires et artistiques. Ainsi, le lecteur fait la connaissance de travestis, de prostitués, d’homosexuels, d’enfants de la rue, de vagabonds, de fous, et de femmes des bidonvilles. Nous souhaitons démontrer comment se constituent ces subjectivités invisibles à partir de stratégies discursives qui mettent en évidence les processus de subjectivation imposés par le système économique, politique et social. En outre, la réflexion se porte sur les stratégies privilégiant la corporalité comme discours de résistance, voire de force politique. La recherche s’articule autour de trois axes de réflexion. Nous évoquons la question de la chronique comme l’espace textuel propice au travail sur les subjectivités. Nous abordons ensuite les pratiques d’assujettissement et de constitution vécues par les subjectivités situées à la marge de la société. Celles-ci font du désir et de la mémoire leurs principes fondamentaux. Enfin, nous étudions les diverses stratégies corpo-textuelles liées à la notion de nomadisme et de corps résistants. Ainsi, nous analysons le nomadisme identitaire, les métamorphoses corporelles, la prédominance du discours de la chair et les transformations de l’imaginaire à partir de la corporéité. Sur le plan théorique nous nous appuyons sur les travaux de Michel Foucault, Gilles Deleuze, Félix Guattari et Rosi BraidottiThe objective of this study is to analyze the construction of various subjects in the chronicles of the Chilean writer Pedro Lemebel. The dictatorship of Augusto Pinochet and the implementation of neoliberalism have profoundly transformed Chilean society. The author retrieves these transformations from the subjects who participate in this reality, and who have no real place in the institutional, literary and artistic discourse. We meet cross-dressers, prostitutes, homosexuals, street children, vagabonds, mentally disturbed individuals, and women from the slums. We want to demonstrate how these invisible subjects represent the discursive strategies invoked to highlight the processes of subjection imposed by the economic, political and social system. Furthermore, how do these strategies emphasize corporeality as a means of resistance discourse or even possibly a political force? The research is based on three lines of thought. We discuss the questions of whether the author is the textual space most conducive to explore the individual subjects. We then address the mode of subjection and constitution by subjects (subjectivity) at the fringes of society. These groups have made desire and memory their fundamental principles. Finally, we study the various text strategies related to the concept of “nomadic theory” and “resistant body”. Thus, we analyze the notion of being nomadic as part of one’s identity, bodily metamorphosis, the dominance of the flesh and the transformation of the imaginary order issued from the corporeality. Theoretically, we take as reference the work of Michel Foucault, Gilles Deleuze, Felix Guattari and Rosi Braidotti
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Vaucher-Albash, Fanny. "Jane Dieulafoy, dire la Perse au XIXe siècle, entre conventions et transgressions." Thesis, Dijon, 2014. http://www.theses.fr/2014DIJOL021.
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La vie et l’œuvre de Jane Dieulafoy offrent un témoignage original de la complexité des rapports socio-sexués à la fin du XIXe siècle. Par ses voyages, son travestissement occasionnel, puis permanent, son apport au savoir architectural et archéologique ou encore son rapport à l’écriture, cette femme a remis en cause la frontière sociale entre les sphères privée et publique, sans tenir pour autant un discours subversif ou même féministe. L’étude de La Perse, La Chaldée et la Susiane tente de suivre au plus près les oscillations d’un être à la recherche d’une libération du corps, du mouvement et de l’écriture, mais encore souvent respectueux des contraintes et représentations léguées par l’éducation, la culture et la société. Les transgressions nécessaires à l’accomplissement du but fixé n’en sont pas moins réfléchies et demeurent à l’intérieur du cadre social de l’époque. Il est cependant possible de comprendre les contradictions apparentes de Jane Dieulafoy – et notamment l’union de qualités masculines et féminines - comme une recherche de totalité, rappelant par certains côtés le mythe de l’androgyneThe life and work of Jane Dieulafoy provide original evidence of the complexity of the gender role relationships at the end of the nineteenth century. Through her journeys, her occasional, then permanent cross-dressing, her contribution to the architectural and archaeological knowledge or her writing style, this woman has challenged the social boundaries between the private and public spheres without resorting to a subversive or even feminist speech. Studying La Perse, la Chaldée et la Susiane allows to closely follow the oscillations of a being in search of the liberation of the body, of freedom of movement and writing, but still often respectful of the constraints and representations inherited from her education, culture and society. The transgressions necessary for her to accomplish this goal are nonetheless well thought-out and remain within the social context of the time. However, it is possible to understand the apparent contradictions of Jane Dieulafoy - particularly the union of masculine and feminine features - as a search for wholeness, recalling in some ways the myth of the androgyne
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Passos, Fernando Antônio de Paula. "What a drag! Etnografia, performance e transformismo." Escola de Teatro, 2014. http://repositorio.ufba.br/ri/handle/ri/27291.
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O presente trabalho trata da presença de homens vestidos de mulher na cena pública soteropolitana: o transvestismo como oportunidade para desconstruir polaridades de Gênero. Trata-se de uma abordagem etnográfica, misturando reflexões sobre etnografia e transformismo, para pulverizar e re-significar as apresentações cênicas ditas marginais no âmbito das revisões de perspectivas e de assuntos nas artes cênicas no Brasil. Sendo uma autoetnografia transformista, onde a escritura encontra a performance, este estudo comporta trejeitos da escrita performativa, para tentar atender o “ser” da performance, assim como a sua ontologia, ou seja, a representação sem reprodução. Considera ainda as encenações do desaparecer e, ao escrever sobre o indocumentável evento da performance, tem consciência de que altera o próprio evento. Assim, também compreende: os Rastros do Desaparecimento, a Presença do Corpo em Performance, o Cross-dressing ou Transvestismo ou Transformismo, a Política/Poética Camp, Alteridade, ou as representações transnacionais do feminino coreográfico, uma grafia acerca dos Global Queerscapes, a drag queen na atualidade soteropolitana, em uma Epistemologia Drag, assim como, Nacionalidade, Transformismo e Homocultura nos cortejos e movimentos políticos públicos, em Salvador, e sua aproximação com a figura icônica da Carmem Miranda, que tem sido apropriada por homossexuais transvestidos, em todas as latitudes, como o epítome camp do excesso e da frescura internacionais.
What a Drag!: Ethnography, Performance and Female Impersonation by Fernando Antonio de Paula Passos examines the performative presence of cross-dressed men in Salvador’s public scenes: cross-dressing as the opportunity for the deconstruction of gender polarities. It consists of an approach that blends self-reflexive ethnography with issues of female impersonation and cross-dressing in order to study the multiplicity of their performances, their re-signification, their relatively recent arrival in the context of revisionist perspectives and subject matters in the academic field of the performing arts in Brazil. Incorporating concepts of auto-ethnography and theoretical transvestism, it brings together writing and performance in what is now known as performative writing, as it struggles to uncover what the “being” of performance is all about. In dealing with the ontology of performance as representation without reproduction, it is particularly focused on issues of disappearance. It is also aware that writing about the undocumentable event of the performance alters that same event. It also deals with: traces of disappearance, the presence of the body in performance, cross-dressing, camp, alterity, feminine choreography, Global Queerscapes, drag epistemology, nation, surrealism, pastoral, allegory, political resistance and Carmen Miranda, as the epitome of inter/national camp.
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Ryan, Joelle Ruby. "Reel Gender: Examining the Politics of Trans Images in Film and Media." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245709749.
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Holmqvist, Sam. "Transformationer : 1800-talets svenska translitteratur genom Lasse-Maja, C.J.L. Almqvist och Aurora Ljungstedt." Doctoral thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-315580.
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Literary descriptions of shifting from and transgressing assigned sex were common in 19th Century Sweden. This thesis forms a contribution to the larger project of writing a history of Swedish trans literature, and develops new interpretations of certain works of fiction by applying a transgender studies perspective. Through trans readings the thesis also examines what potential and possible implications literature might have for trans people beyond the literary realm. Trans readings are able to supplement earlier research by providing a nuanced understanding of the production of trans- and cisgenders. The theoretical perspectives used in the thesis are drawn for the most part from queer and transgender studies. The thesis adopts a conceptual understanding of trans as a movement, and aims to widen the scope of what may be considered relevant to a history of trans literature. The primary objects of analysis are the 1833 autobiography of widely known thief and cross-dresser Lasse-Maja (Lars Molin), C.J.L. Almqvist’s Drottningens juvelsmycke (1834), and Aurora Ljungstedt’s Moderna typer (1874). In closing, two texts from the fin-de-siècle are also closely read; Amanda Kerfstedt’s Reflexer (1901) and Frida Stéenhoff’s “Ett sällsamt öde” (1911). A wide range of other fiction is additionally studied in order to establish a contextual pattern of trans literary traditions. The thesis demonstrates that trans permeates all kinds of fiction, and that the characters analysed construct both trans and cis gender categories. It concludes that trans is done in a variety of ways, and with a variety of meanings in 19th and early 20th century literature. Trans is often depicted as a positive, fruitful and desirable act, through trans characters who are both themselves subjects of erotic desire and who become symbols of liberty and emancipation. Other trans figures however are often counter images of what are considered to be correct sexes, and are depicted as threatening and/or ridiculous. Both these negative and positive representations of trans affirm the gender binary. At the same time, they also break and destabilize that same binary, and the trans characters in the study both can and cannot be interpreted as transgressing cis- and heteronormativity respectively.
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Pape, Marion. "Frauen schreiben Krieg." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2007. http://dx.doi.org/10.18452/15584.
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Kein anderes Thema hat die nigerianische Literatur so dominiert wie der nigerianische Bürgerkrieg, in dessen Verarbeitung sich verstärkt auch Autorinnen einmischen. Die Dissertation evaluiert 34 Texte von 16 nigerianischen Autorinnen - 12 Romane und 22 Kurzgeschichten - und analysiert sie als Gesamtkorpus, in dem die Texte miteinander und mit der Männerliteratur einen Dialog um den Bürgerkrieg führen. Die Autorinnen wenden bei ihrem "war talk" literarische Strategien wie "re-reading" und "re-writing" an, das Neu-Lesen, Fort- und Umschreiben der Texte und Diskurse des "Zentrums", durch die nicht nur die Blindstellen eines von Männern dominierten literarischen Diskurses sichtbar werden, sondern durch die auch der Prozess des Aushandelns der Geschlechterverhältnisse sowie des Krieges selbst erfolgt, seiner Ursachen, Auslöser und Folgen. Die Autorinnen stellen den Krieg als "sexuelle Unordnung" dar, als Geschlechterkrieg. Die Untersuchung zeigt, dass bei der Verortung der Perspektive der Autorinnen neben Geschlecht, ethnischer Zugehörigkeit auch andere Faktoren, wie Alter, Race, Grad der Distanz oder Nähe etc. berücksichtigt werden müssen, um vorschnelle Festschreibungen zu vermeiden. Hierbei spielen die Paratexte eine wichtige Rolle, in denen die Autorinnen sich persönlich zum Krieg äußern. Die Arbeit bewegt sich an den Schnittstellen mehrerer Disziplinen: Literatur, Historiographie und Geschlechterstudien. In der Einleitung werden die theoretischen Prämissen im Kontext von Krieg, Geschlecht und literarischer Repäsentation behandelt. Das 1. Kapitel ist dem historischen Kontext des Bürgerkrieges, einschließlich der Rolle der Frauen darin gewidmet. Im 2. Kapitel geht es um die Darstellung des Krieges, des Selbst- und Feindbildes sowie der Zukunft. Das dritte Kapitel handelt von der Beziehung zwischen Bürger- und Geschlechterkrieg, vermittelt durch das Medium literarischer Text. Die Zusammenfassung der Ergebnisse und der Ausblick auf zukünftige Forschung erfolgt im Schlussteil. Der Anhang enthält ein vorläufiges Verzeichnis der gesamten Frauenliteratur über den nigerianischen Bürgerkrieg.No other topic has dominated the Nigerian literature as much as the Nigerian Civil War and female authors increasingly interfere in its literary representation. The thesis evaluates 34 literary texts by 16 female Nigerian authors - 12 novels and 22 short stories - and analyses them as distinctive corpus whose individual texts are in a state of dialogue both with each other and with texts from male authors. The female authors use, in their "war talk", literary strategies like "re-reading" and "re-writing" of texts from the "Centre". On the one hand, these strategies enable them to make the blind spots of a male dominated literary discourse apparent/visible on the other hand, they facilitate the negotiation of gender relations and of the war itself, its causes, trigger points and consequences. The female authors represent war as "sexual disorder", as gender war. The study shows that in order to be able to locate an author''s perspective (and to avoid rash conclusions) it is essential to consider the different factors determining it - besides ethnicity and gender, also age, race, the grade of emotional involvement or distance etc. It is in this regard, where the paratexts play an important part, as in these authors express their personal views and comments on the war. The thesis is located at the interfaces of several disciplines: literary, historical and gender studies. The introduction deals with the theoretical backgrounds in the context of war, literary representation and gender. The first chapter is dedicated to the historical context of the Nigerian Civil War including the role of women. The second chapter looks at the paratexts, different representations of the war''s causes, the self-image, the enemy''s image and the future. The third chapter finally deals with the question how the relationship between Civil War and gender war is negotiated/conveyed through the medium of the literary texts. In the conclusion the results are summarized and prospects for future research are discussed. The appendix contains a preliminary bibliography of all literary texts on the Nigerian Civil War written by female authors.
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Atterving, Emmy. "“She said she was called Theodore” : - A modality analysis of five transcendental saints in the 1260’s Legenda Aurea and 1430’s Gilte Legende." Thesis, Stockholms universitet, Historiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144052.
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This thesis explores modalities in two hagiographical collections from the late Middle Ages; the Legenda Aurea and the Gilte Legende by drawing inspiration from post-colonial hybridity theories.. It conducts a close textual analysis by studying the use of pronouns in five saints’ legends where female saints transcend traditional gender identities and become men, and focuses on how they transcend, live as men, and die. The study concludes that the use of pronouns is fluid in the Latin Legenda Aurea, while the Middle English Gilte Legende has more female pronouns and additions to the texts where the female identity of the saints is emphasised. This is interpreted as a sign of the feminisation of religious language in Europe during the late Middle Ages, and viewed parallel with the increase of holy women at that time. By doing this, it underlines the importance of new words and concepts when describing and understanding medieval views on gender.