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Journal articles on the topic 'Cross-dressing'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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1

Stavney, Anne. "Cross‐dressing Harlem, re‐dressing race." Women's Studies 28, no. 2 (January 1999): 127–56. http://dx.doi.org/10.1080/00497878.1999.9979249.

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2

MIYATA, Lily, and Yukari ISHII. "Cross-dressing Outlaw." Japanese Sociological Review 71, no. 2 (2020): 266–80. http://dx.doi.org/10.4057/jsr.71.266.

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3

Hawkes, Gail L. "Dressing‐up — cross‐dressing and sexual dissonance." Journal of Gender Studies 4, no. 3 (November 1995): 261–70. http://dx.doi.org/10.1080/09589236.1995.9960612.

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4

Davis, Tony. "Dramatherapy and Cross Dressing." Dramatherapy 14, no. 1 (October 1991): 16–19. http://dx.doi.org/10.1080/02630672.1991.9689805.

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5

RAMOS, MARY. "Cross Dressing, Sex, and Gender." Nursing History Review 4, no. 1 (January 1996): 192–93. http://dx.doi.org/10.1891/1062-8061.4.1.192.

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6

Silverman, Jonathan. "Cross-Dressing: Educators as Artists." Teaching Artist Journal 4, no. 1 (February 2006): 26–34. http://dx.doi.org/10.1207/s1541180xtaj0401_5.

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7

Roos, Lena. "Cross-dressing among medieval Ashkenazi Jews." Nordisk Judaistik/Scandinavian Jewish Studies 28, no. 2 (December 2, 2017): 4–22. http://dx.doi.org/10.30752/nj.67749.

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This article deals with explicit permissions for two types of cross-dressing found in the thirteenth-century ethical tract Sefer Chasidim. In order to avoid being sexually assaulted, female Jewish travellers were allowed to disguise themselves as a. Christians, even as nuns, or b. men. This contradicts biblical and rabbinical prohibitions against such practices. These textual passages are discussed, set against the Jewish and Christian medieval discourse on dress and identity, and they are also related to other contemporary source texts that show that the borders between men and women, and Jews and Christians, as distinct and separate groups were at this time being contested. The author concludes that these permissions should not be seen as ways of transcending the boundaries of the group, but rather as part of a discourse that served to strengthen such boundaries.
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8

Abrams, Kathryn, and Joan Williams. "Cross-Dressing in the Master's Clothes." Yale Law Journal 109, no. 4 (January 2000): 745. http://dx.doi.org/10.2307/797503.

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9

Wixson, Christopher. "Cross-Dressing and John Lyly's "Gallathea"." Studies in English Literature, 1500-1900 41, no. 2 (2001): 241. http://dx.doi.org/10.2307/1556187.

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10

Kirshenbaum, Kent, and Paramjit S. Arora. "Cross-dressing proteins by olefin metathesis." Nature Chemical Biology 4, no. 9 (September 2008): 527–28. http://dx.doi.org/10.1038/nchembio0908-527.

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11

Sollid, Ludvig M., and John T. Vaage. "Cross-dressing T cells go wild." Nature Medicine 12, no. 6 (June 2006): 611–12. http://dx.doi.org/10.1038/nm0606-611.

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12

Gallo, Mona. "A Case Study of Cross-Dressing." Family Journal 24, no. 1 (November 25, 2015): 77–84. http://dx.doi.org/10.1177/1066480715615630.

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13

Fu, Ping. "Cross-Dressing in Chinese Opera (review)." Asian Theatre Journal 22, no. 1 (2005): 158–61. http://dx.doi.org/10.1353/atj.2005.0006.

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14

Wixson, Christopher. "Cross-Dressing and John Lyly's Gallathea." SEL Studies in English Literature 1500-1900 41, no. 2 (2001): 241–56. http://dx.doi.org/10.1353/sel.2001.0023.

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15

Rolley, Katrina, and Marjorie B. Garber. "Vested Interests: Cross-Dressing and Cultural Anxiety." Feminist Review, no. 43 (1993): 100. http://dx.doi.org/10.2307/1395077.

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16

Fink, Joel G., and Lesley Ferris. "Crossing the Stage: Controversies on Cross-Dressing." Theatre Journal 47, no. 3 (October 1995): 431. http://dx.doi.org/10.2307/3208909.

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17

Kauer, Ute. "Narrative Cross-Dressing in Charlotte Brontë'sThe Professor." Brontë Society Transactions 26, no. 2 (October 2001): 167–86. http://dx.doi.org/10.1179/030977601794164376.

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18

Danchev, Alex. "“Cross-Dressing”: Liddell Hart, Fashion, and War." Alternatives: Global, Local, Political 24, no. 2 (April 1999): 249–68. http://dx.doi.org/10.1177/030437549902400205.

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19

Belsey, Catherine, and Marjorie Garber. "Vested Interests: Cross-Dressing and Cultural Anxiety." Shakespeare Quarterly 44, no. 3 (1993): 363. http://dx.doi.org/10.2307/2871424.

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20

Robinson, Amy, Marjorie Garber, and Lesley Ferris. "Vested Interests: Cross-Dressing & Cultural Anxiety." TDR (1988-) 38, no. 4 (1994): 197. http://dx.doi.org/10.2307/1146434.

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21

Burlingham, W. J. "“Cross-Dressing” Becomes Fashionable Among Transplant Recipients." American Journal of Transplantation 17, no. 1 (September 26, 2016): 5–6. http://dx.doi.org/10.1111/ajt.14032.

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22

Rolley, Katrina. "Vested Interests: Cross-dressing and Cultural Anxiety." Feminist Review 43, no. 1 (March 1993): 100–102. http://dx.doi.org/10.1057/fr.1993.12.

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23

Cadena, V. "BI-GENDER CROSS-DRESSING FOOLS RIVAL SUITORS." Journal of Experimental Biology 216, no. 9 (April 17, 2013): iv. http://dx.doi.org/10.1242/jeb.077859.

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24

Lewicki, Arkadiusz. "Transgender/transvestitism/cross-dressing in Polish cinema." Dziennikarstwo i Media 11 (January 24, 2020): 49–56. http://dx.doi.org/10.19195/2082-8322.11.5.

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The first Polish film taking up the problem of cross-dressing was a comedy from 1934, titled Is Lucyna a Girl? Czy Lucyna to dziewczyna? by Juliusz Gardan. In the history of Polish cinema there were a few more films about transgender/transvestism. The paper describes these films and indicates what type of socio-moral influence changes the way of showing this type of characters and themes.
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25

Bowler, Clare, and Richard A. Collacott. "Cross-dressing in Men with Learning Disabilities." British Journal of Psychiatry 162, no. 4 (April 1993): 556–58. http://dx.doi.org/10.1192/bjp.162.4.556.

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Four men with learning disabilities were considered to show transvestic fetishism, and a fifth to show transvestism. However, developmental retardation and personality problems may modify the concepts behind such categorisation.
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26

Schriek, Patrick, and Jose A. Villadangos. "Trogocytosis and cross-dressing in antigen presentation." Current Opinion in Immunology 83 (August 2023): 102331. http://dx.doi.org/10.1016/j.coi.2023.102331.

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27

Janusauskas, Marius. "‘Putting on a dress means nothing’: Cross-dressing practice in men’s fashion." Fashion, Style & Popular Culture 00, no. 00 (September 13, 2022): 1–16. http://dx.doi.org/10.1386/fspc_00149_1.

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Male cross-dressing as a form of aesthetic expression by something or someone has been practised in fashion globally. This article aims to investigate what role cross-dressing plays in contemporary men’s fashion. Does it transform or confirm gender norms? In what ways can cross-dressing be used as a tool to produce visual politics? Cross-dressing or transvestism is a particular type of event affected by the multiple social, economic and cultural implications that continuously shift the meanings and objectives of the practice. I think of fashion in a broad sense, i.e., similar to a verb in that it focuses on the action or process of negotiating, differentiating and self-presenting in everyday life. My scholarly inquiry is situated in the context of the social, the cultural and the historical. This epistemological study applies an interdisciplinary approach that employs visual interpretative analysis and queer reflexivity. Cross-dressing practices in men’s fashion cannot be explained without an awareness of sociocultural context, narrative, gender performance and how clothing is selected and worn. I conclude by discussing the broader implications of understanding gender performance, sexuality and institutional power in men’s fashion.
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28

ÖZTOP HANER, Sezgi. "The Transgender Experience: Cross-dressing and Sex-change in Virginia Woolf’s Orlando." Gaziantep University Journal of Social Sciences 21, no. 4 (October 19, 2022): 2166–74. http://dx.doi.org/10.21547/jss.1121931.

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Virginia Woolf’un beşinci romanı olan Orlando adlı eserindeki transgender başkahramanın potansiyel mevcudiyetiyle yaratılmış olan toplumsal cinsiyet belirsizliğinin ve değişken cinsiyetin önemi bu çalışmanın temel kapsamını oluşturmaktadır. Bu bakımdan, Virginia Woolf’un Orlanda eseri toplumsal cinsiyet kavramının nasıl tekrar biçimlendiğini ve yeniden ifade edildiğini ve hatta bir bedenin nasıl sürekli dönüşüm içinde olduğunu gösterir. Sonrasında, sürekli başkalaşım ve dönüşüm süreci içinde olan, kılıktan kılığa giren cinsiyet edimi kavramının cinsel kimliğin akışkanlığı ve çok katmanlılığı ile bir arada kullanımı romanda rastlanılan ince bir noktadır. Bu bakımdan, başkahraman Orlando hem kadın hem erkek ve aynı zamanda cinsiyetsiz biri olarak ortaya çıkmaktadır. Böylece, eserin başkahramanı Orlando kılıp değiştirip sahte tavırlarla gerçeği gizleyerek cinsel kimliğin akışkanlığını ve belirsizliğini gözler önüne sermiş olur. Bu kapsamda, bu çalışma transgender bir figürün olası varlığı ile toplumsal cinsiyet belirsizliğinin romanda nasıl oluşturulduğunu göstermiş ve bu oluşumun okuyucuların zihnindeki toplumsal cinsiyet algısı dinamiklerini sorgulamalarını ve cinsiyet ve cinsel kimlik kategorileri üzerine tekrar düşünmelerini sağlamıştır.
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29

Wing Bo Tso, Anna. "Female Cross-Dressing in Chinese Literature Classics and their English Versions." International Studies. Interdisciplinary Political and Cultural Journal 16, no. 1 (September 25, 2014): 111–24. http://dx.doi.org/10.2478/ipcj-2014-0008.

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Cross-dressing, as a cultural practice, suggests gender ambiguity and allows freedom of self expression. Yet, it may also serve to reaffirm ideological stereotypes and the binary distinctions between male and female, masculine and feminine, homosexual and heterosexual. To explore the nature and function of cross-dressing in Chinese and Western cultures, this paper analyzes the portrayals of cross-dressing heroines in two Chinese stories:《木蘭辭》 The Ballad of Mulan (500–600 A.D.), and 《梁山伯與祝英台》The Butterfly Lovers (850–880 A.D.). Distorted representations in the English translated texts are also explored.
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30

Maczelka, Csaba. "Joseph Hall’s Mundus Alter et Idem and Cross-Dressing in Early Modern England." Gender Studies 11, no. 1 (December 1, 2012): 68–85. http://dx.doi.org/10.2478/v10320-012-0029-2.

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Abstract This paper argues that early modern English utopias in general, and Joseph Hall’s Mundus alter et idem (1605/1606) in particular, engage in the contemporary debate on cross-dressing. After a look at the problem of early modern cross-dressing, the paper introduces Hall’s work, together with some of the opinions about it. Out of the four books of the work, only the second part (the description of Viraginia/Shee-landt) is discussed here in detail, since it abounds in instances of cross-dressing and related phenomena (for example, sexual licence and hermaphroditism). In my reading, Hall’s work readily joins the ongoing debate, but because of its masterful rhetorical strategies and its satirical perspective, the text poses a great challenge if one tries to accurately identify its position in that debate. Yet the text and some of Hall’s other works testify to a serious interest in cross-dressing and other gender-related issues.
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31

Hartvigson, Niels Henrik. "Compound and ambiguous meanings in Danish cross-dressing comedies." Journal of Scandinavian Cinema 13, no. 2 (June 1, 2023): 159–67. http://dx.doi.org/10.1386/jsca_00092_1.

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Focusing on two Danish cross-dressing comedies, Min Kone er Husar! (‘My wife is a hussar!’) (1935) and Solstik (‘Sunstroke’) (1953), the article investigates various strategies for playing with and challenging sexual identity and gender to create compound and ambiguous meanings. In view of the comedy genre’s self-conscious openness to performance and intertextuality, the meaning of the main character’s cross-dressing on a plot level may be modified or contradicted by the actor’s star persona. That supporting characters may be transgressive in their own right points to the pervasiveness of sexuality and gender play in cross-dressing comedies. Fictional settings underscore this perception; they are not mere backdrops, but seem to actively invite identity play and rule bending.
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32

Kornfield, Sarah. "Cross-cultural Cross-dressing: Japanese Graphic Novels Perform Gender in U.S." Critical Studies in Media Communication 28, no. 3 (March 9, 2011): 213–29. http://dx.doi.org/10.1080/15295036.2011.553725.

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33

Poynter, Elizabeth. "Cross-dressing in Children’s Adventure Fiction: Does it always challenge Gender Stereotypes?" International Journal of Applied Linguistics and English Literature 8, no. 4 (July 31, 2019): 137. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.4p.137.

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Gender identity is nowadays widely agreed to be socio-culturally constructed. Children’s books may have a powerful impact on such constructions, particularly in the mid-twentieth century before the supremacy of television and digital media. Much popular children’s fiction of this period has been dismissed as conforming to, rather than challenging, gender stereotypes. Is this in fact too simplistic a picture? Victoria Flanagan (Into the Closet; Reframing Masculinity) has theorised that in children’s adventure fiction females take on male identities to gain agency, often very successfully, while males perform femininity less successfully and generally with comedic effect. This study of six cases of cross-dressing in British children’s fiction does not support this view. Cross-dressing may be primarily a plot device aimed at heightening the mystery and tension; female cross-dressers may be passive and ‘feminine’, while males may in fact outperform females in the ‘opposite’ gender role and on occasion gain an agency through that cross-dressing which was denied them in their male attire. In all the cases explored here, the cross-dresser was a subsidiary character rather than a protagonist, and this may be key to determining how cross-dressing is portrayed.
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34

Jakubczak, Marzenna. "Somaesthetics and the Cross-Cultural Dressing of Desire." Eidos. A Journal for Philosophy of Culture 5, no. 4 (May 10, 2022): 123–28. http://dx.doi.org/10.14394/eidos.jpc.2021.0043.

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35

Prest, Julia, and Joseph Harris. "Hidden Agendas: Cross-Dressing in 17th-Century France." Modern Language Review 103, no. 3 (July 1, 2008): 853. http://dx.doi.org/10.2307/20467954.

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36

Yin, Hongli, Hongcheng Cheng, Yuqian Wang, and Guideng Li. "Cross-dressing of dendritic cells strengthens antitumor immunity." Trends in Cancer 8, no. 3 (March 2022): 159–60. http://dx.doi.org/10.1016/j.trecan.2022.01.001.

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37

Ersoy, Burak, Hakan ŞIrinoĞLu, and Erdem Tezel. "Tie-over Dressing With Criss-Cross Lacing Pattern." Dermatologic Surgery 37, no. 11 (November 2011): 1671–73. http://dx.doi.org/10.1111/j.1524-4725.2011.02165.x.

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38

Campana, Stefania, Claudia De Pasquale, Paolo Carrega, Guido Ferlazzo, and Irene Bonaccorsi. "Cross-dressing: an alternative mechanism for antigen presentation." Immunology Letters 168, no. 2 (December 2015): 349–54. http://dx.doi.org/10.1016/j.imlet.2015.11.002.

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39

Bonner, Frances. "Forgetting Linda: Women cross‐dressing in recent cinema." Continuum 12, no. 3 (November 1998): 267–77. http://dx.doi.org/10.1080/10304319809365770.

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40

Schleiner, Winfried. "Male Cross-Dressing and Transvestism in Renaissance Romances." Sixteenth Century Journal 19, no. 4 (1988): 605. http://dx.doi.org/10.2307/2540989.

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41

Seifert, L. C. "Hidden Agendas: Cross-Dressing in 17th-Century France." French Studies 62, no. 4 (October 1, 2008): 474–75. http://dx.doi.org/10.1093/fs/knn077.

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42

Zou, Ying. "Cross-dressing and Other Disguises in Zaisheng yuan." Late Imperial China 33, no. 2 (December 2012): 119–53. http://dx.doi.org/10.1353/late.2012.a494428.

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43

Kasmi, Fatin Aliya, Mohd Alif Zailani, Aznatul Jannah Abu Bakar, and Khairul Anuar Mat Amin. "Kinetic Release of Acetaminophen from Cross-Linked Carrageenan Hydrogel for Wound Dressing Application." Journal of Pure and Applied Microbiology 14, no. 1 (March 31, 2020): 271–78. http://dx.doi.org/10.22207/jpam.14.1.28.

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44

Wen, Zichu. "Crossdressing in Peking Opera: Sexism or Freedom?" Communications in Humanities Research 28, no. 1 (April 19, 2024): 42–46. http://dx.doi.org/10.54254/2753-7064/28/20230042.

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Women characters are pivotal to Peking Opera. On a Peking Opera stage, these female characters are often played by men. Some argue that one could often see a miniature of the society during a point in history through its art. In Peking Opera, the changing ideals of gender are conveyed through its changing practices as the political and socio-economic ideas are altered throughout ancient China. In parallel to those practices in ancient China, feminist aestheticians today are more and more drawn to topics like cross-dressing, gender fluidity, and the empowerment of women in art. Although many scholars have examined the practice of cross-dressing in Ancient Rome, Shakespearean theatre, and other forms of cross-dressing performances in history, this practice in Peking Opera does not have enough attention from gender studies scholars. Through this paper, the author hopes to address the appeal towards feminist aesthetics within the cross-dressing of Peking Opera. Some of these ancient Chinese ideals are much more progressive in comparison to those observed in China today; this not only addresses the regressive changes in China but also suggests that many traditional gender ideals werent traditional or natural at the beginning. This paper will provide more insight towards both feminist aesthetics and art which pushes progressive gender ideals. In addition, the author hopes this paper will draw more attention towards the implications of cross-dressing in other ancient cultures towards gender-fluidity and crossdressing today.
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45

Borowski, Yvonne. "Transwestyci (?) w "Thesmoforiach" Arystofanesa." Collectanea Philologica 14 (January 1, 2011): 53–64. http://dx.doi.org/10.18778/1733-0319.14.05.

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The article discusses the question of transvestism in the Thesmophoriazusae of Aristophanes. To provide a useful theoretical backdrop, the author begins with an analysis of the definition of cross-dressing as a complex socio-behavioural phenomenon. Next follows an examination of the four examples of male characters dressing up in female clothing in the analyzed comedy. These are the cases of Agathon, Cleisthenes, Mnesilochus and Euripides. The aim of the investigation is to point out the purposes of employing cross-dressing in the drama as well as to distinct the genuine transvestites among the comic dramatis personae.
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46

Min, Zhou. "The Reconstruction and Re-Popularization of Hanfu Culture - Hanfu Cross-dressing Videos on Tik Tok." Lecture Notes in Education Psychology and Public Media 4, no. 1 (May 17, 2023): 163–73. http://dx.doi.org/10.54254/2753-7048/4/20220211.

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Hanfu, based on Chinese traditional clothes, is reconstructed and re-popularized through Chinese younger generations practice, which forms the new Hanfu culture. This study mainly focuses on Hanfu cross-dressing videos posted by Hanfu bloggers on Tik Tok that are normally viewed by young people, especially women. Taking two Hanfu bloggers-Chu Qi and Sen Shang as examples, this paper provides a thematic analysis on the content of the Hanfu cross-dressing videos by examining the clothes and make-up, the settings and props, etc. Consequently, from the perspective of performance theory, this research combines Hanfu with social media, and attempts to discuss how the Hanfu cross-dressing videos build a new Hanfu culture and have influenced the public's perception and imagination of Hanfu
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47

Morton, Emma. "Queer Temporalities: Boredom and Bodily Intelligence in Early Italian Slapstick Comedies." Frames Cinema Journal 20 (November 16, 2022): 95–116. http://dx.doi.org/10.15664/fcj.v20i0.2514.

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The adoption of cross-dressing by male characters in Italian comedy films of the 1910s has previously received little critical attention. Far from being isolated representations of queer behaviour, cross-dressing was more prolific both on-screen (and off) than was previously thought. Within the early comedy canon lie the male-female cross-dressing films where the narrative is suspended to allow the audience to gaze upon the cross-dressed character. These films offer audiences a trans-perspective as their gaze is directed by the cross-dressed character to the transgendered body. The queerness of these films lies not only is the visibility of the queer characters but also in the productivity of the queerness. The film itself becomes queer as the narrative economy is replaced by a luxuriating of the queer body. For the spectator a conflict occurs as the cross-dressed character’s visibility, through the materialisation of the body, disrupts the perception of a trans-corpo-reality. Exposure of the cross-dressed character ruptures the heteronormative construction of the cinematic space. In the early Italian comedy films, knowledge of the cross-dressing comic star is the visibility that threatens the transgender character. The queerness of the cross-dressed character in Italian comedy films opens up temporalities and suggests the possibility of different modes of living, and of reading film texts. This paper argues that the popularisation of the cross-dressed male served as a transgressive force that provided an articulation of social tolerance in Italy at a time when gender roles were undergoing renegotiation.
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48

Derksen, Céleste. "Out of the Closet: Dramatic Works by Sarah Anne Curzon Part Two. Re-Dressing Gender Inequality:The Sweet Girl Graduate." Theatre Research in Canada 15, no. 2 (January 1994): 123–35. http://dx.doi.org/10.3138/tric.15.2.123.

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This second of a two-part essay on Sarah Anne Curzon's "closet drama" examines the novel and duplicitous effects of cross-dressing in The Sweet Girl Graduate. The essay argues that Curzon's play is unique in the theatrical tradition of cross-dressing, first because it provides an extended political argument for the expansion of women's educational privileges and, second, because it displaces the male gaze in order to dramatize female use of, and response to, the cross-dressed body.
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49

Agbo, Amadi, Mercy, Macaulay, Samuel Uche, and Fatima Ijeoma Emetumah. "An Empirical Investigation into how Nigerian Skit Makers Portray Cross Dressing on Facebook and Its Impact on Public Perception." Asian Journal of Advanced Research and Reports 18, no. 4 (February 26, 2024): 14–23. http://dx.doi.org/10.9734/ajarr/2024/v18i4619.

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The study focused on public perception of the depiction of cross dressing among Nigeria skit makers on Facebook. The study was guided by four research objectives. Based on the nature of the study, survey research method was adopted as the research design and Marshal McLuhan’s Technological Determinism Theory was the theoretical framework for the study. The instrument for data collection was an online Google form questionnaire that was distributed to Facebook users online who were randomly selected from three comedy skit making group on Facebook. Taro Yamane’s formula was used for sample size selection of 400 Respondents from a population of 46,061,400 Facebook users in Nigeria. However, 385 responses were received; representing 96.3% out of whom 36.9% were males and 63.1% were females. Findings from the study showed that the public perceive cross dressing by Nigeria skit makers on Facebook as hilarious; also, social recognition was found to be the major factor that motivates cross dressing skits on Facebook and the viewership of cross dressed skits on Facebook does not influence the viewers’ offline sense of dressing and behaviour. Based on the findings of the study, the researchers recommended the need for public enlightenment about cross dressing skits on Facebook and other social media platforms, so that the public becomes aware that such skits are basically for entertainment and for social recognition by the skit makers. Also, skit makers should include in their contents/skits issues challenging our society and how the society can be free of these vices, even while being entertained.
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50

Puri, B. K., and I. Singh. "The Successful Treatment of a Gender Dysphoric Patient with Pimozide." Australian & New Zealand Journal of Psychiatry 30, no. 3 (June 1996): 422–25. http://dx.doi.org/10.3109/00048679609065010.

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Objective: The case is reported of a gender dysphoric patient who responded successfully to pharmacotherapy with pimozide. Clinical picture: An adult male patient with a borderline learning disability presented with cross-dressing and a strong wish to undergo a sex change. Treatment: Supportive psychotherapy and pharmacotherapy with pimozide was tried. Outcome: There was an excellent response to pimozide 2 mg daily, with a cessation of both cross-dressing and the wish for sex reassignment. When, after 1 year, the dose was reduced to 1 mg daily, there was a rapid return of the cross-dressing and the wish for sex reassignment. An increase in the dose again led to a remission which has been maintained since then. Conclusion: Pharmacotherapy with pimozide should be considered in cases of doubtful gender dysphoria.
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