Relevant bibliographies by topics / Female impersonators

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Female impersonators'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Female impersonators"

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Galimany, Michael D. "Boulton and Park female impersonators." History of Photography 21, no. 4 (December 1997): 334–35. http://dx.doi.org/10.1080/03087298.1997.10443857.

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Engebretsen, Elisabeth L. "Re-view: Mother Camp: Female Impersonators in America." American Anthropologist 120, no. 4 (November 15, 2018): 857–58. http://dx.doi.org/10.1111/aman.13151.

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Schacht, Steven P., and Lisa Underwood. "The Absolutely Fabulous but Flawlessly Customary World of Female Impersonators." Journal of Homosexuality 46, no. 3-4 (April 20, 2004): 1–17. http://dx.doi.org/10.1300/j082v46n03_01.

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Zhou, Yuxuan. "On the western myth of Takarazuka fantasy: japanese women playing men and westerners on stage." dObra[s] – revista da Associação Brasileira de Estudos de Pesquisas em Moda 38 (August 1, 2023): 158–76. http://dx.doi.org/10.26563/dobras.i38.1572.

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This work investigates the female performers from Takarazuka Revue in Japan, who play the role of Westerners and men in several musicals and which challenges the traditional power orientation of Orientalism. The construction of the Western identity is analysed through the outer shell of the body, the costumes, stage props and musical plots, and the body presented on the stage with make-up and other bodily techniques. The visual elements are analysed following a semiotical approach, investigating how the layered up meanings express the romanticised Occident distant from the image of the West in today’s society. The ritualistic bodily techniques of Takarazuka performers reveal the performative nature of gender and race. While Ahmed’s phenomenological Orientalism supports the analysis of the orientation between the Occident and Orient, otokoyaku (male impersonators) and musumeyaku (female impersonators), performers and audience, presenting the dynamic power flow in the Occidentalist/Orientalist structures, hence explaining the transgender and transcultural image of the otokoyaku, and their importance in the revue’s image and, ultimately, the “hybrid” discourse it manipulates.
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Cheng, Yu-Aang. "Female Impersonators and Novels of the Early and Middle Qing Dynasty." Chinese Studies 55 (June 30, 2016): 197–211. http://dx.doi.org/10.14378/kacs.2016.55.55.11.

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Tewksbury, Richard. "Men performing as women: Explorations in the world of female impersonators." Sociological Spectrum 13, no. 4 (October 1993): 465–86. http://dx.doi.org/10.1080/02732173.1993.9982045.

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Liu, Siyuan. "Performing Gender at the Beginning of Modern Chinese Theatre." TDR/The Drama Review 53, no. 2 (June 2009): 35–50. http://dx.doi.org/10.1162/dram.2009.53.2.35.

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In the early twentieth century, female impersonators in Japan's first Western-style theatre, shinpa (new school drama), employed gender performance conventions based on kabuki onnagata and European melodramatic techniques. Shinpa performers influenced the performance of gender in early Chinese spoken drama. Chinese student actors emulated shinpa conventions in Tokyo and popularized them in Shanghai in the 1910s, where they were accepted as being accurate enactments of modern women.
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Crowe, Robert. "“He was unable to set aside the effeminate, and so was forgotten”: Masculinity, Its Fears, and the Uses of Falsetto in the Early Nineteenth Century." 19th-Century Music 43, no. 1 (2019): 17–37. http://dx.doi.org/10.1525/ncm.2019.43.1.17.

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The male falsetto enjoyed a brief period of acceptance, even adulation, as it was wielded by tenors such as John Braham and Giovanni Rubini in the first four decades of the nineteenth century. At the same time, the last castrati to tread the stage were winding down their careers, while in Germany and Austria female impersonators such as Karl Blumenfeld, who possessed highly cultivated falsetto voices, were achieving a kind of fame of their own. These three kinds of falsetto—the castrato voice was heard at this time as having the same two registers standard for all voices, falsetto and chest voice—were, to a degree probably startling to modern readers, considered analogous to one another. The decline of the ”legitimate” falsetto as an extension of the tenorial chest voice was concurrent with the phenomena of the disappearing castrati and the wildly over-the-top female impersonators—all of whom were both implicitly and explicitly compared to one another. Both the tenors and the falsettists bore an uncomfortable, even ridiculous, perceptual proximity to the epicene, effeminate, always/already maimed state of the castrato, under the regulation of an anxious version of the male gaze. This proximity played a large role in the rapid disappearance of the tenorial falsetto after 1840.
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Chi, T. w. "Performers of the Paternal Past: History, Female Impersonators, and Twentieth-Century Chinese Fiction." positions: east asia cultures critique 15, no. 3 (December 1, 2007): 580–608. http://dx.doi.org/10.1215/10679847-2007-006.

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CHOI YOONJU. "A Study of Relationship between Literati and Female Impersonators in Qing Dynasty - Focused on “Pinhuabaojian”." Journal of Chinese Cultural Studies ll, no. 37 (August 2017): 133–62. http://dx.doi.org/10.18212/cccs.2017..37.006.

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Dissertations / Theses on the topic "Female impersonators"

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Kaminski, Elizabeth Ann. "Listening to drag music, performance, and the construction of oppositional culture /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1060196344.

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Thesis (Ph. D.)--Ohio State University, 2003.
Title from PDF t.p. (viewed on Apr. 30, 2006). Advisor: Vincent Roscigno, Dept. of Sociology. Includes vita. Includes bibliographical references (p. 138-150).
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Abell, Leslie Marie. "Interactions between Female Impersonators and Tipping Audience Members: Heteronormativity and Techniques." TopSCHOLAR®, 2010. http://digitalcommons.wku.edu/theses/178.

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Academic interest in drag entertainers began in the late 1970s and has since been slowly growing. The literature has, thus, far largely examined entertainers’ life stories as well as whether drag reinforces or transgresses traditional gender roles. Little research has focused on the interactions between drag entertainers and their audiences. Based upon observational data and in-depth interview data, this study examines the tipping interactions that occur between an audience member and a drag entertainer during a drag show, positive and negative aspects of performing in drag, and rational techniques that entertainers use to encourage audience members to tip. In addition, it explores whether gender roles are reinforced or transgressed as well as the maintenance of the illusion of heteronormativity. Entertainers reported using several rational techniques to engage the audience, which included performing popular songs, wearing interesting outfits, and interacting with the crowd. These rational strategies were based upon the entertainer taking the role of the generalized other, the audience. Entertainers in this study discussed positive aspects of doing drag that made performing a positive symbolic experience for the performer. Through their stage performances entertainers reinforced traditional gender roles and, as a byproduct, also reinforced heteronormativity.
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Marx, Jacqueline Greer. "(In)visibility and the exercise of power: a genealogy of the politics of drag spectacles in a small city in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002522.

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This study investigates the politics of homosexual visibility in dressing-up, cross-dressing and drag performances that take place in a small city in South Africa over a period of sixty years, beginning in the 1950s and the inception of apartheid policy, through the socio-political changes in the 1990s to the 21st century post-apartheid context. The study draws on Butler’s notion of performative resistance and adopts a Foucauldian genealogy to examine the conditions that make visibility possible and through which particular representations of homosexuality are articulated and read, or remain unread or misread. Information about dressing-up, cross-dressing and drag performance was obtained in interviews, from documentary evidence, and from audio-visual recordings of drag shows and gay and lesbian beauty pageant competitions. Semiotics and a Foucauldian approach to analysing discourse were used to interpret the written, spoken, and visual texts. In this study I argue that the state prohibition of homosexuality during apartheid meant that people could not admit to knowing about it, and this ‘not knowing’ provided a cover for homosexual behaviour in public. At this time, the threat of being identified was associated with police raids on private parties. In the 1990s, homosexual visibility was more viable than it had been in the past. However, the strategies that were adopted to negotiate public visibility at this time were tailored to appease normative sentiments rather than challenge them. I argue that, historically, race and gender have played a role in diminishing and exacerbating homosexual visibility and its politics. Addressing the potential for harm that is associated with homosexual visibility in the 21st century post-apartheid context, this study considers the circumstances in which invisibility is desirable.
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Johns, Edward M. "Drag families in Hawai'i: Exploration of Mahuwahine social support systems. /." University of Hawai'i at Hilo, 2009. http://proquest.umi.com/pqdweb?did=1848642411&sid=2&Fmt=2&clientId=23658&RQT=309&VName=PQD.

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Prince, Lindy-Lee. "Above gender : doing drag, performing authentically, and defying the norms of gender through performance in Cape Town." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80074.

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Thesis (MA)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: The thesis that is to be presented discusses the performance of drag and gender in Cape Town – namely Bubbles Bar. I argue that the performance of gender on stage through the performance of drag challenges the norms and ideas of gender in South Africa. Through the act of non-normative staged gendered performance, the participants of this study also challenge stereotypes and stigma around this in relation to the social norms and regulations that are asserted on the individual presentation and performance of gender and sexuality. I argue that the performance of gender in relation to the stage asserts the situational character of gender performance through the staged performance of drag. I assert that the staged performance of gender is made authentic by the audience who views and understands the performance as a performance of drag, and a performance of gender. The performance of drag is considered an act of transgression. Transgression in South African society is policed through acts of oppression, social and sometimes physical violence. This act of transgression is performed through drag which is viewed as an act of nonnormative gender performance. The perception of transgression places those who perform gender in a non-normative fashion upon the margins. However, that the performers are acting above gender places the performance on a higher plain. The theatrical methods, and inclusion of the audience in the performance that are used as a form of entertainment allows the participants in this research project to humanize the gendered performance of non-normativity by education through the art of their performance.
AFRIKAANSE OPSOMMING: Die tesis wat aangebied word bespreek die vertoning van “drag” en geslag in Kaapstad - naamlik in Bubbles Bar. Ek voer aan dat die opvoering van geslag deur “drag” op die verhoog normes en idees van geslag in Suid-Afrika uitdaag. Deur hierdie nie-normatiewe geslagsopvoering daag die deelnemers van hierdie studie ook stereotipes en stigma rondom geslag uit, met spesifieke betrekking tot die sosiale normes en regulasies wat op die individuele aanbieding en vertoning van geslag en seksualiteit geplaas word. Ek argumenteer dat die uitbeelding van geslag in verhouding tot die verhoog die situasionele karakter van geslag deur die opgevoerde vertoning van “drag” handhaaf. Ek voer aan dat die verhoogvertoning van geslag eg gemaak word deur die gehoor wat die vertoning aanskou en verstaan as 'n vertoning van “drag”, en ook 'n vertoning van geslag. Die opvoering van “drag” word beskou as 'n daad van oortreding. Oortreding in die Suid- Afrikaanse samelewing word gepolisieër deur dade van onderdrukking, sosiale en soms fisiese geweld. Hierdie daad van oortreding wat opgevoer word deur middel van “drag” word beskou word as 'n daad van nie-normatiewe geslagsgedrag. Die persepsie van oortreding plaas diegene wat geslag opvoer op 'n nie-normatiewe wyse, op die kantlyn. Deurdat die deelnemers/kunstenaars optree buite die normatiewe idee van geslag, plaas dit die vertoning op 'n hoër vlak. Die teatriese metodes, en die insluiting van die gehoor in die opvoering wat gebruik word as 'n vorm van vermaak, laat die deelnemers aan hierdie navorsingsprojek toe om die geslagtelike vertoning van nie-normatiwiteit te vermenslik met opvoeding deur middel van die kuns van hul vertoning.
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Lipscomb, Robert D. "The drag paradox." 2009. http://hdl.handle.net/10106/1732.

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"Vintage drag: Female impersonators performing resistance in Cold War New Orleans." Tulane University, 2004.

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Post-World War II New Orleans was home to several famous and successful venues for female impersonators. In the white club My-O-My, situated in a lightly policed border-space on the fringe of New Orleans, men performed women to a largely heterosexual audience of locals and tourists in a fast-paced nightclub review. Black clubs included the Dew Drop Inn and the Caledonia. On all stages, the female impersonators, utilizing sex, humor, talent and falsies, acted to undermine the basis of patriarchy During this Cold War period, patriarchy was the law of the land. Women, confined to the home and relieved of any economic or personal agency, were encouraged to find fulfillment in passive femininity. Black Americans were offered only second-class citizenship, with no voice in their own governance, and little or no economic opportunity. Homosexuals were despised and persecuted, particularly under the auspices of the House Un-American Activities Committee and the attacks of Senator Joseph McCarthy In this political climate, the success and popularity of entertainment clubs featuring female impersonators might seem an anomaly. However, the phenomenal appeal of the female impersonators was directly attributable to the transgressive nature of their performance. The performance of women by men challenged the assumption of essential gender; the appeal of the free wheeling sexuality of the impersonators in their guise as women offered actual women an alternative to passive dependence, while undermining the basic idea of patriarchy: men are masculine and women are feminine The performers skewed ideas of essential gender; without active and passive natures irrevocably assigned according to biological sex, there is neither a basis nor a justification for patriarchy. By establishing the social construction of gender, it was possible also to suggest a social construction of race. As 'Other' to patriarchy, and therefore dominated by patriarchy, women, blacks and homosexuals all had an interest in finding a new social order. Performance provided freedom to transgress the restrictive prohibitions of the Cold War era, and disprove the tenets of the established system of hierarchy. The performance became a dress rehearsal for a less restrictive social order
acase@tulane.edu
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Akal, Shari Tamar. "Costuming gender : an investigation into the construction and perception of drag costume in mainstream film." Thesis, 2015. http://hdl.handle.net/10321/2423.

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Submitted in fulfilment of the requirements of the Degree of the Master of Technology in Fashion, Durban University of Technology, Durban, South Africa, 2015.
The years succeeding 1990 have seen a significant increase in the release of mainstream film featuring transgendered characters. The inclusion of such characters in popular film becomes a point of interest as transgendered identities differ from the hegemonic heterosexism of the audiences at whom these films are targeted. This investigation aims to gain a better understanding of how audience members read gendered identity through the visual appearance of drag queen characters in mainstream film. Due to the emblematic contrast between the male body and a hyper-feminine dress aesthetic, drag queens pose an overt visual challenge to the normative expectation of anatomical sex determining gender and gendered expression. This investigation is conducted from the paradigmatic perspective that recognises the impossibility of a ‘correct’ reading of dress aesthetics and is thus concerned with discovering the various gendered meanings audience members may attach to drag costume in film. This interpretivist standpoint, however, is held in conjunction with the critical understanding that prevalent contemporary socio-political constructs with regard to gender and dress will undoubtedly affect these perceptions. Segments from selected Hollywood films featuring drag queen protagonists were screened for a heterogeneous focus group and the subsequent discussion analysed through critical discourse analysis. Academic discourse concerning the socially constructed gender dichotomy and the debated subversive potential of the drag act is reviewed in order to provide a theoretical framework for analysing the participants’ comprehension of gendered performance. Gendered associations with dress and the body together with film theory are examined to better understand how an audience may perceive gendered identity through drag costume in film and what affect this may have on their conception of sartorial gendered expressions in reality. Finally, to situate and provide further context for this investigation, Queer theory critiques of the representation and reception of transgendered characters in past mainstream films are considered.
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Smith, Evan J. "Down-under drag : inside Australia's drag king and drag queen communities." Thesis, 2014. http://hdl.handle.net/1959.7/uws:36729.

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Down-Under Drag is an ethnographic exploration into the lived experiences of Australian drag queens and drag kings. Drag is a unique performance art that hinges on the notion of cross dressing – where a performer’s presentation of gender, in drag, is not aligned with his or her biological sex. This performance style is predominantly undertaken by gay, lesbian and transgendered individuals as a form of entertainment in gay and lesbian communities and usually involves the adoption of a hyper-masculine or hyper-feminine disguise by the performer. Through methods of interviewing and observation, this thesis offers first-hand information into the experiences of a range of Australian drag performers, undertaking a thematic analysis of a variety of key concepts as emerged from those experiences. Through a grounded theory approach, the analytical exploration of such concepts has informed the theoretical material used to better understand those experiences. Namely, through the application of Butler’s post-structuralist theory of gender performativity (1990), this thesis views gender as social construct, created and maintained through the repetition of various stylized acts. With the help of Butler (1990, 2004) I will argue that drag performers take up multiple, shifting and contradictory gendered subjectivities. As most academic literature available in this area of study deals primarily with drag king and queen cultures in isolation, the aim of this thesis is to analytically compare these performance cultures and the roles their performers take up as entertainers and socialisers within Australian gay communities. I will demonstrate that these performers use the medium of drag most frequently as a tool for critique - particularly concerning normative constructs of sex and gender- and also as a tool to pay homage to those constructs. This thesis will argue that practices of drag create a persistent and productive tension between the forces of subversion and the forces of normativity.
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Nixon, Kevin D. "Are Drag Queens Sexist? Female Impersonation and the Sociocultural Construction of Normative Femininity." Thesis, 2009. http://hdl.handle.net/10012/4307.

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In a great deal of social scientific literature on gender, female impersonators have been framed as the example par excellence of crossgendering and crossdressing behaviour in the West. Perceived rather dichotomously as either gender transgressive or reinforcing of hegemonic gender norms, female impersonators occupy a very central position within the emerging fields of gay and lesbian, transgendered, and queer studies. Certain schools of feminist thought, dating back to the mid to late 1970s have framed female impersonators as misogynistic gay men who appropriate female bodies and a “feminine” gender from biological women. These theories argue that female impersonators utilize highly stereotypical and overly sexualized images of the feminine, in order to gain power, prestige, and status within the queer community. This study challenges popular feminist perspectives on drag, first on a theoretical level, utilizing advances in contemporary queer theory and secondly on an ethnographic level, based on a year long field study which involved both participant observation and unstructured interviews with several female impersonators and nightclub patrons at a local queeroriented nightclub in a city in southern Ontario, Canada. Aiming to understand the degree to which performers identified with the normative femininity they performed, this study argues for a more complex understanding of what motivates individuals to become drag queens, one that incorporates female impersonators unique subjective understandings of their own gender identities. Overall, this study calls for a more holistic perspective on female impersonation, which does not limit itself to any one theoretical model of drag.
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Books on the topic "Female impersonators"

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Fukuda, Naotake. Bandō Tamasaburō butai shashinshū. Tōkyō: Asahi Sonorama, 1998.

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Antunes, António Lobo. What can i do when everything's on fire? London: W.W. Norton, 2008.

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Rue, Danny La. From drags to riches: My autobiography. Bath: Chivers, 1988.

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Rue, Danny La. From drags to riches: My autobiography. London: Viking, 1987.

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1918-2007, Yoshida Chiaki, ed. Onnagata: Kabuki no hirointachi. Tōkyō: Asahi Shinbunsha, 1988.

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Antunes, António Lobo. What can I do when everything's on fire? New York: W.W. Norton, 2008.

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Antunes, António Lobo. What can I do when everything's on fire? New York: W.W. Norton, 2008.

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Antunes, António Lobo. Que farei quando tudo arde? Lisboa: Publicações Dom Quixote, 2001.

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Preusse, Georg. Mary: Mein Leben in ihrem Schatten. 2nd ed. Berlin: Schwarzkopf & Schwarzkopf, 2005.

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Schubert, Silvia. Beruf, Mary: Die zweite Haut des Georg Preusse. Berlin: Das Neue Berlin, 2001.

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Book chapters on the topic "Female impersonators"

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Makepeace, Clare. "‘Pinky Smith Looks Gorgeous!’ Female Impersonators and Male Bonding in Prisoner of War Camps for British Servicemen in Europe." In Men, Masculinities and Male Culture in the Second World War, 71–95. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-349-95290-8_4.

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Korbel, Susanne. "Portrayals of a Female Impersonator: Visual Representations of Gender-Bending between Central Europe and the United States." In Verhandlungen von Geschlecht und Sexualität in visuellen Kulturen der 1920er- und 1930er-Jahre, 93–114. Göttingen: V&R unipress, 2023. http://dx.doi.org/10.14220/9783737015660.93.

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"The Absolutely Fabulous but Flawlessly Customary World of Drag Queens and Female Impersonators." In The Drag Queen Anthology, 19–36. Routledge, 2013. http://dx.doi.org/10.4324/9780203057094-6.

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Das, Prabhatkumar. "Life of Jatra Actresses." In Women Performers in Bengal and Bangladesh, 243–59. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192871510.003.0013.

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Abstract Although actresses participated in jatra in the 19th century, it was usually men who played the female characters, to the great adulation of audiences. In the 1950s, the inclusion of women in Calcutta’s professional jatra ushered in a new era of change. The first generation of actresses usually came from refugee families, who joined the jatra purely to sustain themselves. Initially, they had to contend with the hegemony of female impersonators. As times changed, the inclusion of actresses became the norm in every jatra troupe, leading to widespread changes in their social makeup. In the patriarchal framework of the jatra industry, actresses had to struggle against severely exploitative practices and social manipulations. This chapter is a culmination of decades-long research, and is a study of printed memoirs and interviews with past and present jatra personalities. Cutting through the salacious networks of gossip and rumours, this chapter attempts to present an objective picture of the complex struggles of jatra actresses’ lives.
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Gallon, Kim T. "Male Homosexuality and Gender-Nonconforming Expression." In Pleasure in the News, 132–59. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043222.003.0006.

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Chapter 5 details how Black Press news coverage produced a black public sexual sphere that allowed readers to debate homosexuality and gender-noncomforming expression’s position in early-twentieth-century black communities. As the Black Press worked to transform negative images of blackness, they held homosexual life and gender-nonconformity up as a spectacle that could not seamlessly fit into notions of African American respectability. Nonetheless, regular coverage in the Black Press proved that editors believed that readers enjoyed reading articles and viewing images about female impersonators and gay men. In presenting readers’ responses to this coverage, chapter 5 draws attention to instances of contest and negotiation between diverse African American readers as they struggled to understand the intersections between race, gender, and sexuality.
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Herrn, Rainer. "Magnus Hirschfeld’s Onnagata." In Global History of Sexual Science, 1880-1960, translated by Michael T. Taylor. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520293373.003.0017.

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This chapter examines the circulation of sexual scientific knowledge between Germany and Japan by focusing on onnagata (Japanese “female impersonators”), which was included by Magnus Hirschfeld as cultural figures in his so-called Wall of Sexual Transitions. Hirschfeld created the Wall of Sexual Transitions to illustrate his “theory of sexual transitions” for the 1913 international Physicians' Congress in London. The chapter first provides an overview of the beginnings of the homosexual movement in Germany and the controversies it engendered, highlighting the important role played by the first reception of the traditions of Japanese samurai and male homosexuality in Japanese theater. It then considers Hirschfeld's idea of transvestitism and his 1931 visit to Japan, and how his reinterpretation of the onnagata influenced his own conception of transvestitism. It also shows how sexual ethnography emerged as an important field of sexual science that served to delineate ideological differences between European scientists and activists.
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"2 Female Impersonations: Ortensio Lando’s Lettere di molte valorose donne." In Writing Gender in Women's Letter Collections of the Italian Renaissance. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442697836-004.

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Chao, Shi-Yan. "Performing Gender, Performing Documentary in Postsocialist China." In Queer Representations in Chinese-language Film and the Cultural Landscape. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462988033_ch06.

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This chapter focuses on Tang Tang (Zhang Hanzi, 2004) and Mei Mei (Gao Tian, 2005), two Chinese documentaries. Although each documentary centers around a female impersonator, they approach their subjects in distinct ways. While Mei Mei portrays its subject with nuance and intense emotional investment, Tang Tang emphasizes formal experimentation. Positioning Tang Tang at the intersection of what I call the film’s “performing documentary” and the subject’s “performance of gender,” I argue that the reflexivity permeating Tang Tang foregrounds the openness of the queer subjectivities it portrays. My investigation further addresses each film’s subjects as human beings materialized in and through a matrix of social, political, and economic conditions marked by spatial and temporal parameters.
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Woods, Marjorie Curry. "Troy Books for Boys." In Weeping for Dido, 49–103. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691170800.003.0003.

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This chapter examines two short classical works read by students at a lower level, and the interlinear glosses are more basic. They imprint on us the intimate, detailed knowledge of the words of the texts that the students imbibed. Both poems focus on issues of masculinity. In the Achilleid, the protagonist's mentors mirror his transitions from wild child to female impersonator to warrior in training, and his time pretending to be his own sister is framed by the fears first of his mother and then his lover (later wife). In the Ilias latina the increasing focus on death in battle evokes relentlessly the pathos of male characters, dying themselves or killing others. Yet the narrative ends with the grief of Hector's wife, Andromache, at his funeral.
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Helford, Elyce Rae. "The Theatricality of Gender and Drag Performance." In What Price Hollywood?, 99–118. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813179292.003.0007.

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Abstract:
This chapter attends to a seemingly disparate trio of films, the romantic adventure Sylvia Scarlett (1935), the theatrical Western Heller in Pink Tights (1950), and the melodrama-with-music A Star is Born (1954). The three are bound by scenes in which the female protagonist appears in male drag. Katharine Hepburn plays male for almost an entire film that went on to flop hideously at the box office, while Sophia Loren impersonates Old West stage presence Adah Isaacs Menken, with outrageous impact. Perhaps most unexpected of all, Judy Garland dons boyish drag for a song-and-dance number just before breaking down over her alcoholic husband’s disastrous life. While the films’ purposes and impacts differ, together they illustrate the concept of gender-as-performance, as it bends but does not break classic Hollywood cinematic traditions.
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