Dissertations / Theses on the topic 'Transvestismus'

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.

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.

This thesis is intended to contribute to anthropological and sociological debates on the sources of gender identity and the strategies that are entailed in its management. Cross-dressing among men in western societies has been studied from two major perspectives. One comes from behavioural psychologists and psychiatrists who regard transvestism as deviant behaviour that requires counselling and treatment. This medical model has limited use and is not acceptable to transvestites. Cross-dressing has also been studied from a social scientific perspective that views transvestism in relation to the performance of gender. It is within this perspective that the results of my research are primarily located. The example of male transvestism is particularly instructive because it demonstrates a creative play within shifting sexual boundaries. Male transvestites challenge assumptions about gender practices in the context of every day life when expressing their 'dedoublement' that juxtapose masculinity and femininity. Transvestism is thus an attack on the very notion of gender deviance, which is being mounted by small groups of otherwise very 'ordinary' men. These men also have a developed masculine image reflecting a specifically regional discourse of masculinity that has its origin in socio-economic backgrounds based on heavy industry and its collapse in the 1960s. A similar masculine ideology is present in both areas of my research: the North East of England and Liege in Belgium. Transvestites, by asserting 'feminine within the masculine', seriously transgress this ideology. Transvestites are often rejected on the basis of their non-normative behaviour. The boundaries between 'normal' and 'deviant' are reinforced on a daily basis through, among others factors, the media. To avoid being labelled 'deviant', transvestites tend to keep their behaviour secret or meet with others in groups that have recently began to flourish.

Das Präfix "trans-" ist aus dem Lateinischen hergeleitet und bedeutet "jenseits". Bezogen auf Geschlecht deutet trans* auf Lebensweisen hin, die nicht in einer (vermeintlich natürlichen und angeborenen) Zweigeschlechtlichkeit aufgehen. Transgeschlechtlichkeit wurde in aktivistischen Zusammenhängen in Abgrenzung zu der medizinisch-psychologisch geprägten Kategorie Transsexualität entwickelt. Seit den späten 1960er Jahren eröffnete sich, vor dem Hintergrund ethnomethodologischer Theoriebildung, ein Feld der sozialwissenschaftlichen Untersuchung transgeschlechtlicher Lebensweisen. Im Gegenzug dazu perspektivieren die Queer- und Gender Studies Transgeschlechtlichkeit in den 1990er Jahren neu.

This dissertation analyzed the flourishing of imitative versions of Heloise and Abelard's love correspondence in France in the seventeenth and eighteenth centuries. Current theoretical approaches on epistolarity, narratology, cultural and gender studies were applied to focus on the various transformations (rewriting, veiling, fragmenting) of Heloise's epistles as they fell into the hands of (mostly male) imitators. Close textual analysis was used to investigate how the multiple (re)visions of her epistolary discourse and persona over two hundred years may be indicative of, and have helped construct, ideological changes in expectation concerning the role of women. The introduction traced the historical evolution of the epistolary novel, and the genesis of the lovers' legend in the Classical Age. The medieval love correspondence was initially considered with an analysis of Heloise's dialogic discourse in which the passion is veiled in the palimpsest that is visible under the spiritual language. Particular emphasis was placed on the possibility that Abelard may have altered her epistles as he ignored her desire to see to her salvation. Yet, Abelard was not the only man to intervene in Heloise's epistles. Other subsequent authors practiced what Miller calls "pseudo-feminocentrism" or female impersonation, the technique by which a male author infringes in a "woman's" literary production. In the seventeenth century, many male authors committed a travesty as they invaded Heloise's missives. Grenaille was the first translator to reconstruct Heloise as "La Magdalene Francaise". After this penitent revision of Heloise's persona, Alluis and Bussy-Rabutin effaced her body and reinvented her as a seductive "precieuse". In the eighteenth-century verse translations, Pope and Colardeau also took over Heloise's site of writing, reconstructing her as irrational. But another Enlightenment translator, Louise de Keralio, attempted to repair the learned Heloise, and in the nineteenth century, another woman, under the pseudonym, Marc de Montifaud recovered the erotic body that had been covered by male revisionists before her. The study of these translations over the centuries has demonstrated that Heloise's missives became the site of an ideological "querelle des femmes", and an attempt at constructing "woman".

Das Präfix 'trans-' ist aus dem Lateinischen hergeleitet und bedeutet 'jenseits'. Bezogen auf Geschlecht deutet trans* auf Lebensweisen hin, die nicht in einer (vermeintlich natürlichen und angeborenen) Zweigeschlechtlichkeit aufgehen. Transgeschlechtlichkeit wurde in aktivistischen Zusammenhängen in Abgrenzung zu der medizinisch-psychologisch geprägten Kategorie Transsexualität entwickelt. Seit den späten 1960er Jahren eröffnete sich, vor dem Hintergrund ethnomethodologischer Theoriebildung, ein Feld der sozialwissenschaftlichen Untersuchung transgeschlechtlicher Lebensweisen. Im Gegenzug dazu perspektivieren die Queer- und Gender Studies Transgeschlechtlichkeit in den 1990er Jahren neu.

Das Präfix 'trans-' ist aus dem Lateinischen hergeleitet und bedeutet 'jenseits'. Bezogen auf Geschlecht deutet trans* auf Lebensweisen hin, die nicht in einer (vermeintlich natürlichen und angeborenen) Zweigeschlechtlichkeit aufgehen. Transgeschlechtlichkeit wurde in aktivistischen Zusammenhängen in Abgrenzung zu der medizinisch-psychologisch geprägten Kategorie Transsexualität entwickelt. Seit den späten 1960er Jahren eröffnete sich, vor dem Hintergrund ethnomethodologischer Theoriebildung, ein Feld der sozialwissenschaftlichen Untersuchung transgeschlechtlicher Lebensweisen. Im Gegenzug dazu perspektivieren die Queer- und Gender Studies Transgeschlechtlichkeit in den 1990er Jahren neu.

This study considers the processes by which film and play-texts engage with the mythic figure of Joan of Arc. Chapter One provides an overview of the vast body of work that has been inspired by Joan's history. Chapter Two addresses the tragic configuration of Joan's story, especially with regard to ethical conflict and culpability. In Chapter Three, I discuss the displacement of notions of innocence onto Joan's virginity, youth, illiteracy, and rusticity and examine the ideologically-loaded textual constructions and uses of these elements of her myth. Chapter Four is a consideration of her textually-constructed exclusion from the ordinary run of humanity and of the implications of her strangeness and estrangement. Chapter Five is focused upon representations of Joan's condemnation trial. I consider the processes of narrativisation by which means documentary records become historical accounts. I consider fictional reenactments of Joan's trial as 'texts within texts, ' engaged in a double process of interrogation which allows Joan to be both persecuted for her transgressiveness and elevated to the status of a saint. Chapter Six examines the central importance of Joan's transgressiveness, exploring the disciplinary strategies employed by a variety of film and play texts as they attempt to counter her troublesome ambiguousness, to identify and define her, and to effect her epistemological assimilation. Chapter Seven is a consideration of the similarities and differences between the myths of Joan of Arc and of Christ and their representation in film. It explores the semantic association between transgression and transcendence, between the 'unnatural' and the 'supernatural, ' with regard to their crucial relation to the limits of discourse and epistemology. In Chapter Eight, I explore myth as a discursive practice and examine the operations of myth and of ideology in relation to the obsessive cultural reiteration of the myth of Joan of Arc.

This dissertation discusses medieval and Renaissance clerical and cultural constructions of femininity and female masculinity, and it analyses the complex relationship between such conceptions and the literary representation of the transvestite woman. Medieval theology legitimated female masculinity as transcendence of temporal sexuality. A woman who contained her affective femininity and replaced it with rational and ascetic behaviour was frequently lauded for having become male in all but body. In the middle of the first millennium, hagiographic legends abounded in which women appear to have embodied the patristic equation between spiritual rationality and masculinity. This dissertation proposes a radically different interpretation: the saint exchanges a sexualised form of femininity--ironically imposed upon her by a male society--for a non sexual but nevertheless feminine self valuation.
Early modern culture perceived transvestism in a multiform manner. It signifies monstrosity in the polemical pamphlet, serves to indicate an estimable apex of humanity in Shakespearean comedy, and represents women in roles that range from monstrous disrupter to adept uniter in the works of such other playwrights as Ben Jonson and Thomas Middleton. While the pamphlet's social commentary argues that masculinity rendered a woman monstrously unfeminine, the literature finds ways of interrogating definitions of the sex-gender system in a world which was constantly and fundamentally mutating. The drama employs elements such as inversion, monstrosity and transgressions of class to negotiate a society in flux.

Being a man or woman is at the core of human social lives and personal identity, and guides appropriate behaviours such as dress, mannerisms and relationships. Transvestism, or the practice of wearing the clothes of the other gender, challenges societal values and guidelines for behaviour. The attitude of society to this practice has varied from veneration to vilification depending on the period of history and the culture of the people. In western countries, although there is little social or legal repression, transvestism is largely a hidden phenomena. The tradition of comic drag has dominated public recognition of cross-dressing. Hence transvestites are perceived to be freakish or funny. Transvestites often marry, or form a committed heterosexual relationship without telling their partner of their cross-dressing. Because the public largely ignores the practice of transvestism, women who are married to, or form committed relationships with a transvestite are rendered invisible. The invisibility isolates women from information and social support. Although a substantial amount of literature is available regarding the nature of transvestism and the experience of transvestites, only sporadic attempts have been· made to understand the experience of, and influence on, the wives or committed partners of transvestites. The purpose of this study was to describe the experience of living in a committed relationship with a transvestite from the point of view of the woman. A phenomenological approach to data collection and content analysis identified emergent themes arising from in-depth interviews with nine women who were currently living, or had in the past lived, in a committed relationship with a transvestite. The women were aged between 38 and 84, resided in Western Australia and were of English speaking background. Significantly, some participants had left the relationship. This group of women has never been accessed in previous research hence their input increases the overall knowledge of the experiences of women in relationship with a transvestite. Women described the disclosure of transvestism by their partner to be a great shock that precipitated a long period of complicated grieving. Analysis of data indicated that the relationships between their partner and the femme identity of the man and the woman, whilst unintentional on the part of the man, was experienced as emotionally and sexually abusive by the women. The women resolved the conflict in various ways. Some recommitted to a renegotiated relationship and some tolerated their partners behaviour. Most felt trapped within the relationship at some stage. The majority of women chose to leave the relationship . In retrospect, the women recognised positive changes within themselves as a result of overcoming adversity.

Includes bibliography.
The present study provides a description of selected core psychodynamic issues pertinent to a male transvestite patient. Case material from an ongoing 11 month psychodynamically-oriented psychotherapy is used for illustrative purposes. The theoretical roles of the 'core complex', castration anxiety; aggression and a particular ego style are thematically outlined and illustrated by a discussion of the therapeutic process. An attempt is made to demonstrate an increased capacity for depression, increased object-relatedness and disidentification from a symbiotically related female introject as the aim and partial gain of the therapy. The transference, case management difficulties and the therapeutic process of what has occurred as well as what is likely to, are considered. The unexpected outcome, in that the patient has ceased to fetishistically cross-dress, given the short space of therapeutic time is discussed. It is concluded that this be viewed tentatively. Finally, some thoughts are raised as to the utility of the psychoanalytic approach as against the general psychiatric-diagnostic approach.

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Bachelors
Arts and Sciences
English

"Motivation" is the force that drives an individual to perform a certain action. Abraham Maslow (1908-1970), an American psychologist profoundly influenced by the existential and teleological paradigms, expounded a motivation theory that remains precise and replicable, as well as applicable to other spheres of study, including the humanities. Indeed, psychology experts and non-specialists are by and large familiar with Maslow's Pyramid of Human Needs. Moreover, despite the abundance of literary criticism that utilizes Freudian-based theory to analyze the motivations of literary characters, critics have largely neglected the use of other paradigms, including Maslow's. In this thesis, I use Maslow's texts as support for identifying the motivations of women characters who dress as men in Shakespeare's dramas. I also simultaneously employ Maslow's theory to illuminate the parallels in these characters' motivations and the varying need levels that Maslow develops in his hierarchy. After a comprehensive review of the literary criticism that addresses the dramatic motif of cross-dressing in early modern England and an extensive explanation of the history of motivation theory up to and including that of Abraham Maslow, I treat the following plays by William Shakespeare: The Two Gentlemen of Verona, As You Like It, and The Merchant of Venice in conjunction with Maslow's Pyramid of Human Needs. Through this analysis, I demonstrate that Julia cross-dresses to satisfy needs on the level of Love/Belonging; Rosalind cross-dresses for reasons that correspond to the Safety level, then to the Esteem level; and Portia demonstrates motivations that correspond to Maslow's Love/Belonging and Esteem levels.

This thesis will consider the art and persona of Grayson Perry in relation to ideas of national identity. In particular, it will argue that Perry has been occupied with ideas of class and national identity throughout his career, but that these underlying concerns have often been subsumed, or obfuscated, by the foregrounding of other more obvious aspects of his work, such as his transvestism. At the centre of this thesis is the argument that Perry's vision of England, and the purportedly ambivalent way in which he presents it, functions as a way of negotiating - and repatriating - English national identity at a time of crisis. I want to further argue, however, that this has been complicated by Perry's self-positioning, and I propose that he has cultivated an air of subversion and transgression that has tempered the more affirmative aspects of his work. This half-subversive, half-affirmative stance allows him and his work to resonate with both those critical of the usual institutions of contemporary art - including many sections of the public and certain newspapers, tabloid and broadsheet alike - as well as the institutions themselves. This stance has implications not only for Perry's engagement with contemporary art but for his considerations of national identity as well, enabling an enquiry into, and ultimately a restitution of, 'Englishness' (and, to a lesser extent, 'Britishness'), by framing it within a rhetoric of ambivalence and diminishment rather than overt nationalism, the latter of which would have more problematic associations. Similarly, I want to suggest that it is this stance and its mediatory properties, coupled with his earlier self-positioning and his subtle but consistent foregrounding of domestic and demotic issues of national identity throughout his career, that has made Perry such a popular candidate to take on the task of reinvigorating this identity now.

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.

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

The premise of this study is to investigate homonormative concepts in the works of Edward D. Wood, Jr. Following a contextualisation of the time period he was active in, the thesis interacts with camp as a concealed queer discourse and a political voice. Concepts of crossdressing as challenges to heteronormativity are observed in relation to Woods cinematic canon and persona. Case analyses of Glen or Glenda (1953) and Take It Out in Trade (1970) observe how mentioned methodologies are applicable.    The conclusions relate data exhibiting queer discourses held by Wood. Camp as a signifier of queer representation and counter oppression is identified as a discourse within Wood’s films. Examples given demonstrate how this is obscured within the agency of narrators, dialogue and metaphors. As camp evolves post-Stonewall, an adherence to camp as a parody of heteronormativity is acknowledged in later Wood pieces. Exploring concepts of crossdressing in Wood’s cinema, drag and transvestism can be excluded. Through crossdressing we find a stage for gender performativity as to reunite with the heteronormative challenges of his debut film. This reunion progresses to a compliance with homonormativity in his final feature films.

En nous invitant à considérer son œuvre d'un point de vue esthétique, André Gide souhaite dépasser les considérations morales et psychanalytiques plaçant un pan de la sexualité en dehors de la norme. L'auteur s'attache à présenter les défauts de tout ce qui est défini a priori comme étant la normale. Ainsi, le paraître auquel ont recours certains personnages de L'Immoraliste, des Caves du Vatican ou des Faux-monnayeurs permet de repenser le modèle représenté par la famille bourgeoise. Il ne convient plus de traiter certaines perversions comme de simples déviances. En jouant avec les apparences, les personnages oscillent entre le monde du spectacle et le travestissement. Tous ces jeux rhétoriques et esthétiques incitent à une redéfinition de la perversion. Ajoutons enfin que cette volonté de dépasser l'idée selon laquelle l'homosexuel se trouve en dehors de la normale permet à Gide de proposer une véritable réflexion sur l'homosexualité et la place de l'homosexuel dans notre société. C'est notamment grâce à cette réflexion que va émerger dans les pays anglo-saxons et plus tardivement en France une nouvelle approche de la sexualité appelée : Gender Studies

En nous invitant à considérer son œuvre d’un point de vue esthétique, André Gide souhaite dépasser les considérations morales et psychanalytiques plaçant un pan de la sexualité en dehors de la norme. L’auteur s’attache à présenter les défauts de tout ce qui est défini a priori comme étant la normale. Ainsi, le paraître auquel ont recours certains personnages de L’Immoraliste, des Caves du Vatican ou des Faux-monnayeurs permet de repenser le modèle représenté par la famille bourgeoise. Il ne convient plus de traiter certaines perversions comme de simples déviances. En jouant avec les apparences, les personnages oscillent entre le monde du spectacle et le travestissement. Tous ces jeux rhétoriques et esthétiques incitent à une redéfinition de la perversion. Ajoutons enfin que cette volonté de dépasser l’idée selon laquelle l’homosexuel se trouve en dehors de la normale permet à Gide de proposer une véritable réflexion sur l’homosexualité et la place de l’homosexuel dans notre société. C’est notamment grâce à cette réflexion que va émerger dans les pays anglo-saxons et plus tardivement en France une nouvelle approche de la sexualité appelée : Gender Studies
By asking to look at his work from an aesthetical point of view, André Gide wishes to go beyond the moral and psychological standards which tend to consider some parts of sexuality outside of the norm. Gide shows all the flaws of what is considered normal. In doing so, the family has to face its own flaws. The appearance that is shown by some characters of L'Immoraliste, Les Caves du Vatican or Les Faux-monnayeurs, gives the author the opportunity to reconsider the model that embodies the bourgeois family. Hence, it appears that the principles on which are based the norm and what is normal aren’t enough to claim that some perversions are just deviances. Playing with appearances, the characters range from simple acting to complete disguise; therefore, no one can rely on what they have shown. Through rhetorical and aesthetical games, Gide invites us to redefine perversion. Moving the boundaries that place the homosexual outside of the norm, Gide goes in depth about homosexuality and its standing in our society. Thanks to this new definition, it will emerge first in Anglo-Saxon countries and later in France a new approach to sexuality called "Gender Studies"

This paper aims to investigate the terms and conditions of a lesbian gaze and a lesbian spectatorship from a feminist and queer theoretical point of view. The empirical material consists of three paintings by the American artist Romaine Brooks (1874-1970).  Brooks was based in Paris in the early 20th century where she was surrounded by a group of intellectual and usually cross-dressing lesbians. The women within this context are the ones depicted in Brooks’ paintings and this makes her one of the first artists in modernity to openly portray lesbian and cross-dressing women. Her paintings lead into new conditions for the traditional understanding of spectatorship as well as female positions, since there is no male involvement or presence within the interactive space surrounding these paintings. The survey tries to further investigate and break down already existing theories concerning spectatorship with the main focus on Laura Mulvey’s the male gaze, termed in the essay “Visual Pleasure and Narrative Cinema” (1975). The queer theoretical approach in this paper is based on Judith Butler’s performativity, which then is attached to gaze theories in order to investigate the active and passive positions found in Brooks’ paintings. The paper does also include an analysis of the male gaze in relation to modernism, avant-garde, canon and subsequently the reason behind Brooks’ absence in modernist canon.

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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.

Cette thèse en Études théâtrales, assortie d’un film scientifique documentaire, s’appuie sur une enquête de terrain aussi historique qu’anthropologique qui vise à comprendre les enjeux dramaturgiques et sociologiques d’un genre de Cabaret-Théâtre musical nommé le Concert Party. De ses origines aux temps de la colonisation, jusqu’à nos jours, le Concert Party s’est inscrit en Afrique de l’Ouest comme un mouvement artistique extrêmement populaire et subversif. Produits en langue vernaculaire (twi, ewe, mina…), associés à de la musique Highlife et s’appuyant sur des travestissements, des maquillages et une dramaturgie extrêmement codés, les spectacles se jouent encore dans les maquis des grandes et moyennes villes de la côte ouest-africaine et s’amusent avec dérision à retourner les représentations coloniales et racistes tout en résistant à l’aliénation culturelle et aux pouvoirs politiques. Né en 1930 en Gold Coast (aujourd’hui le Ghana), le genre s’est exporté, après les Indépendances, vers son pays voisin le Togo en 1965. Mais le genre va connaître dans ces deux pays un destin bien différent, sans perdre pour autant sa force subversive. La recherche, qui s’attache à l’histoire et aux mutations du genre jusqu’à son devenir actuel, est adossée à un travail d’investigation entrepris lors de plusieurs séjours au Ghana et au Togo, ainsi qu’à des expériences de terrain faites de l’intérieur. Elle a en effet été menée, entre autres, en immersion au sein de l’Azé Kokovivina Concert Band, la dernière grande compagnie de Concert Party du Togo, créée en 1985. Ce qui a également permis de réaliser un collectage d’archives, de témoignages et de traces vidéo sous la forme d’un reportage scientifique
This thesis in Theatre Studies, accompanied by a scientific documentary film, is based on a historical and anthropological field study that aims to understand the dramaturgical and sociological issues of a genre of musical cabaret theatre called the Concert Party. From its origins during the colonial period to the present day, the Concert Party has been an extremely popular and subversive artistic movement in West Africa. Produced in the vernacular (Twi, Ewe, Mina...), associated with highlife music and relying on highly coded disguises, make-up and dramaturgy, the shows are still performed in the maquis of the large and medium-sized cities of the West African coast and derisively enjoy turning colonial and racist representations on their head while resisting cultural alienation and political powers. Born in 1930 in the Gold Coast (now Ghana), the genre was exported to its neighbouring country Togo in 1965 after independence. However, the genre's fate in these two countries was very different, without losing its subversive force. The research, which focuses on the history and mutations of the genre up to its present day, is based on research undertaken during several visits to Ghana and Togo, as well as on field experiences from the inside. It was carried out, among other things, by immersion in the Azé Kokovivina Concert Band, Togo's last great concert party company, created in 1985. This also made it possible to collect archives, testimonies and video traces in the form of a scientific report

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.

碩士
國立清華大學
外國語文學系
88
Ever since Laura Mulvey published in 1975 “Visual Pleasure and Narrative Cinema,” singling out the spectatorship in classical Hollywood cinema as mainly masculine, an increasing number of feminists have directed our attention to female spectatorship in the cinema. These critics offer insightful readings of various films in terms of spectatorship. However, their selection of film genre tends to be limited to certain categories with explicit feminist concerns. To remedy the situation, I propose to rethink female spectatorship, with concentration on the subject of gender identity in transvestite films. The introductory chapter opens with a succinct review of cross-dressing in Hollywood cinema. I take notice of various images and functions of transvestism in different time period. On the one hand, the above phenomenon points out the change in the society and culture. While on the other hand, the stereotyped filmic transvestites of a certain time period show the domination of the cinema mechanism on the audience. Following this is the review of contemporary scholarship on female spectatorship and the analysis of their strengths and limitations. Issues such as “male gaze,” “visual pleasure,” “gender identity” and “psychic structure of identification” will be highlighted. The studying points will be recent findings of Mary Ann Doane, Miriam Hansen, E. Ann Kaplan, Judith Mayne, Tania Modleski, and Laura Mulvey. Drawing on psychoanalysis as the theoretical frame, Chapter Two explores how Freudian and Lacanian psychoanalysis are applied to feminism, post-colonialism and female spectatorship. I shall take issue with Freud''s theory of sexuality based on his essays “Female Sexuality” (1931) and “Femininity” (1933). Then, go on to discuss Lacan’s theory of the mirror stage and the idea of Phallus in the Symbolic. For it is the basis of many feminist film theorists'' work. The third part further treats how Lacanian theory is adopted in feminism and female spectatorship. In the fourth part, I would discuss Judith Butler''s studies in gender performance and her provocative re-reading of Lacan''s theory. There I shall elaborate on ways in which Butler may contribute to a more complex understanding of female spectatorship. Finally, I will examine the application of Lacan''s theory in the colonial context, especially in Frantz Fanon and Homi Bhabha''s work, and its relation to black female spectatorship. Chapter Three is devoted to Tootsie (1982). In this male transvestite film, Michael (Dustin Hoffman) plays an actress in order to make a living. Here the attention will be on such issues as the complexity of identity formation, the representation of femininity and the performativity of gender in the film. Several technical aspects will also be considered, for example, the close-ups and the sequencing. Deducing from the above analysis, I regard the relationship between filmic transvestism and female spectators as performative and constructed. Chapter Four will consider The Associate (1996). In the film, Lauryl Ayres (Whoopi Goldberg), who cross-dressed as a white male, deploys her trickery art to survive in the male dominated business world. In addition to pointing out the ambivalence between black women and white men and the domination of the white in the colonial context as well as in the cinema, I will pay careful attention to Whoopi Goldberg. She plays and overturns masculine and feminine codes in order to make the film at once funny and provocative. Departed from the stifling conventions of femininity and gender in the roles she plays in The Associate, Whoopi Goldberg can be said literally to embody Judith Butler''s “gender trouble.” The conclusion chapter summarizes the discussion in other four chapters. I will also state the difficulties, such as the theoretical frame and the obtainment of related materials, and new approaches to study female spectatorship, such as historical and political approaches. In reviewing and rethinking the various topics in filmic transvestites, I expect to shade a different light on female spectatorship theory.

Masculinities in Drag offers a largely speculative but theoretically engaged analysis of female masculinity as it is enacted through the forum of drag kinging. Drag kinging is the predominantly lesbian and queer female sub-cultural practice of female-to-male cross dressing, with most drag king performances promoting ‘the woman behind the man’. This emphasis on ‘femaleness’, even as it is ostensibly disguised in male drag, remains crucial to the many dynamics that arise through performing as a drag king and within drag king culture. This thesis promotes that emphasis by exploring and arguing for drag kinging as a performance of female identifications, erotic or otherwise, with masculinity within an exclusively queer female economy of desire. I employ various and varying theories on subjectivity, gender, desire, and fantasy to explore this, and further expand my analysis of female masculinity by focusing on the embodied and corporeal effects of performing as a drag king. This investigation reveals the refusal of drag kings to differentiate between traditional notions of mind/body, material/immaterial, and other adversarial boundaries in order to revel in new-found and provocative forms of embodiment and corporeality. Further, I develop the term ‘drag king embodiment’ to explain and expand on this, and to promote drag king embodiment as the corporeal ‘outcome’ of embodying desires for and fantasies of masculinity. This analysis extends to theoretically challenging accepted heteronormative models of gender, female desire, sexuality and subjectivity. However, such challenges reveal their dependency on these models, in so far as any perversion or subversion of them relies on acknowledging them as constraints – literally and figuratively. The ‘struggle’ against such models is not theorised as an inherently futile affair, but rather is viewed as a defining narrative that informs much of the erotic, sexual, and other dynamics of drag kinging and drag king culture. Exploration and analysis of female masculinity, in all its guises, calls into question the ‘natural’ socio-cultural position of women and their desires. By producing certain configurations of female identity, subjectivity, gender, sexuality and desire outside notions of ‘proper’ feminine identifications is to produce those identities fully inside. Effectively, drag king performances work this ‘weakness’ in the laws that govern ‘femaleness’ in order to promote, eroticise, and celebrate female masculinity.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2008

Masculinities in Drag offers a largely speculative but theoretically engaged analysis of female masculinity as it is enacted through the forum of drag kinging. Drag kinging is the predominantly lesbian and queer female sub-cultural practice of female-to-male cross dressing, with most drag king performances promoting ‘the woman behind the man’. This emphasis on ‘femaleness’, even as it is ostensibly disguised in male drag, remains crucial to the many dynamics that arise through performing as a drag king and within drag king culture. This thesis promotes that emphasis by exploring and arguing for drag kinging as a performance of female identifications, erotic or otherwise, with masculinity within an exclusively queer female economy of desire. I employ various and varying theories on subjectivity, gender, desire, and fantasy to explore this, and further expand my analysis of female masculinity by focusing on the embodied and corporeal effects of performing as a drag king. This investigation reveals the refusal of drag kings to differentiate between traditional notions of mind/body, material/immaterial, and other adversarial boundaries in order to revel in new-found and provocative forms of embodiment and corporeality. Further, I develop the term ‘drag king embodiment’ to explain and expand on this, and to promote drag king embodiment as the corporeal ‘outcome’ of embodying desires for and fantasies of masculinity. This analysis extends to theoretically challenging accepted heteronormative models of gender, female desire, sexuality and subjectivity. However, such challenges reveal their dependency on these models, in so far as any perversion or subversion of them relies on acknowledging them as constraints – literally and figuratively. The ‘struggle’ against such models is not theorised as an inherently futile affair, but rather is viewed as a defining narrative that informs much of the erotic, sexual, and other dynamics of drag kinging and drag king culture. Exploration and analysis of female masculinity, in all its guises, calls into question the ‘natural’ socio-cultural position of women and their desires. By producing certain configurations of female identity, subjectivity, gender, sexuality and desire outside notions of ‘proper’ feminine identifications is to produce those identities fully inside. Effectively, drag king performances work this ‘weakness’ in the laws that govern ‘femaleness’ in order to promote, eroticise, and celebrate female masculinity.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331403
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2008

碩士
國立彰化師範大學
英語研究所
92
My reading of William Shakespeare’s As You Like It is from the perspectives of Cultural Poetics and Materialist Feminism. I want to see the relation between Rosalind’s transvestism and patriarchal social structure. In addition, I propose to introduce Shakespeare into the language classroom of Taiwan’s secondary schools. Approaching the relation between the political struggles of the monarchy and the formation of the professional and commercial Elizabethan theaters, we can see that patriarchy is the major social ideology, with which the society was structured hierarchically. Although the rise of early capitalism might have effect on the social structure, patriarchy as the basis of social ideology had never been doubted and the social hierarchy had become far more stabilized than before. Introduction gives brief background knowledge of Cultural Poetics and Materialist Feminism, as well as the organization of the thesis. Chapter One shows how the political struggle between the Tudor monarchy and the Catholic Church was a major cause of the formation of the English theaters. Through analyzing the historical background of the theaters, we can find that Elizabethan society was patriarchal and hierarchical. Then in Chapter Two, applying Cultural Poetics and Materialist Feminism to Rosalind’s disguise in As You Like It, I argue that transvestism and female seemingly freedom are only strategies to consolidate the status quo of male hierarchy. In Chapter Three, I argue that, in As You Like It, the green world is actually a continuum of the primary world, in which patriarchy as ideology manipulates and controls the end of the play. Chapter Four is a proposal to bring William Shakespeare’s As You Like It into the language classroom of Taiwan’s secondary schools. Finally, a summary of the main points of my thesis and an emphasis again on the political implications and the benefit of the play to Taiwan’s secondary schools students is given in Conclusion.

Ho Wing Shan.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references (leaves 112-117).
Abstracts in English and Chinese.
Chapter One: --- Introduction --- p.1
Chapter Two: --- Cross-dressing and Gender/ Sexuality Conscious Hong Kong Cinema --- p.18
Chapter Three: --- "A Queer Sexualized Subject ´ؤWing in He ´ةs a Woman, She ´ةs a Man and Who ´ةs the Woman, Who´ة s the Man" --- p.45
Chapter Four: --- A Queer Transsexual Subject~Asia the Invincible in Swordsman 2 --- p.77
Chapter Five: --- Conclusion --- p.108
Bibliography --- p.112

Dissertação de Mestrado apresentada no ISPA – Instituto Universitário para obtenção de grau de Mestre na especialidade de Psicologia Clínica.
O presente trabalho trata-se de um estudo psicológico exploratório e qualitativo do fenómeno de cross-dressing em contexto tradicional/carnavalesco das matrafonas de Torres Vedras. Este tipo de fenómeno tem pouca representatividade na literatura das ciências sociais, sendo que não foram encontrados quaisquer tipos de estudos relativamente ao mesmo no campo da psicologia. Como tal e tendo como objectivo o colmatar desta lacuna científica, pretende-se através de uma entrevista de grupo de enfoque e de quatro entrevistas semi-estruturadas realizar um levantamento de tópicos que possibilitem o enquadramento do objecto de estudo numa moldura psicanalítica de forma a permitir a compreensão da sua função social, as motivações subjacentes à realização do acto e de que forma é que este se relaciona com o travestismo psicopatológico.
The present work consists in a psychologic, exploratory and qualitative study of the phenomenon of cross-dressing in a traditional/carnivalesque context of the matrafonas in Torres Vedras. This kind of phenomenon has little representativity in the literature of the social sciences and no studies of such topic were found in the field of psychology. With this in mind, and with the purpose of fulfilling this scientific gap, this study pretends to use a focus group interview and four semi-structured interviews in order to come upon topics that make possible the framing of the study object in a psychoanalytical frame that allows the understanding of it’s social function, the underlying motivations for the behavior and in which way is the phenomena related to the psychopathology of transvestism.

碩士
國立臺北藝術大學
建築與文化資產研究所
100
“Xian Gueng Tang Zi”, also known as “Si-Yu”or “Xia Chu ”was not only the private residence of the cross-dressed performers of the male Dan- female impersonators in the classical Chinese theater, it was also despicably doubled as brothels where improper intimate relationships between performers and their patrons occurred. The binary existence of Xian Gueng Tang Zi had a profound influence on the social status and the development of the performance of the sexually ambiguous figure of the male Dan during the Qing Dynasty. The research employs an analytical approach to investigate the emergence and the commercial context of Xian Gueng Tang Zi, hoping to acquire a deeper understanding of how such despicable trade had made a unique social and cultural impact on the development of classical Beijing opera in the Qing Dynasty.

Orientação: Hélia Augusta de Magalhães Correia Bracons Carneiro
O presente estudo pretende conhecer quais os elementos que contribuem para que as travestis brasileiras decidam sair do Brasil e imigrarem para Portugal, tendo como preocupação conhecer como é que as travestis brasileiras, que imigram para Lisboa, analisam as estratégias das políticas públicas e sociais, vislumbrando ficar livres do contexto de violência urbana e vulnerabilidade social do Brasil. A perspectiva metodológica foi de caráter histórico oral, em pesquisa qualitativa, sobre as vivências das travestis na cidade de Lisboa, rumando significar quais os aspectos que auxiliem no mapeamento para a produção de conhecimento e saberes acerca das realidades sociais e da integração das travestis fora de seus país de origem. Neste estudo foram investigadas as experiências sociais de seis travestis brasileiras que vivem na cidade de Lisboa, afim de perceber, também, como constrõem as suas relações sociais com a comunidade portuguesa. De acordo com os resultados, destaca-se que as travestis entrevistadas encontraram em Lisboa melhores condições económicas, sociais e de integração. Começaram a imigrar para Portugal na procura de encontrar melhores oportunidades de trabalho e conseguirem viver uma vida com menos violência e discriminação.
The study intends to know which elements contribute to Brazilian transvestites deciding to leave Brazil and immigrate to Portugal. Concerned to know how the Brazilian transvestites, who immigrate to Lisbon, analyze the strategies of public and social policies, aiming to be free of the context of urban violence and social vulnerability in Brazil. The methodological perspective was of oral historical character, in qualitative research, on the experiences of travestis in the city of Lisbon, aiming to signify the aspects that help in the mapping to produce knowledge and knowledge about social realities and the integration of transvestites outside their country of origin. This study investigated the social experiences of Brazilian transvestites living in the city of Lisbon, in order to understand how their social and cultural relations with the Portuguese community build. This demand is related to dialogues with the organized social movement of these people and triggers elements for mapping (rethinking) the models of knowledge production in Social Work, regarding the formal processes of the individuals participating in this research were 6 interviewed transvestites of some regions. According to the results, the travestis interviewed found in Lisbon better economic, social and integration conditions. They began to immigrate to Portugal in search of better job opportunities and live a life with less violence and discrimination.

Thesis (M.A.)--Florida State University, 2004.
Advisor: Dr. Barry Faulk, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

É possível observar no contexto brasileiro a relação, estabelecida para o senso comum, da categoria “travesti” com aquilo que é significado como marginal, violento, precário e criminoso. No mesmo sentido, tem ocorrido nos últimos anos um agravamento das expressões de violência a que está sujeita essa população, resultante, por um lado, do aprofundamento das desigualdades sociais e do avanço do Estado Penal como resposta à violência e à pobreza e, por outro lado, do fortalecimento do conservadorismo e da agenda política de direita. Junto à violência que expõe as travestis à morte, percebe-se a reação seletiva e repressiva do sistema penal e de justiça, que facilmente captura as travestis a partir de produções de significado sobre seus marcadores sociais, especialmente os de gênero, corpo, raça/etnia e classe social. A presente tese, assim, busca compreender como se dão as experiências sociais de criminalização das travestis, como grupo subalternizado, em relação ao duplo “crime/castigo”; quer dizer, suas experiências no chamado “mundo do crime” e a sociabilidade violenta a que estão submetidas e que as faz mais facilmente detidas pela polícia, bem como suas capturas pelas instituições de privação da liberdade. A intenção é compreender como esses marcadores funcionam para produzir a própria prisão e o sujeito preso, isto é, como contribuem para a constituição institucional e social do crime enquanto um processo social e de sujeitos e categorias de sujeitos aprisionáveis, por meio de processos de incriminação, criminalização, sujeição e seleção. Defende-se a tese de que esses marcadores sociais explicitam e especializam o processo de subalternização de determinadas classes e grupos, expresso não apenas pela dimensão da violência, da humilhação, da perda de direitos e de toda sorte de privações, como também pela dimensão da desobediência, do deboche, da luta e da resistência. A metodologia essencialmente qualitativa do trabalho compreendeu um esforço por triangular dados e informações, desde a base teórica (o materialismo histórico dialético, os estudos interseccionais e queer) até as fontes (entrevistas, documentos, documentários e reportagens jornalísticas) e as técnicas (história oral temática e observação para a coleta de dados e análise textual discursiva para o tratamento dos dados). A partir das narrativas de vida recolhidas sobre os significados produzidos pelas entrevistadas a respeito de noções como identidade de gênero, pobreza, trabalho sexual e crime, pôde-se perceber que existe um vasto campo de significações desde a enunciação da palavra “travesti” que conectam essa identidade à subalternização e à violência, constituindo aquilo que passa a ser entendido como vida precária – cujas mortes não merecem ser choradas pelo conjunto da sociedade e cuja qualidade vale menos no processo de produção e reprodução social. Já na perspectiva dos estudos críticos na área do serviço social sobre a categoria da subalternidade, constatou-se que a realidade de vida das travestis expressa a contraprova histórica desta tese, marcada pelo contrapelo que é ao mesmo tempo viver o conformismo e a resistência. Mais, e por fim, acredita-se que as teorias de gênero e sexualidade, presentes nos fundamentos de um conjunto hegemônico de movimentos sociais e acadêmicos, não têm dialogado com as classes populares e sequer produzido um recorte de classe nas suas críticas. A aposta desta tese é na produção de uma perspectiva queer materialista que dialogue de maneira ético-política, teórico-metodológica e técnico-operativa com os movimentos e demandas reais dessas populações, sinalizando para a necessidade de inverter a lógica de produção do conhecimento, ainda colonizadora e exotificadora, e trazendo as narrativas das interlocutoras para o centro.
In the Brazilian context, it is possible to observe that, in a perspective of common sense, the category "travesti" is related to something marginal, violent, precarious, and criminal. Similarly, each day this population is more exposed to violence, a consequence, on the one hand, of a scenario of increasing social inequality and the Criminal State response towards violence and poverty and, on the other hand, of the empowerment of conservatism and rightwing political agenda. In addition to the violence that leads to travestis' deaths, we can see the selective and repressive response of the penal institution and justice system, which easily frames travestis based on productions of meaning stemming from social markers, especially gender, body, race/ethnicity, and social class. The present thesis, therefore, intends to understand how social experiences of criminalization faced by travestis, as a subaltern group, are connected to the "crime/punishment" duality: their experiences in the so-called "world of crime" and the violent socialization to which they are subjected, which makes them more easily framed by the police, in addition to their confinement byDeprivation of Liberty Institutions. The intention is to understand how these markers work to produce the prisoner and the prison itself, that is, how they contribute to the institutional and social establishment of crime as a social process towards subjects and categories of imprisonable subjects, through processes of incrimination, criminalization, subordination, and selection. We argue that these social markers emphasize and specify the process of becoming subaltern, which is expressed not only in the realm of violence, humiliation, loss of rights and all kinds of disenfranchisement, but also in the realm of disobedience, mockery, struggle and resistance.With an essentially qualitative methodology, the study encompasses an effort to triangulate data and information, from the theoretical foundation (Dialectical and Historical Materialism, intersectionality and queer studies) to sources (interviews, documents, documentaries and journalistic texts), and techniques (thematic oral history and observation for data collection, and discursive textual analysis for data handling). From the participant's life narratives collected, and the meanings theyproduced on notions such as gender identity, poverty, sex work and crime, we observe that there is a wide meaning field that is delineated from the enunciation of the word "travesti" that connects this identity to a subaltern position and violence, establishing what is understood as a precarious life: deaths that do not deserve to be grieved by the whole society, and worth that is less valuable in the process of social production and reproduction. Concerning the critical studies perspective inserted in the field of social service about subordinate relations, we observed that the reality faced by travestis expresses the historical counterevidence of the thesis, marked by the contradiction resulting from simultaneously experiencing conformism and resistance. Besides, and finally, we believe that theories of gender and sexuality, present in the foundations of a hegemonic set of social and academic movements, have not been establishing a dialogue with popular classes, or even interacting withclass perspectives in their criticisms. The thesis intends to produce a queer materialist perspective that interacts in an ethical-political, theoretical-methodological, and technical-operative way with the movements and the actual demands of these populations, highlighting the need to reverse the logic of knowledge production, which still carries a colonizer focus and an exoticism approach, and bringing to light the narratives of the interlocutors.

Orientação: João Pedro Oliveira
O presente estudo é uma revisão literária, que tem como enfoque principal o desenvolvimento do conceito de perversão sexual ao longo do tempo, e como este desemboca no delito e crime sexual. Centrando exclusivamente na Homossexualidade, Travestismo e Violação como indicadores de percursos diferenciados do constructo, que visam a exemplificação de caminhos distintos na transformação social e histórica, que atualmente são utilizados na avaliação forense.
This study is a literature review, which has as its main focus the development of the concept of sexual perversion over time, and how this leads to sexual crime. Focusing exclusively on Homosexuality, Transvestism and Rape as indicators of different routes of the construct, aimed at exemplifying different paths in social and historical transformation, which are currently used in forensic evaluation.

La recherche, construction et révision de l’identité nationale ont très longtemps constitué les éléments propulseurs de la production littéraire et intellectuelle de Porto Rico. Pourtant vers le milieu des années 90, un nouveau consensus émerge entre les écrivains qui revendiquent massivement la fin de la littérature en tant que lieu d’où forger la conscience nationale et refuse le leadership intellectuel qui avait jusqu’alors définit le travail littéraire. Les auteurs qui commencent à se manifester à ce moment se désintéressent du nationalisme comme thème littéraire. Le militantisme politique et la volonté de confrontation, modes représentationnels caractéristiques de la génération antérieure, disparaissent pour laisser place à une écriture exploratoire, centrée sur ses propres procédés, et apparemment apolitique. Une telle perte d’ancrages nationaux et territoriaux est significative de la conscience exacerbée que possèdent ces écrivains de la complexité des dynamiques culturelles qui régissent le monde postmoderne et globalisé, ainsi que de la « valeur » et de la position « marginale » qu’on leur attribue dans l’écologie mass-médiatique culturelle actuelle. La production narrative de Mayra Santos-Febres est paradigmatique de ces changements. J’aborde dans son écriture une série de dispositifs métalittéraires, autoréflexifs, « érographiques », et historiographiques qui, bien qu’ils résistent à une catégorisation homogène, démontrent un même intérêt pour des phénomènes interstitiels. En me basant sur les concepts de liminalité, principalement depuis la perspective de Victor Turner et d’écriture auto-réflexive (Patricia Waugh, Linda Hutcheon), j’analyse le positionnement liminal qu’assume Santos-Febres dans la structure culturelle globalisée actuelle, et la façon dont sa prise de position, également liminale, c’est-à-dire, sa prise de parole et son engagement se traduisent par un rapprochement narcissique à l’exercice littéraire autant dans les formes qu’elle crée qu’au niveau sémantique, narratif et discursif. Le premier chapitre analyse les contes « Dilcia M. » et « Acto de Fe » (Pez de vidrio) comme témoignages de l’érosion du patriotisme et militantisme antérieur; « La escritora» (Pez de vidrio) qui marque pour l’auteure un passage vers une esthétique centrée sus ses propres procédés créatifs; et le roman Cualquier miércoles soy tuya qui dramatise le positionnement assumé par les écrivains dans la chaine culturelle globalisée actuelle. Le second chapitre aborde la configuration des corps, espaces urbains et de l’écriture dans El cuerpo correcto qui, à travers une exubérance sexuelle/textuelle, projette des variantes réactualisées de la traditionnelle dichotomie corps/écriture. Le troisième chapitre se penche sur la configuration du travesti dans Sirena Selena vestida de pena. J’y propose de voir le travestisme, le boléro et l’écriture comme un triple exercice métalittéraire. Le dernier chapitre aborde le procédé de re-signification littéraire des images sédimentées de subordination et d’infériorité de sujet « noir ». Nuestra Señora de la Noche se penche sur la re-signification de l’hyper-sexualisation et « exotisation » qui a cimenté la construction de « l’immoralité » de la femme noire. Fe en disfraz aborde le sadomasochisme comme espace de re-signification des schèmes de domination et soumission inscrits dans l’histoire esclavagiste de Porto Rico et du trauma qui origine, et subsiste, d’une telle hiérarchie.
For a long time, the construction and revision of national identity constituted the driving forces of literary and intellectual production in Puerto Rico. Around the mid 90s, however, a new consensus emerges among writers, which on a massive scale claims the end of literature as a space for forging national consciousness and rejects the intellectual leadership that had defined literary work until that time. At this point, emerging writers lose interest in nationalism as a literary theme. Political militancy and the desire for confrontation, representational modes that were typical of the previous generation, collapse to give way to exploratory writing, centered on its own processes, and apparently apolitical. This loss of territorial markers explains the heightened perception that those writers have of the complex cultural dynamics that govern the postmodern and globalized world, and of the “value” and “marginal” position that is attributed to them in the current mass-media cultural ecology. The narrative production of Mayra Santos-Febres is paradigmatic of these changes. I approach a series of meta-literary, self-reflexive, “erographic,” and historiographical devices in her writing, which, although they resist homogeneous categorization, share a concern for interstitial phenomena. Basing myself on the concepts of liminality, primarily from the perspective of Victor Turner, and of self-reflexive writing (Patricia Waugh, Linda Hutcheon), I analyse the liminal positioning that Santos-Febres adopts within the globalized cultural structure and the way in which her stance is equally liminal. In other words, her speech and commitment become a narcissistic approach to the practice of writing both in terms of the forms that it creates and with regard to semantics, narrative, and discourse. The first chapter analyses the stories, “Dilcia M.” and “Acto de Fe” (Pez de vidrio), as testimonies of the erosion of earlier forms of patriotism and feminist militancy; “La escritora” (Pez de vidrio), which for the author marks a transition toward an aesthetic centred on her own creative processes; and the novel Cualquier miércoles soy tuya, which dramatizes the stance adopted by writers in the current globalized cultural chain. The second chapter deals with the configuration of bodies, urban spaces, and writing in El cuerpo correcto, which, through a sexual/textual exuberance, project updated versions of the traditional body/writing binary. The third chapter focuses on the configuration of the transvestite in Sirena Selena vestida de pena and suggests viewing transvestism, the bolero, and writing as a triple meta-literary practice. The final chapter deals with the literary re-signification of the “sedimented” images of subordinated “black” subjects. Nuestra Señora de la Noche focuses on the re-signification of hyper-sexualization and exoticization, which cemented the construction of black women’s “immorality”. Fe en disfraz discusses sadomasochism as a space of re-signification of the dominant/submissive configuration inscribed in Puerto Rican slave history, and of the trauma that originates and survives in this hierarchy.
La construcción y revisión de la identidad nacional constituyeron, por un largo tiempo, los elementos propulsores de la producción literaria e intelectual en Puerto Rico. Hacia mediados de los años 90, sin embargo, emerge entre los escritores un nuevo consenso que reivindica masivamente el fin de la literatura como espacio de fragua de la conciencia nacional y rechaza el liderazgo intelectual que había definido el quehacer literario hasta el momento. Los escritores que empiezan a manifestarse en ese momento pierden el interés en el nacionalismo como tema literario. El militantismo político y la voluntad de confrontación, modos representacionales característicos de la generación anterior, se desmoronan para ceder paso a una escritura exploratoria, centrada en sus propios procesos y aparentemente apolítica. Tal pérdida de anclajes nacionales y territoriales traduce la percepción exacerbada que tienen esos escritores de las complejas dinámicas culturales que rigen el mundo postmoderno y globalizado, y del “valor” y de la posición “marginal” que se les atribuye en la ecología massmediática cultural actual. La producción narrativa de Mayra Santos-Febres es paradigmática de dichos cambios. Abordo en su escritura una serie de dispositivos metaliterarios, auto-reflexivos, “erográficos” e historiográficos que si resisten a una categorización homogénea comparten una misma preocupación por fenómenos intersticiales. Basándome en los conceptos de liminalidad, principalmente, desde la perspectiva de Victor Turner, y de escritura auto-reflexiva (Patricia Waugh, Linda Hutcheon), analizo el posicionamiento liminal que asume Santos-Febres en la estructura cultural globalizada y la manera en que su toma de posición igualmente liminal, es decir, su toma de palabra y compromiso se traducen en un acercamiento narcisista al ejercicio escritural tanto en las formas que crea como a nivel semántico, narrativo y discursivo. El primer capítulo analiza los cuentos “Dilcia M.” y “Acto de Fe” (Pez de vidrio) como testimonios de la erosión del patriotismo y militantismo feminista anterior, “La escritora” (Pez de vidrio) que marca para la autora una transición hacia una estética centrada en sus propios procesos creativos, y la novela Cualquier miércoles soy tuya que dramatiza el posicionamiento asumido por los escritores en la cadena cultural globalizada actual. El segundo capítulo aborda la configuración de los cuerpos, espacios urbanos y de la escritura en El cuerpo correcto que, a través de una exuberancia sexual/textual, proyecta variantes reactualizadas del tradicional binomio cuerpo/escritura. El tercer capítulo enfoca la configuración del travesti en Sirena Selena vestida de pena y propone ver el travestismo, el bolero y la escritura como un triple ejercicio metaliterario. El último capítulo se acerca a la re-significación literaria de las imágenes sedimentadas de subordinación del sujeto “negro”. Nuestra Señora de la Noche enfoca la re-significación de la hiper-sexualización y exotización que cimentó la construcción de la “inmoralidad” de la mujer negra. Fe en disfraz aborda el sadomasoquismo como espacio de re-significación de los esquemas de dominación/sumisión inscritos en la historia esclavista puertorriqueña y del trauma que origina y subsiste de tal jerarquía.

Liao Weichun.
"August 2004."
Thesis (Ph.D.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (p. 249-268).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Mode of access: World Wide Web.
Abstracts in English and Chinese.