Identity-Defense Model of Gender-Variant Development
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The Reconstruction of Gender and Sexuality in a Drag Show*
DUCT TAPE, EYELINER, AND HIGH HEELS: THE RECONSTRUCTION OF GENDER AND SEXUALITY IN A DRAG SHOW* Rebecca Hanson University of Montevallo Montevallo, Alabama Abstract. “Gender blending” is found on every continent; the Hijras in India, the female husbands in Navajo society, and the travestis in Brazil exemplify so-called “third genders.” The American version of a third gender may be drag queen performers, who confound, confuse, and directly challenge commonly held notions about the stability and concrete nature of both gender and sexuality. Drag queens suggest that specific gender performances are illusions that require time and effort to produce. While it is easy to dismiss drag shows as farcical entertainment, what is conveyed through comedic expression is often political, may be used as social critique, and can be indicative of social values. Drag shows present a protest against commonly held beliefs about the natural, binary nature of gender and sexuality systems, and they challenge compulsive heterosexuality. This paper presents the results of my observational study of drag queens. In it, I describe a “routine” drag show performance and some of the interactions and scripts that occur between the performers and audience members. I propose that drag performers make dichotomous American conceptions of sexuality and gender problematical, and they redefine homosexuality and transgenderism for at least some audience members. * I would like to thank Dr. Stephen Parker for all of his support during the writing of this paper. Without his advice and mentoring I could never have started or finished this research. “Gender blending” is found on every continent. The Hijras in India, the female husbands in Navajo society, and the travestis in Brazil are just a few examples of peoples and practices that have been the subjects for “third gender” studies. -
A Look at 'Fishy Drag' and Androgynous Fashion: Exploring the Border
This is a repository copy of A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/121041/ Version: Accepted Version Article: Willson, JM orcid.org/0000-0002-1988-1683 and McCartney, N (2017) A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman. Critical Studies in Fashion and Beauty, 8 (1). pp. 99-122. ISSN 2040-4417 https://doi.org/10.1386/csfb.8.1.99_1 (c) 2017, Intellect Ltd. This is an author produced version of a paper published in Critical Studies in Fashion and Beauty. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ 1 JACKI WILLSON University of Leeds NICOLA McCARTNEY University of the Arts, London and University of London A look at ‘fishy drag’ and androgynous fashion: Exploring the border spaces beyond gender-normative deviance for the straight, cisgendered woman Abstract This article seeks to re-explore and critique the current trend of androgyny in fashion and popular culture and the potential it may hold for gender deviant dress and politics. -
Media Reference Guide
media reference guide NINTH EDITION | AUGUST 2014 GLAAD MEDIA REFERENCE GUIDE / 1 GLAAD MEDIA CONTACTS National & Local News Media Sports Media [email protected] [email protected] Entertainment Media Religious Media [email protected] [email protected] Spanish-Language Media GLAAD Spokesperson Inquiries [email protected] [email protected] Transgender Media [email protected] glaad.org/mrg 2 / GLAAD MEDIA REFERENCE GUIDE TABLE OF CONTENTS INTRODUCTION FAIR, ACCURATE & INCLUSIVE 4 GLOSSARY OF TERMS / LANGUAGE LESBIAN / GAY / BISEXUAL 5 TERMS TO AVOID 9 TRANSGENDER 12 AP & NEW YORK TIMES STYLE 21 IN FOCUS COVERING THE BISEXUAL COMMUNITY 25 COVERING THE TRANSGENDER COMMUNITY 27 MARRIAGE 32 LGBT PARENTING 36 RELIGION & FAITH 40 HATE CRIMES 42 COVERING CRIMES WHEN THE ACCUSED IS LGBT 45 HIV, AIDS & THE LGBT COMMUNITY 47 “EX-GAYS” & “CONVERSION THERAPY” 46 LGBT PEOPLE IN SPORTS 51 DIRECTORY OF COMMUNITY RESOURCES 54 GLAAD MEDIA REFERENCE GUIDE / 3 INTRODUCTION Fair, Accurate & Inclusive Fair, accurate and inclusive news media coverage has played an important role in expanding public awareness and understanding of lesbian, gay, bisexual and transgender (LGBT) lives. However, many reporters, editors and producers continue to face challenges covering these issues in a complex, often rhetorically charged, climate. Media coverage of LGBT people has become increasingly multi-dimensional, reflecting both the diversity of our community and the growing visibility of our families and our relationships. As a result, reporting that remains mired in simplistic, predictable “pro-gay”/”anti-gay” dualisms does a disservice to readers seeking information on the diversity of opinion and experience within our community. Misinformation and misconceptions about our lives can be corrected when journalists diligently research the facts and expose the myths (such as pernicious claims that gay people are more likely to sexually abuse children) that often are used against us. -
Felicia Elizondo TRANSGENDER B
FELICIA ELIZOndO TRANSGENDER b. July 23, 1946 ACTIVIST “I am your history. You can never change that no matter what you do to me.” Her activism has been Felicia Elizondo is a self-described “Mexican spitfire, screaming queen, pioneer, crucial in raising legend, icon, diva, 29-year survivor of AIDS and Vietnam veteran.” Her activism has public awareness of been crucial in raising public awareness of transgender rights and history. transgender history. Elizondo was born in San Angelo, Texas. Assigned male at birth, she knew she was “feminine” from the age of 5. Due to the lack of awareness of transgender people, Elizondo grew up believing she was gay. She was sexually assaulted by an older man and suffered bullying and name calling from her peers. At age 14, Elizondo moved with her family to San Jose, California. Around the age of 16, she found refuge at Gene Compton’s Cafeteria in San Francisco’s Tenderloin neighborhood, where she became a regular. It was one of the few places in the city where drag queens and transgender women could congregate publicly. In 1966, three years before Stonewall, it became the site of one of the first LGBT riots in U.S. history. The Compton’s Cafeteria riot was led by a group of transgender women against police harassment. Elizondo joined the Navy at age 18 and volunteered to serve in Vietnam. She decided, “If the military couldn’t make me a man, nothing would.” While serving, she realized she would always be attracted to men and told her commanding officer that she was gay. -
Transgender Terminology
Transgender Terminology Agender Individuals: People who identify as genderless or gender-neutral. Cisgender Individuals: People who identify with the gender that was assigned to them at birth (i.e., people who are not transgender). Cisgender Privilege: The set of conscious and unconscious advantages and/or immunities that people who are or who are perceived as gender conforming benefit from on a daily basis. Crossdressers: Individuals who, regardless of motivation, wear clothing, makeup, etc. that are considered by the culture to be appropriate for another gender but not one’s own (preferred term to “transvestites”). Drag or In Drag: Wearing clothing considered appropriate for someone of another gender. Drag Kings and Drag Queens: Female-bodied crossdressers (typically lesbians) and male-bodied crossdressers (typically gay men), respectively, who present in public, often for entertainment purposes. FTM Individuals: Female-to-male transsexual people, transsexual men, transmen, or transguys— individuals assigned female at birth who identify as male. Some transmen reject being seen as “FTM,” arguing that they have always been male and are only making this identity visible to other people (instead, they may call themselves “MTM”). Gender: The beliefs, feelings, and behaviors that a specific culture attributes to individuals based on their perceived sex. It involves gender assignment (the gender designation of someone at birth), gender roles (the expectations imposed on someone based on their gender), gender attribution (how others perceive someone’s gender), and gender identity (how someone defines their own gender). Gender Affirming Surgery: Surgical procedures that change one’s body to conform to one’s gender identity. These procedures may include “top surgery” (breast augmentation or removal) and “bottom surgery” (altering genitals). -
Heterosexist Suspicion of a Queer Outsider
Heterosexist Suspicion of a Queer Outsider by Quinn McGlade-Ferentzy A Thesis presented to The University of Guelph In partial fulfilment of requirements for the degree of Masters of Arts in Philosophy Guelph, Ontario, Canada © McGlade-Ferentzy, January, 2020 !ii ABSTRACT HETEROSEXIST SUSPICION OF A QUEER OUTSIDER Quinn McGlade-Ferentzy Advisor(s): University of Guelph, 2019 Samantha Brennan Maya Goldenburg This project is an attempt to reconcile an increased legal inclusion of queer people into Canadian law, with an existing and troubling vein of transphobic thought in feminist philosophy. The centre of this project is Bill C-16, and how this bill exemplifies the classic liberal ideals of equality. All citizens should, in theory, be able to participate in public life. My goal is to explore what norms make this difficult if not impossible, and different ways to think about citizenship that can ameliorate inequality. My core interest is to answer, “why don’t people listen”? I use this question to ask why people do not listen to women about sexism, to non binary people about their gender, and so forth. I ask “why don’t people listen?” to explore the ways in which our understanding of belonging and civility, and even reasonableness, is rooted in a binary gender system !iii ACKNOWLEDGEMENTS To my supervisors, Professor Samantha Brennan and Professor Maya Goldenburg, thank you for sticking through this project through the many twists and turns. Thank you to the Canadian Society for Women in Philosophy, for giving space for the paper that grew into this. Thank you to Professor Kathryrn Norlock who let me do a huge undergraduate thesis at a school that didn’t offer that as an option. -
LISTENING to DRAG: MUSIC, PERFORMANCE and the CONSTRUCTION of OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillmen
LISTENING TO DRAG: MUSIC, PERFORMANCE AND THE CONSTRUCTION OF OPPOSITIONAL CULTURE DISSERTATION Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Philosophy In the Graduate School of The Ohio State University By Elizabeth Kaminski, M.A. * * * * * The Ohio State University 2003 Dissertation Committee: Approved by Professor Vincent Roscigno, Advisor Professor Verta Taylor _________________________ Advisor Professor Nella Van Dyke Sociology Graduate Program ABSTRACT This study examines how music is utilized in drag performances to create an oppositional culture that challenges dominant structures of gender and sexuality. I situate this analysis in literature on the role of music and other cultural resources in the mobilization of social movement protest. Drawing from multiple sources of data, I demonstrate that drag queen performers make use of popular songs to build solidarity, evoke a sense of injustice, and enhance feelings of agency among audience members – three dimensions of cognition that constitute a collective action framework, conducive to social protest. The analysis is based on observations of drag performances; content analysis of the lyrics of drag songs; intensive interviews with drag queens at the 801 Cabaret in Key West, Florida; focus groups with audience members who attended the shows at the 801 Cabaret; and interviews with drag queen informants in Columbus, Ohio. I demonstrate how drag performers use music to construct new alliances and understandings of gender and sexuality among gay and heterosexual members of the audience. The data illustrate that drag performers strategically select songs to evoke an array of emotions among audience members. First are songs that utilize sympathy, sorrow, and humor to build solidarity. -
Drag Shows: Drag Queens and Female Impersonators by Andres Mario Zervigon
Drag Shows: Drag Queens and Female Impersonators by Andres Mario Zervigon Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Drag performer Lady Bunny. Female impersonation appears to have existed through the length of human Portrait by Sasha civilization and the breadth of its cultures. Ancient Roman literature and history Vaughn, courtesy feature a multitude of male cross-dressers, while in numerous Native American ladybunny.net. cultures, cross-dressing berdaches were respected as prophets and seers who were able to glimpse the world through both masculine and feminine perspectives. In the late nineteenth century, Richard von Krafft-Ebing observed in his Psychopathia Sexualis (1887) that the smallest German hamlets often featured drag culture. In contemporary India men who choose to live and dance as women are regarded with particular religious reverence. Female Impersonation and Sexual Identity Female impersonation need say nothing about sexual identity. For example, many male actors in Elizabethan England and in the classical Chinese theater performed female roles because women were generally banned from the stage. Whether or not these performances blurred the sexual identification of the actors remains a point of debate in social and theater history and a focus of recent films such as Shakespeare in Love (1998) and Farewell My Concubine (1993). Although transvestism, a term coined by Magnus Hirschfeld in 1910 and derived from the Latin for "across" and "dress," is practiced mostly by heterosexual males, the performance of female impersonation has come to be associated particularly with glbtq culture. Why this should be so is not altogether clear, but it may be that gender transgression is a component of sexual transgression or at least evokes empathy among those crossing sexual boundaries, particularly when these boundaries seem difficult to define. -
The Trans Panic Defense: Masculinity, Heteronormativity, and the Murder of Transgender Women, 66 Hastings L.J
Hastings Law Journal Volume 66 | Issue 1 Article 2 12-2014 The rT ans Panic Defense: Masculinity, Heteronormativity, and the Murder of Transgender Women Cynthia Lee Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Recommended Citation Cynthia Lee, The Trans Panic Defense: Masculinity, Heteronormativity, and the Murder of Transgender Women, 66 Hastings L.J. 77 (2014). Available at: https://repository.uchastings.edu/hastings_law_journal/vol66/iss1/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. Lee&Kwan_21 (TEIXEIRA).DOCX (Do Not Delete) 11/26/2014 2:20 PM The Trans Panic Defense: Masculinity, Heteronormativity, and the Murder of Transgender Women Cynthia Lee* and Peter Kwan** When a heterosexual man is charged with murdering a transgender woman with whom he has been sexually intimate, one defense strategy is to assert what has been called the trans panic defense. The defendant claiming this defense will say that the discovery that the victim was biologically male provoked him into a heat of passion causing him to lose self-control. If the jury finds that the defendant was actually and reasonably provoked, it can acquit him of murder and find him guilty of the lesser offense of voluntary manslaughter. The trans panic defense strategy is troubling because it appeals to stereotypes about transgender individuals as sexually deviant and abnormal. In this article, we examine the cultural structures of masculinity that may lead a man to kill a transgender woman with whom he has been sexually intimate. -
Contemporary Institutional and Popular Frameworks for Gender Variance
Georgia State University ScholarWorks @ Georgia State University Anthropology Theses Department of Anthropology 4-21-2010 "They Need Labels": Contemporary Institutional and Popular Frameworks for Gender Variance Ophelia Bradley Georgia State University Follow this and additional works at: https://scholarworks.gsu.edu/anthro_theses Recommended Citation Bradley, Ophelia, ""They Need Labels": Contemporary Institutional and Popular Frameworks for Gender Variance." Thesis, Georgia State University, 2010. https://scholarworks.gsu.edu/anthro_theses/35 This Thesis is brought to you for free and open access by the Department of Anthropology at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Anthropology Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. “THEY NEED LABELS”: CONTEMPORARY INSTITUTIONAL AND POPULAR FRAMEWORKS FOR GENDER VARIANCE by OPHELIA D. BRADLEY Under the Direction of Dr. Jennifer Patico ABSTRACT This study addresses the complex issues of etiology and conceptualization of gender variance in the modern West. By analyzing medical, psychological, and popular approaches to gender variance, I demonstrate the highly political nature of each of these paradigms and how gender variant individuals engage with these discourses in the elaboration of their own gender identities. I focus on the role of institutional authority in shaping popular ideas about gender variance and the relationship of gender variant individuals who seek medical intervention towards the systems that regulate their care. Also relevant are the tensions between those who view gender variance as an expression of an essential cross-sex gender (as in traditional transsexual narrative) and those who believe that gender is socially constructed and non-binary. -
Drag Performance and Femininity: Redefining Drag Culture Through Identity Performance of Transgender Women Drag Queens
Minnesota State University, Mankato Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato All Graduate Theses, Dissertations, and Other Graduate Theses, Dissertations, and Other Capstone Projects Capstone Projects 2017 Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy Dougherty Minnesota State University, Mankato Follow this and additional works at: https://cornerstone.lib.mnsu.edu/etds Part of the Gender, Race, Sexuality, and Ethnicity in Communication Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, and the Women's Studies Commons Recommended Citation Dougherty, C. (2017). Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens [Master’s thesis, Minnesota State University, Mankato]. Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. https://cornerstone.lib.mnsu.edu/etds/730/ This Thesis is brought to you for free and open access by the Graduate Theses, Dissertations, and Other Capstone Projects at Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in All Graduate Theses, Dissertations, and Other Capstone Projects by an authorized administrator of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens By Cristy A. Dougherty A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts In Communication Studies Minnesota State University, Mankato Mankato, Minnesota July 2017 Title: Drag Performance and Femininity: Redefining Drag Culture through Identity Performance of Transgender Women Drag Queens Cristy A. -
'Let's Talk About Reading!': the Role of Rhythm in Drag Queen Ritual Insult
‘Let’s talk about Reading!’: The role of rhythm in drag queen ritual insult Jeremy Calder (Stanford University) READING is the art of ritual insult as practiced within communities of drag queens, transpeople, and queer people of color. I argue that READING is performed with a distinct rhythmic style that cues to the listener that the speaker has shifted into a more highly performative frame. This frame shift allows the listener to interpret the READ as a speech act with a solidarity-building effect, rather than interpreting it as a proposition with potentially face-threatening truth-conditional semantic content. Previous studies on ritual insult have discussed the context cues that allow a listener to interpret the insult as ‘play’ (Bateson 1955) rather than as a personal insult. For example, in THE DOZENS or SOUNDING, each SOUND is characterized by a semantic proposition that the interlocutor knows the speaker believes to be false (Labov 1972), and ESKIMO SONG DUELS are formalized, structured events in which the insults performed by the participants are socially sanctioned (Eckert and Newmark 1980). However, in READING, the semantic content of a READ is not always obviously false, and the venue in which it takes place is not always fixed. I argue that the cues into the READING FRAME are located within the linguistic style itself and not necessarily external to the event. In examining how rhythm sets READING apart as a performative speech act, I examined data from three speech conditions, all taken from the reality TV competition RuPaul’s Drag Race. The most performative condition was the READING CHALLENGE, a formalized challenge each season in which each drag queen READS all of her competitors and a winner is chosen.