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T2 Lili Elbe,S Transmedial Presence and the Politics of Transgender Studies

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T2 Lili Elbe,S Transmedial Presence and the Politics of Transgender Studies psychoanâlysis. For both gmphic memoin, Bechdel has gained inrernarional awa¡ds md accolades, and ,Genius,Awarcl most recendy was awa¡ded rhe higlrty presrigious Ma;Aflhur in 2014. 3 Plrotographing takes on an added layer of signifi c¿nce Hot¡te t2 Lili ín Fut because Bechdel works with a Elbe,s transmedial technique presence ofphotographing herseJfin every single pose, which she then uses ro dnw each cha¡acte¡ and scene in the book. and the politics of transgender studies 4 Here, Deridat employs the norion of'supprement' co refer to this excess and this idea that meaning is organized through diffe¡ence. An-important Elíza 5 point ro emphasize is thac deconsmction also exposes our inabiliry to escepe Êom Steínbock such dich_oromous drinking. Queer theory (which wili be explorcd in more deail later) has been highiy influenced by this approach, as it seela to t¡ouble the læterosexualiry/homor""uaúry liraf. For example, lett take dre process of'coming out, as gay or lesbian. Not only does hereroenaliÇ depend on homosexuality, but by'coming out' as homosexual, the¡e is a simultaneous ¡einscd¡rioi þnd perhaps reìficaúon) ofis perceivedopposite, heterosexualiry. Even i¡ declaring or"r"lfgay or lesbian, a snaight idenrity is calied up and even ¡einfo¡ced. Danish painter Liri Ilse Elvenes (1gg2-1931),better known as Lili Elbe, was fißt women ro have rnedical.a"i"-.. one ofthe Questions sional repuration - iifr"i".rÇ';"r.;;"" rn 1930. Lili,s pro*s- âs â nran ied. to her b.i"g ,h. ,;iJJt .îrir=a 1953, when t"" change, story until 1. What is the relatìonship between queer theory md poststructuralism? rhe Âmerican Chrrtine Why are causedamedi¿Êenn.sarringwi,t þrÅ;;;";^;;;;îoìr, ,..",_.,r, in Denmark they both impoftant schools of thought for analysing literary texts and social tt"nri..pã.u;;;;;dì;;".Ex_GIBecomesBionde Bombshetl, by the Nlø yuk categorìes? Whar tools do they each provide for cultwal and literary studies baily ¡.rrr, * oå"_¡."r'iì"öir. n^ fomr, Lili's gender transfomrlli",i becorrre comon research? For example, how might you apply deconstruction to other objects *1.: *p,"."J iì _"iff.-,r.0,"r^, of Danish wife fomrats: fiom her cultural analysis? Gerda's huseh nopuìar illusrrated p.**yrir-i" translared ,L" t9i0s_20s ro a widely 2. Both non-binary gender md sexual confessi o" l ti'^oi uo, irro wo,ron'nìi non-nomativity are central to Fun Home,s pirüi.nïi," r 9J3. ¿nd iarer ¡evived in ¿n award-winning novelizarion nanâtive. How does Alison Bechdel's srylistic âpproech reflecr on these iived of h., m"rriage i;1;;;.r, ,Grera. Thc Danish painter calìed experiences? In what ways do historjcal Girt written bv n,"id.euers.offtn ;,;r'ò. and geographical specificities play a ,;; ;;;; ,ecentiy in 20 t acclain when the same+itled j;;ä;;;"", 5 to osc¿r ¡ole in their acceptmce, or lack thereof.J Outside of this text, how ars non- Hotiy*ooa ftop. Each representation Hooper was released. normative gender and sexual expressions of Liii has been ¡net md identities (in)visible? _r;Ä;;;;ä;tør.r,"I.rgrrg rhe conven_ Imagine you rions of gender and sexualirv of intime. 3. are tasked with describing to a colleague how ro read a graphic ¡hus ¡.;;;;;l;;;;" symboìic fìgurehead devimce as well for novel. How would you go about presenting this descnption? preparing as becoming an tnfluenita] foundi;;;;;ä; In your Lili's rrrrrgender movemenrs. response, you might think about sto¡v broke in ¡he nÃs5 ¿¡ ¿ ¡ips when how reading a graphic novel compres to the ,î*ojo*l*lì.*nology lor cross_sex reading iden¡ifi cation had nor yet made sric, a more't¡aditional'novel w¡itten in prose as well as what techniques ;;t,";;i;;;.*J.i*i"åor"*ro,r. rmnssexnaliry. and eroric forms of rransvestism,,nor.had you would find more impoftant or necessary to discuss the visual and derinked piyri.J ,"rr"iir. so-called î.ä"pL-ditism, fì.om these elements of the text. conditions. For example,.pione"..d b; ó;;]äåiìi. ,:* 'lransvesrim' *r*n", Hirschfeld was (1910) to ¿.rnu" tho,á ;;; ;;ËìJ tron:l_. their psychic identific¿_ through cross-dressing' ¿ kind ofmenrar int"*ioo,ri"ory.lhich those inrplicitiy incrudes who todây wourd be described :s transgender. (ma*ied Liri ¿nd úer wife née ce¡da Gonrieb 1904-1930 until the state,s annuhrãnt) and it was reported that during surgrcal investieations some ovarim "";;;-;;ld."n, tissue was found, which gender studies histøians have suggested is a disputed poi"t or""iá.r*ä."iår r.rrir,r" identification (see Meyerowìtz 2002). First asþed the -"1. M""g,ru, Ard..r, Lili may have had ";;,-;;; Wegener, an intersex conditron ,u"' tll îñ rli."r.lte. recognized ", syndrome (nor until 1942\ resulting i'.potential steririÇ, .Jri"åì.rrou"rone and prod'ction, breast growth. It is anachrànistic to call Lili ; il;;;;i;"-ân woman; oï an inrersexual rather, she was a woman withwhat today wo"ìã a¡d l.äl.a *p"riences of gender sex variance. Her story has served Utu.prioìä-*r"î*nrr" trans Anglo_American women whose trmsitions. are caught"r, " up l. ,.rr",lor"ìì,st media attention, from star athleres like Renée Richar.ts (1%a_\ to crtrly" j""".r'iiior_¡, Morris (1926-) '' orwriten likeJm and rnodej Caroline Cosey 0;s4:,5'."-'*"' " Centra.l to the public liê namives oftrárì it.rsex) trol 1".d persons are ârtenph to con* the representation of their identity. In sum, ,. b" ;;;;i|";;, a womân while being 168 . Christine Quin.an Líli Ell:e and the 1:olitíæ of transgender sîudies . 1(,9 scrutinized for being merely a trick of rhe eye, a task that as a proGssional painter Lili First ofall, Lili does not speak alone, nor is she pictured as a¡ isolated penon. A Danish ûiend was well equipped io *"trg". Nevenheless, Lili's trmsmedial presence over the corme mmed Emst Hathern Hoyer, whose pseudonym as editor was Niels Hoyer, is ofnearþ oneïundred years includes a web ofpseudonyms, embellishments, and c1âims the oniy identifled author in rhe original Danish venion, Fra Mand til Kyínde - Lili Etbes ofmlthic proportions, not to mention myriad authors who each invest different stakes in Bekendelser (From Man into \Voman - Lili Elbe's Confessions) as well ¿s the English a trâns version (the her ta1e. In thii chapter I will demonstrate the srakes for achieving selÊdefinition æ altered German version credits Lili Elbe). A draft seems to have existed in potítíþet person via Lili Elbe;s life story/nmrative. I wili explicate the_importmce of how nanative Janvry 1937, eight months before her death, when Lili gave an inteniew n joumalist ì,oice orients readers/viewen ofher life, and how we can lem to [sten to protagonists magazirte to Loulou Lassen, one of the book's curaton who dubbed her,Lili Elbe'. Meyer's in a transgender-sensitive manner. Discourses on trans people and their lives have been æsessment of that interview is thet it lügeþ imprinted the main themes of dominateã by rwo twinned discounes: cisgender is the normal gender identity and' the book, seruing to publicize Lili's penonal account (Meyer 2010: 40). Additiona_lly, the publishing therefore, any transx expression or identity is a medical ifnot pathological condition. The house editor made key decisions on the letters and other material to include. structuraÌ má fomal components of Lili's trms-medial presence and its meaning will be The Australim sexologist Noman Haire, who never examined or met Lili, a.lso contrib- uted a preface considered vis-à-vis the anal¡ical approach offered in tmnsgender studies, which situates that lends the book scientific merit, while her own doctor Kurt Warnek¡os (Wemer experiential trans knowledge as the privileged guiding framework for exploring theoreti- Kreutz in the book) did check the muscript for accurary but declined to be .iqr.rtioos. The fint section will focus on the memofu Man inta Woman'smtlti-voiced named. In short, what remains is m entirely piltiel, restricted autobiographical voice noårir. that grapples with pathologizing md normalising discourses, while the second buoyed by authorities ofall stripes. dr¿ws on .ecÃt pþ"W mèdia iterations in ttre novel and 61m The Danish Girl thet The title page of the translated English version of Møn into Woman (Hoyer 2004) refen âdhere to and moìaie rhese discourses. I conclude this chapter with a discussion oflili to how in its first printing in 7933 it claimed to offer a record: A True and Authentic Record oJ as peinter aûd co-creator ofher own presence. The different textual and visual medium a Sex Change, namely 'the miraculous trmsfomation of the Dmish painter Einar come r¡r'ith affordances for reaching audiencel, attaining authenticity md grasping trans Wegener (Andreæ Spane)' (Hoyer 2004). The hybridity of the book's generic modes of subjectivity. However, the transmedial quality oflìli's (selÊ)representations already indi- confessional, medical dossier, md screenplay encouages an involved, sensational reading, catðs the ways in which lraru bridges multþle layers of cultural maþsis: a form of socially much like other popular epistolary novels ofthe day. Taking a broad view oftransition- trmsgressive crossing, an identity across a life course, and a connecting theme throughout ing, Jay Proser æseÍs that 'trmssexuality is always narrative work, a transfomtion of different cultural foms. the body that requires the remolding ofthe life into a parricular narrative shape' (prosser 1.998: 4). Man into Woman p¿tterc the n¿nation on a mixed hemphrodiúc psychic and physical experience, which is intenpersed with personal photogmphs that evidence the Listening for Lili's voice transformation's before-and-aÍïer temporaliry (see Figures 1.2-l nd 12.2).
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