DOCSLIB.ORG

The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz a Dissertation Submitted in Part

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz a Dissertation Submitted in Part The Trouble with “Queerness”: Drag and the Making of Two Cultures By Katie Rebecca Horowitz A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Rhetoric in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Catherine Cole Professor Judith Butler Fall 2012 Abstract The Trouble with “Queerness”: Drag and the Making of Two Cultures by Katie Rebecca Horowitz Doctor of Philosophy in Rhetoric University of California, Berkeley Professor Linda Williams, Chair This dissertation responds to the frequent charge within academic and activist circles that queer theory is simply gay male theory cloaked in more inclusive language. Taking as its starting point an ethnographic case study of drag king and queen performance cultures, it challenges the efficaciousness of an everything and the kitchen sink approach to queer theorizing and organizing. This work constitutes the first academic monograph centered on queer life in Cleveland, Ohio and is also the first to focus simultaneously on kinging and queening, a lacuna at once explained by and demanding interrogation of the fact that these practices have almost nothing in common with each other. Despite the shared heading of drag, these iconically queer institutions overlap little with respect to audience, movement vocabulary, stage persona, and treatment of gender, class, race, and sexuality. The radical (in)difference between these genres serves as a microcosmic representation of the perennial rift between lesbians and gay men and highlights the heteronormativity of the assumption that all of the identity categories subsumed under (and often eclipsed by) the queer umbrella ought a priori to have anything in common culturally, politically, or otherwise. I argue instead for the legitimacy of studies that focus exclusively on e.g., gay men or lesbians or transsexuals, free from the intersectional compulsion to extrapolate one’s claims to the rest of the queer spectrum. The first two chapters detail the generic constitutions of queening and kinging, arguing that the ideal of femininity operating in the former is far more fixed and hegemonic than the ideal of masculinity produced in the latter. Chapter 3 uses archival images to locate these contemporary performances within a gestural lineage dating as far back as the late nineteenth century. Such genealogical evidence contextualizes the development of kinging and queening as distinct performance practices and foregrounds their respective roles in producing the discrete and relatively coherent cultural iterations we conventionally label “lesbian” and “gay male.” Synthesizing these ethnographic and archival findings, Chapter 4 suggests that contemporary U.S. drag queens rely on the invisibility of real world social structures (e.g. race, gender, sexuality, class) to reinforce the illusion of their own celebrity. I attribute this tendency to the imbrication of gay male kinship rituals with colonialist discourse, a rhetorical paradigm popularized over the last half-century by the gay service 1 organization the International Court System (ICS). Drawing on recent critiques of gay urbanism, homonormativity, and homonationalism, I problematize the ICS’s mobilization of imperialism as a rhetoric of community-building. Such rhetoric exemplifies the exclusionary uses of “queer” described above, and in the final chapter I propose a theory of omniperformance, a relational metaphysics of identity performance, as a solution to the paradox that queer discourse simultaneously seeks to erase differences (by insisting on the inclusion of an ever-expanding array of non-normative genders and sexualities) and to maintain differences (by framing some bodies and lives as queerer than others). The most significant conclusion of this work is that there is no difference between performance and performativity, that the rhetorical distinction between the two has exhausted its utility, and that omniperformance, a paradigm based on an ontology of bodily intra-action, accounts for both the theoretical fluidity and the apparent fixity of individual identity. Consequently, my theory decentralizes language as the sole or primary arbiter of subjecthood and affirms that bodies share in the work of identity formation. As such, it transports us across the critical impasse that performativity grants language limitless power to make, break, and subvert identities while glossing over the material conditions and consequences of having a (particularly gendered, sexed, raced, and classed) body. 2 TABLE OF CONTENTS List of Figures ............................................................................................................... ii Acknowledgments ......................................................................................................... v Introduction “Radically Different Agendas” ...................................................................................... 1 Chapter 1 Kinging ......................................................................................................................... 9 Performing subordinate masculinities .............................................................................. 13 Performing marginalized masculinities ............................................................................ 20 Conclusion ........................................................................................................................ 24 Chapter 2 Queening .................................................................................................................... 27 A class apart: drag queens, celebrity, and the abstraction of wealth ................................ 28 Iconic sexuality and the impossibility of race ................................................................... 30 Poetics of earnestness, poetics of camp: drag and genre .................................................. 36 Conclusion ........................................................................................................................ 38 Chapter 3 Gesturing Back: A Phenomenology of Drag Performance ............................................ 40 Gestures as gendered ........................................................................................................ 41 A gestural genealogy of drag ............................................................................................. 46 Conclusion ........................................................................................................................ 51 Chapter 4 Manifest Faggotry: The Imperial Court System and the Queer Jingoism of the Western Metropole ............................................................................................................... 53 Origin stories .................................................................................................................... 54 Metropo-telos .................................................................................................................... 56 Manifest destiny? ............................................................................................................... 59 Homonorm, homonation: Nicole Murray-Rodriguez and the “real” politics of “faux” empire ....................................................................................................................... 62 Conclusion ........................................................................................................................ 67 Chapter 5 Toward a Theory of Omniperformance ....................................................................... 69 Works Cited ............................................................................................................... 82 Appendix: Images ....................................................................................................... 86 i LIST OF FIGURES Figure 1 a. William Lingard cabinet card, Portrait miscellany [graphic], BANC PIC 1976.002— POR, The Bancroft Library, University of California, Berkeley. b. Advertisement for Finocchio’s, Box 17, Folder 9, World War II Project Papers, 1995-16, Gay, Lesbian, Bisexual, Transgender Historical Society, San Francisco, California. c. Photograph of Empress Shirley, Coronation Ball, 1971 program, Sexuality and gender collection, CU-BANC, The Bancroft Library, University of California, Berkeley. Figure 2 a. Photograph of Julian Eltinge as “The Gibson Girl,” Julian Eltinge Photographs and Printed Materials, Ralph W. Judd Collection on Cross-Dressing in the Performing Arts, Coll2007-020, ONE National Gay and Lesbian Archives, Los Angeles, California. b. Photograph of unidentified drag queen, Coronation Ball, 1971 program, Sexuality and gender collection, CU-BANC, The Bancroft Library, University of California, Berkeley. Figure 3 a. Photograph of Julian Eltinge as “The Fascinating Widow,” Julian Eltinge Photographs and Printed Materials, Ralph W. Judd Collection on Cross-Dressing in the Performing Arts, Coll2007-020, ONE National Gay and Lesbian Archives, Los Angeles, California. b. Photograph of Jean La Monte, Box 1, Folder 5, Maurice and La Monte papers, Coll2008-033, ONE National Gay and Lesbian Archives, Los Angeles, California. c. Photograph of Sahdji in Drag Queen, Sexuality and gender collection, CU-BANC, The Bancroft Library, University of California, Berkeley. d. Photograph of Shari Turner by Abe Robinson, Blind 7 Photography, Cleveland, Ohio. Figure
Load more

Recommended publications
  • The Chico Historian
    “I know of no time in human history where ignorance was better than knowledge.” -Neil deGrasse Tyson Cover Art & Design Illustration of Trinity Hall, 2018. Constructed in 1933, today it is the home of the CSU, Chico History Department. (Used with permission: “Trinity Hall,” Ricardo Vega, 2018). History Department California State University, Chico 400 West First Street Trinity Hall Room 223 Chico, California, 95929-0735 (530) 898-5366 The Chico Historian is an annual publication of the Alpha Delta Omicron Chapter of the Phi Alpha Theta National History Honor Society and the California State University, Chico (CSUC) Department of History. It aims to provide students the opportunity to publish historical works, and to train editorial staff members in producing an academic journal. Issues are published at the end of each academic year. All opinions or statements of fact are the sole responsibility of the authors and may not reflect the views of the editorial staff. The authors retain rights to individual essays. Phi Alpha Theta’s mission is to promote the study of history through the encouragement of research, good teaching, publication, and the exchange of learning and ideas among historians. The organization seeks to bring students, teachers, and writers of history together for intellectual and social exchanges, which promote and assist historical research and publication by our members in a variety of ways. Copyright © 2019 Alpha Delta Omicron, California State University, Chico. We dedicate this volume to John Boyle Retired CSUC professor of Asian history John Boyle, a scholar in the area of pre- and post-war Japan, taught courses in east Asian history at Chico State from 1968 until his retirement in 1997.
    [Show full text]
  • Fame Attack : the Inflation of Celebrity and Its Consequences
    Rojek, Chris. "The Icarus Complex." Fame Attack: The Inflation of Celebrity and Its Consequences. London: Bloomsbury Academic, 2012. 142–160. Bloomsbury Collections. Web. 1 Oct. 2021. <http://dx.doi.org/10.5040/9781849661386.ch-009>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 1 October 2021, 16:03 UTC. Copyright © Chris Rojek 2012. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 9 The Icarus Complex he myth of Icarus is the most powerful Ancient Greek parable of hubris. In a bid to escape exile in Crete, Icarus uses wings made from wax and feathers made by his father, the Athenian master craftsman Daedalus. But the sin of hubris causes him to pay no heed to his father’s warnings. He fl ies too close to the sun, so burning his wings, and falls into the Tsea and drowns. The parable is often used to highlight the perils of pride and the reckless, impulsive behaviour that it fosters. The frontier nature of celebrity culture perpetuates and enlarges narcissistic characteristics in stars and stargazers. Impulsive behaviour and recklessness are commonplace. They fi gure prominently in the entertainment pages and gossip columns of newspapers and magazines, prompting commentators to conjecture about the contagious effects of celebrity culture upon personal health and the social fabric. Do celebrities sometimes get too big for their boots and get involved in social and political issues that are beyond their competence? Can one posit an Icarus complex in some types of celebrity behaviour? This chapter addresses these questions by examining celanthropy and its discontents (notably Madonna’s controversial adoption of two Malawi children); celebrity health advice (Tom Cruise and Scientology); and celebrity pranks (the Sachsgate phone calls involving Russell Brand and Jonathan Ross).
    [Show full text]
  • Lesbian and Gay Music
    Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez.
    [Show full text]
  • The Stonewall Riots
    Marsha P Johnson, and the influence of the Stonewall Riots By Sol and Zivia What were the Stonewall Riots? The Stonewall riots were a reaction to opretion by the police. LGBTQ+ spaces were being invaded and criminalised by the police, and on June 28th 1969 they decided they had had enough. Who was Marsha P Johnson? Marsha P Johnson was a drag queen, gay liberation activist, and one of the most prominent leaders of the Stonewall Riots. She was also popular in New York City’s gay and art scene- modeling for Andy Warhol and performing onstage with Hot Peaches are only some of the achievements she has under her belt. When did the Stonewall Riots take place? The Stonewall Riots took place in 1969, during a time when very few establishments welcomed gay people. Bars like the Stonewall Inn were one of the few gay bars, and unfortunately were one of the few bars that were raided regularly by police. What caused the riots? Police were regularly raiding bars such as the Stonewall Inn, and this eventually was the tipping point for many members of the bar and the LGBTQ community. Many residents of the town started to riot, protesting that there should be places where anyone is comfortable about being open about their sexual orientation without being arrested for it. What was Marsha P Johnson’s involvement? It is hard to say what role Johnson had in the riots as accounts differ. What is certain is she was there, and went on to help found The Gay Liberation Front, one of the first organizations created as part of the modern fight for LGBTQ+ rights.
    [Show full text]
  • Transgender-Identiti
    Transgender Identities Overview Transgender is an umbrella term for a wide variety of identities describing an individual’s embodiment or gender presentation challenging the cultural or societal norm of their assigned sex at birth. An individual can identify as one or many of these identities. “Trans” is shorthand for “transgender.” Terminology has changed over time so we need to be sensitive to usage within particular communities. Gender Identity: An individual’s internal sense of Bi-Gendered: One who has a significant gender being male, female, or something beyond the binary. identity encompassing both male and female Gender identity is internal; ones gender identity is genders. Some may feel one side is stronger, but not necessarily visible to others. both sides are engaged. Gender Expression: How a person represents or Two-Spirit: Contemporary term referring to the expresses their gender identity to others, often historical and current First Nations people whose through behavior, clothing, hairstyles, voice or body individuals spirits were a blend of male and female characteristics. spirits. This term has been reclaimed by some Native American LGBT communities to honor their Intersex: Term used for people who are born with heritage and provide an alternative to the Western reproductive or sexual anatomy and/or chromosome labels of gay, lesbian, bisexual or transgender. patter that dos not align with typical definitions of male or female. Cross-Dresser: A term used for an individual who dress in clothing traditionally or stereotypically worn Transsexual: An older term for people whose by the other sex, but generally do not have an intent gender identity is different from their assigned sex at to live full-time as the other gender.
    [Show full text]
  • 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.
    [Show full text]
  • New Campus Phone System to Be Installed
    New student health store Delaware bounces ~ provides birth control back at Bosto~----1····-~.. --.; page2 page 15 / Student demonstrators condemn Columbus' 'discovery' By Donna Murphy that Columbus did not discover America but instead "'Their culture goes with the land hand in hand," she Columbus Day is not a day of pride, but one of shame." and Lori Salotto opened the way for the devastation of native American added. "The land was their culture; their spirit and soul." Jack Ellis, chairman of the history department, said, News Editors culture and environment. Mark Glyde (AS SR), another member of SEAC, said "The real issue is not who discovered America, but the What many refer to as the Age of Discovery was in Yesterday, about 20 members of the Student the holiday represents 499 years of destruction to native impact of the voyage." fact the Age of Collision - an era of confrontation Environmental Action Coalition (SEAC) staged brief cultures. The collision of native American and Western between cultures and continents from wh~h neithu the demonstrations around campus, denouncing Columbus "The United States has broken every treaty we ever cultures had a devastating impact on the biological, Old nor the New World ever recovered. Day. made with the indigenous people of this land," he said. economical, social and political aspects of the nation, he -William Graves, editor of National Geographic The protestors marched to a melancholy drum beat This is also true for recent treaties between the said. · magazine across campus, dressed as trees, natives and white government and existing tribes, he said. "In Columbus' log," Glyde said, "he notes how oppressors, reenacting what they believed to be the " We want to make people aware that Native friendly the people he encountered in this land were and For years, school history books portrayed Christopher initial interactions between Europeans and original Americans continue to struggle for their rights," Glyde how easy it would be to enslave them." Columbus as a cross-continental hero.
    [Show full text]
  • The Billboard 1909-02-13: Vol 21 Iss 7
    FSICE TEN CENTS. fifty SIX PAGES. THEATRES^ CIRCUSES PARKS FAIRS REGISTERED IN UNITED STATES PATENT OFFICE. Volume XXL No. 7. CINCINNATI-NEW YORK-CHICAGO February 13, 1909. ISABEL D’ARMOND. BLANCHE SHIRLEY. MASTER GABRIEL. In Tbf> OIrl Quctloo * I’**** master GABRIEL. THE LYMAN TWINS CHORUS THE MERRY WIDOW WALTZ Xtie Billboard lUIBEII BALLOOIS. 5c. SHOW DON’T PATRONIZE US SOUVENIB BOOBS. if the prices that you paid before we BUBBEB 600DS, SOUVENIRS made ELECTRIC PIANO MUSIC, CUE BACK CANES. Ja|i«ncfi<- ('hiua Wan-, |K-r Ka).$.'i.50 were satisfactory. Remember we are KNIFE BACK KNIVES. Trick Match Itox, imt aroaa .75 m Japaucac Ton Toinha, per Kroaa.75 foroinf Piano Manufacturers to estab¬ Japaucac Zlttcra, |M-r ifross .75 FOB CARNIVAL SALES. Japanese WhlutlcH. i«“r uroai- .75 lish fair prices; if you want to always Japaneae TurtU-a, In (ilaaa liox, |>cr Kroaa.. .75 Fancy colored I(elurue<l Halla, |>er Krosa.. l.(K) have them, and get music that is supe¬ ,7 f ! ■'■I Fancy colore<l tjlaaa I‘en Holders. jM-r (froaa .StO rior in all respects to what you had to Japaneae Tainlireena, (H-r Ktoaa . 1.(10 Horae Shoe Mlrrora, ja-r (trosa . 1.50 take and look pleased aL then give us Skeleton Acrohata, per groaa . 1..50 \v' Japaneae Flag I’lir.rlea, per gross . 1.00 your business. Terina—Half deposit; balance ('. (». K NEWMAN MFC. CO.. We have the largest assortment of Knife Board 641 Woodland Ave., Cleveland. Ohio. V Cl Knives west of the Mississippi River. Our ■ - 1 prices are alamlutely rock bottom.
    [Show full text]
  • Literary Tricksters in African American and Chinese American Fiction
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 2000 Far from "everybody's everything": Literary tricksters in African American and Chinese American fiction Crystal Suzette anderson College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the African American Studies Commons, American Literature Commons, and the Ethnic Studies Commons Recommended Citation anderson, Crystal Suzette, "Far from "everybody's everything": Literary tricksters in African American and Chinese American fiction" (2000). Dissertations, Theses, and Masters Projects. Paper 1539623988. https://dx.doi.org/doi:10.21220/s2-z7mp-ce69 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion.
    [Show full text]
  • Imperial Court of New York
    Imperial Court of New York Bylaws Revised June 6, 2012 The Imperial Court of New York, Inc. A 501(c) (3) Non-Profit Corporation P.O. Box 613, New York, NY 10116-0613 Page | 1 GFC/paf Members of the ICNY Bylaws Committee 2011-2012 Scott Safier, Chair Andrew Chiappetta, MBA Kurt Resch, Esq. Vincent Cuccia Tom Eversmann Brian Fischer Rhonda Potter Page | 2 GFC/paf BYLAWS of the Imperial Court of New York, Inc Revised - June 2012 ARTICLE I - Name and Purposes Section 1.01. Name. The name of the organization is the Imperial Court Of New York, Inc. (hereafter referred to as ICNY). Section 1.02. Office. The principal address of the corporation shall be P.O. Box 613, New York, NY 10116- 0613 in the Borough of Manhattan in the County of New York, State of New York. The Corporation may also have offices at such other places within or without this State as the Board may from time to time determine or the business of the Corporation may require. Section 1.03. Purpose. ICNY is organized for the charitable purposes of raising funds for the Gay, Lesbian, Bisexual and Transgender communities, HIV/AIDS organizations, social services organizations, youth organizations and any other organization the board of director’s determines appropriate; enabling them to further enrich the quality of community and personal lives in that community, providing a safe social environment for people with the same interests as the Corporation, and promote positive awareness of the ideals of the International Court System. Section 1.04. Powers. The Corporation shall have the power, either directly or indirectly, either alone or in conjunction or cooperation with others, to do any and all lawful acts and things to engage in any and all lawful activities which may be necessary, or convenient to effect any or all of the purposes for which the Corporation is organized, and to aid or assist other organizations whose activities are such as to further accomplish, foster or attain any such purposes.
    [Show full text]
  • 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.
    [Show full text]
  • 7-COLET Speciale
    ISSN 2280 9481 Speciali Pericolo Giallo “Musi gialli” nel mirino della letteratura e cinematografia angloamericana Il presente saggio 1 si propone d’indagare il fenomeno del cosiddetto Pericolo Giallo, partendo da alcuni film e opere letterarie, inglesi e statunitensi, in un periodo compreso tra la fine del Diciannovesimo secolo e i primi tre decenni del Ventesimo. Lo studio in questione affronterà dapprima gli aspetti storico-sociali che contribuirono alla diffusione di tale fobia, per poi analizzare le ripercussioni del fenomeno in ambito letterario e cinematografico, soffermandosi su alcuni casi particolarmente esemplificativi. Origine del Pericolo Giallo: dalla Chinese Exclusion Law alla nascita delle Chinatown La sconfitta delle guerre dell’oppio (1839-1860) ebbe conseguenze negative per la Cina, da sempre avvolta da un’aura di fascino e mistero, considerata dall’Occidente come un impero solido e inattaccabile. Da questo momento in poi agli occhi degli occidentali il “Paese di mezzo” (Zhongguo, Cina) verrà recepito come un colosso d’argilla facile da espugnare; ne è la prova l’appellativo con cui spesso ci si riferiva all’Impero cinese, dongya bingfu (malato dell’Asia dell’Est): Although probably coined by a Chinese intellectual, in the nationalist discourse, dongya bingfu became a label imposed on China and the Chinese body politic by Japan and the West. Curing the “sick man”, a savagely self-critical image, has thus long been a central goal of China in order to gain international respect and status 2. Per molti cinesi l’occasione di emigrare verso occidente, attirati dal miraggio della “febbre dell’oro”, si presentò come un’opportunità per sfuggire dalla miseria.
    [Show full text]