There is a striking difference, however, between the ways female and male modernists define and describe literal or figurative costumes. Balancing self against mask, true garment against false costume, Yeats articulates a perception of himself and his place in society that most other male modernists share, even those who experiment more radically with costume as metaphor. But female modernists like Woolf, together with their post-modernist heirs, imagine costumes of the mind with much greater irony and ambiguity, in part because women's (...) clothing is more closely connected with the pressures and oppressions of gender and in part because women have far more to gain from the identification of costume with self or gender. Because clothing powerfully defines sex roles, both overt and covert fantasies of transvestism are often associated with the intensified clothes consciousness expressed by these writers. But although such imagery is crucially important in works by Joyce, Lawrence, and Eliot on the one hand, and in works by Barnes, Woolf, and H. D. on the other, it functions very differently for male modernists from the way it operates for female modernists.Sandra M. Gilbert, professor of English at the University of California at Davis, is the author of Acts of Attention: The Poems of D.H. Lawrence and In the Fourth World; the coauthor, with Susan Gubar, of The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination, and its sequel, No Man's Land: The Woman Writer and the Twentieth-Century Literary Imagination. (shrink)

Male-to-female transvestism is a complex phenomenon that is often confused with other manifestations of male-to-female cross-dressing, e.g. drag performance. As a practice, male-to-female transvestism remains under-theorised in feminist and queer literature. In this article I approach male-to-female transvestism from two different directions. First, I sketch out some of the meta-theoretical issues surrounding its place in feminist and queer scholarship. Second, I hone in on particular details of male-to-female transvestite culture in order to model the kind of attentive (...) reading that male-to-female transvestism requires. The first section of the article presents readings of three foundational texts – Gayle Rubin’s ‘Thinking Sex’ (1984), Judith Butler’s Gender Trouble (1990) and Marjorie Garber’s Vested Interests (1992) – to highlight the challenges facing the theorisation of male-to-female transvestism in feminist and queer scholarly traditions. In the second section, I turn to an online message board for male-to-female cross-dressers (crossdressers.com) and read practices of passing and photography through a theoretical framework informed by Alan Turing, Masahiro Mori and Silvan Tomkins. (shrink)

This article aims to interpret an annual initiation ritual celebrated in Hellenistic Phaistos , at a festival known as the Ekdusia, in which young men had to put on women's clothes and swear an oath of citizenship before they could graduate from the civic youth corps and enter the society of adult male citizens. It begins by reconstructing the ritual and situating it within its historical and social context. It then reviews the two major theories which have been used to (...) explain transvestism in Greek initiation-structuralist and psychological-and attempts to expose their shortcomings. The author remedies the difficulty with the structuralist approach-its focus on abstract symbols divorced from their social context-by understanding the ritual change of clothes at the Ekdusia in terms of the radical gender segregation in Cretan society and the gradual transition Cretan boys made from feminine spaces to masculine spaces in both city and home. The author remedies the main problem with the psychological approach-its focus on the psychological dynamic between mother and son rather than the motivations of the rite's adult male sponsors-by looking at how adult men, particularly in modern non-Greek societies which hold initiation rites, understand male adolescent development and create rituals in accordance therewith. This comparative model shows how men in gender-segregated societies think of boys as feminine themselves and believe that their masculine development is at risk if they are not rescued from the dangerous feminine realm, and forced to undergo a combination of defeminization and masculinization rituals. Although there is no direct evidence to suggest that Greek men thought of boys' transition rites in this way, the myths told about three different figures named Leukippos, related directly and indirectly to the Ekdusia, reveal this pattern of thought in its full form. (shrink)

Aura & Transvestment is a transmedia project consisting of a series of generative images, an experimental form of cryptomedia and a video essay. By describing its own powers and contradictions, the work explores notions of value, ownership, authenticity, artificial scarcity and abundance in the digital realm. The project is a critical analysis of non-fungible tokens used as proof of ownership for digital art, taking Walter Benjamin’s concept of aura as a starting point. It argues that, for tokenized art, cryptography serves (...) as an artificial source of auratic power that reverts the political potential of reproducibility falling back to a magical and ritual notion of aura. This time around the ritual performed is that of property, authenticity, ownership, markets and commodification. Finally, the article outlines alternative uses of cryptography and distributed ledger technologies to support artistic labour and proposes transvestment as a temporary counter-action for the reallocation of value from capitalist forms of production and into commons-based models of social coordination. Submitted to this journal is an adaptation of the script for the video essay, alongside other elements of the project. Please visit: https://aura-transvestment.art/. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating (...) consensus and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

Mimicry, camouflage, transvestism, chance or cryptic anamorphism, fascination – all ways of changing clothes, habits and habitats in nature as well as in culture, in any symbolic field created by human beings during their history. Art and artification, aestheticization, stylization and beautification are all practices reflecting the need and desire for biological as well as social adaptation, all performances producing functional and fictional frames, boundaries or hierarchies in ordinary life, including the artworld. They can persuade and convince by creating (...) consensus and belief, but they can also lead to a different common sense, a sensorium – a sensorial medium and an aesthetic mediation open to a new world and to new experiences. -/- By investigating mimetism as a fundamental and polymorphic aesthetic performance, this issue of «Aisthesis» aims to rethink the concept, value, and function of mimesis and its media in the context of camouflage, simulation, and dissimulation, where images do not reveal themselves as such, but are to be perceived unambiguously as what they are not – as hieroglyphs or puzzles. In the animal kingdom, as well as in war or in ordinary public life, camouflage consists in taking on the traits, colours, and shapes of a given form or environment. This is a twofold process: on the one hand, by blending two or more shapes in one, the camoufleur seeks to remain hidden and to mislead the others in order to keep a vital secret or an ephemeral whim; on the other hand, however, he/she aims to be recognized by a specific milieu or group, thus betraying a craving for communication and familiarity, as well as a need to convey an agreeable appearance and to share a way of life. (shrink)

This text contemplates Western culture "after the orgy" - the revolutions of the 1960s. The author argues that the sexual revolution has led not to sexual liberation but to a reign of transvestism, to a confusion of the categories of man and woman, and a "transaesthetic realm of indifference".

There is considerable evidence for the existence of a form of publicly recognized and institutionalized effeminacy or transvestism among males in pre-Islamic and early Islamic Arabian society. Unlike other men, these effeminates or mukhannarhiin were permitted to associate freely with women, on the assumption that they had no sexual interest in them, and often acted as marriage brokers, or, less legitimately, as go-betweens. They also played an important role in the development of Arabic music in Umayyad Mecca and, especially, (...) Medina, where they were numbered among the most celebrated singers and instrumentalists. Although they were subject to periodic persecution by the state, such measures were not based on any conclusions about their own sexual status – they were not assumed to be homosexual, although a few were – but on their activities as musicians and go-betweens, which were seen as corrupting the morals of society and especially of women. A particularly severe repression under the caliph Sulayman put an end to the mukhannarhiin's prominence in music and society, although not to their existence. (shrink)

This essay places psychiatrist and philosopher Frantz Fanon’s anti-colonial, anti-racist message from Peau Noire, Masques Blancs/Black Skin, White Masks in conversation with the new diagnoses of “Gender Dysphoria” and “Transvestic Disorder” in the fifth edition of the Diagnostic and Statistical Manual of Mental Disorders. Specifically, the essay discusses sexologist Ray Blanchard’s controversial theory of autogynephilia alongside Fanon’s ambivalent rendering of transgender desire and interracial trans phenomenology in a crucial but frequently overlooked passage in Black Skin. Fanon’s anti-colonial critique of psychiatry (...) allows us to reconsider how Blanchard’s theories on paraphilia engage with the foundational psychoanalytic concepts of identification and desire, as identified by the Freudian and Lacanian models and explored in the writings of Judith Butler, Catherine Millot, Charles Shepherdson, and others. By offering a fresh interpretation of the French text, this essay argues that a “trans of color critique” can benefit from Black Skin’s unexpected insight into trans desire: Fanon’s “man of color,” who simultaneously undergoes a gender transition and a racial transformation, represents the literal embodiment of his critique of colonial racism. Given the role of the new paraphilias in the DSM-V, this essay concludes that a trans of color critique is well positioned to reinforce the anti-colonial message Fanon addressed to the psychiatric and psychoanalytical fields, which have tended to diagnose psychic injury while ignoring its causation, and which continue to neglect the fact that medical access is just as important as material support and security for minority subjects, in particular. (shrink)

Loincloth or business suit, djellaba or Chanel tailleur, blue jeans or leotard, evening gown or shorts, dress has always and everywhere been present as an object of material and symbolic investment. Why does a man belonging to a certain society dress as he does if not because a set of values and constraints such as custom, price, taste or decency prescribes or forbids certain usages, tolerates or encourages certain conduct? Dictating the use and assortment of various garments, this set of (...) values is the expression of a veritable ethics of dress, protected by a series of sanctions that, from simple mockery to punitive measures (sumptuary laws or the present-day repression of transvestism and the illegal wearing of military, ecclesiastical or judiciary garb) guarantees the easy recognition of certain signs that are vital to the social order. (shrink)

This article deals with a mosaic from ancient Zeugma on the Euphrates found in 2002 and recently published with interpretive commentary. Its subject is the story of Theonoe and Leukippe preserved only in Hyginus and nowhere in Greek. Despite this, the authors argue that the myth, in its unique form, can for over one thousand years be connected with romance, mime, pantomime, tragedy and derives ultimately from early Cretan rituals of transvestism. Its immediate inspiration however is imperial pantomime along (...) with the transvestism notorious in that genre, as can be argued from the layout of the mosaic and the iconography of Theonoe, our first clear picture of a pantomime. But the main thrust of the article, especially in appendix B, is to demonstrate that the Hyginus story must now be considered to represent the plot of a lost tragedy, which derived many of its elements from late Euripides, but in its over-enthusiasic use of these represents a post-Euripidean artificially complex plot-type, for which hitherto we had limited evidence. (shrink)

The forms of Central Asian shamanism owe their relative homogeneity both to a commonly shared tradition and the influence of Islam. It is, however, possible to distinguish two distinct tendencies, which correspond to the two ethnic groups that inhabit this region, one Iranian-speaking and the other Turkish-speaking. At the same time, the process of Islamization does not in itself prevent the preservation of certain elements of shamanism pertaining both to the thought and practice of these Muslim peoples, nor to their (...) secondary, non-official religious activities. In addition, certain customs that were developed within Islam itself, such as Sufism and transvestism, are believed by some investigators to have points of contact with shamanism. (shrink)

This article provides a historical perspective on how both American and European psychiatrists have conceptualized and categorized sexual deviance throughout the past 150 years. During this time, quite a number of sexual preferences, desires, and behaviors have been pathologized and depathologized at will, thus revealing psychiatry's constant struggle to distinguish mental disorder--in other words, the "perversions," "sexual deviations," or "paraphilias"--from immoral, unethical, or illegal behavior. This struggle is apparent in the works of 19th- and early-20th-century psychiatrists and sexologists, but it (...) is also present in the more recent psychiatric textbooks and diagnostic manuals, such as the consecutive editions of the Diagnostic and Statistical Manual of Mental Disorders. While much of the historical literature revolves around the controversy over homosexuality, this article also reviews the recent medicohistorical and sociohistorical work on other forms of sexual deviance, including the diagnostic categories listed in the latest edition, the DSM-IV-TR: exhibitionism, voyeurism, fetishism, frotteurism, pedophilia, sexual masochism, sexual sadism, and transvestic fetishism. (shrink)

The DSM-III-R definition of mental disorder is inconsistent with the DSM-III-R definition of paraphilias. The former requires the suffering or increased risk of suffering some harm while the latter allows that deviance, by itself, is sufficient to classify a behavioral syndrome as a paraphilia. This inconsistency is particularly clear when examining the DSM-III-R account of a specific paraphilia, Transvestic Fetishism. The author defends the DSM-III-R definition of mental disorder and argues that the DSM-III-R definition of paraphilias should be changed. He (...) recommends that the diagnostic criteria for specific paraphilias, particularly that for Transvestic Fetishism, be changed to make them consistent with the DSM-III-R definition of mental disorder. Keywords: diagnoses, disease, paraphilia, philosophy, psychiatry CiteULike Connotea Del.icio.us What's this? (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain (...) in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

À partir d’une enquête ethnographique menée dans les années 2000 dans des synagogues non orthodoxes en France, cet article interroge l’accès des femmes à un vêtement rituel longtemps réservé à la pratique religieuse des hommes. L’histoire française du port du talit (châle de prière) par les femmes donne à voir l’exemple d’une circulation internationale d’argumentaires religieux autour de l’accès des femmes au rituel, où les logiques de distinction entre courants religieux jouent un rôle au moins aussi important que les débats (...) féministes français. Les observations montrent que dans le contexte juif français, où les synagogues non orthodoxes sont minoritaires, les femmes sont plus que les hommes contraintes à une forme d’hyper-réflexivité sur le corps qu’elles engagent dans la prière publique. Cela se traduit par des discours et des pratiques variables et ambivalents sur le talit des femmes – si certaines cessent de le percevoir comme genré, d’autres l’associent à un travestissement, et d’autres préfèrent le « féminiser » par la couleur. (shrink)

À partir d’une enquête ethnographique menée dans les années 2000 dans des synagogues non orthodoxes en France, cet article interroge l’accès des femmes à un vêtement rituel longtemps réservé à la pratique religieuse des hommes. L’histoire française du port du talit (châle de prière) par les femmes donne à voir l’exemple d’une circulation internationale d’argumentaires religieux autour de l’accès des femmes au rituel, où les logiques de distinction entre courants religieux jouent un rôle au moins aussi important que les débats (...) féministes français. Les observations montrent que dans le contexte juif français, où les synagogues non orthodoxes sont minoritaires, les femmes sont plus que les hommes contraintes à une forme d’hyper-réflexivité sur le corps qu’elles engagent dans la prière publique. Cela se traduit par des discours et des pratiques variables et ambivalents sur le talit des femmes – si certaines cessent de le percevoir comme genré, d’autres l’associent à un travestissement, et d’autres préfèrent le « féminiser » par la couleur. (shrink)