Home  About us  Contact
 

Gender Performance (gender + performance)

Distribution by Scientific Domains
Humanities and Social Sciences100%

Selected Abstracts

The Clothes Make the Man: Cross-Dressing, Gender Performance, and Female Desire in Johann Elias Schlegel's Der Triumph der guten Frauen

THE GERMAN QUARTERLY, Issue 3 2008
Edward T. Potter
Schlegel's 1748 comedy takes the potentially liberating historical practice of female cross-dressing and restructures it by using it to promote a sentimental conception of marriage based on love, mutual compatibility, and free partner choice and by emptying this contemporary cultural phenomenon of any potentially liberating features, thereby defusing non-normative gender performance. Schlegel's text highlights culturally constructed aspects of gender by placing gender performance at the play's core. By staging a successful performance of male gender, the female character Hilaria reintegrates two wayward husbands into the sentimental marriage. Via Hilaria's disguise, the text explores: how the control of information establishes power relationships; how cross-dressing is used to reinscribe traditional gender roles; how mutual respect and friendship are promoted as a strong basis for marriage; and finally, how sexual desire is construed as a purely male phenomenon, thereby ironizing the possibility of female desire in general and female same-sex desire in particular [source]

Gender performances in a service orientated workplace in Aotearoa/New Zealand

NEW ZEALAND GEOGRAPHER, Issue 3 2005
Victoria Guyatt
Abstract:, This paper uses Butler's (1990) concept of performativity to explore the constructions of feminine and masculine identities integral to the gendered bodily performance in ,interactive' service economies. The empirical research for this paper is based on Fat Freddie's student pub in Aotearoa/New Zealand, and was collected over an eight-week period using an ethnographic methodology. While Butler argues we ,do' gender, I explore how these ,fabrications' are naturalized, and the effect this has on the division of labour within Fat Freddie's. While these performances are regulatory, they are, however, unstable and alternate subject positionings can be adopted. I discuss how these subject positionings within Fat Freddie's can disrupt dichotomized gendered divisions and hegemonic understandings of appropriate gendered roles and identities. [source]

The Clothes Make the Man: Cross-Dressing, Gender Performance, and Female Desire in Johann Elias Schlegel's Der Triumph der guten Frauen

THE GERMAN QUARTERLY, Issue 3 2008
Edward T. Potter
Schlegel's 1748 comedy takes the potentially liberating historical practice of female cross-dressing and restructures it by using it to promote a sentimental conception of marriage based on love, mutual compatibility, and free partner choice and by emptying this contemporary cultural phenomenon of any potentially liberating features, thereby defusing non-normative gender performance. Schlegel's text highlights culturally constructed aspects of gender by placing gender performance at the play's core. By staging a successful performance of male gender, the female character Hilaria reintegrates two wayward husbands into the sentimental marriage. Via Hilaria's disguise, the text explores: how the control of information establishes power relationships; how cross-dressing is used to reinscribe traditional gender roles; how mutual respect and friendship are promoted as a strong basis for marriage; and finally, how sexual desire is construed as a purely male phenomenon, thereby ironizing the possibility of female desire in general and female same-sex desire in particular [source]