Doctor of Philosophy / Department of Family Studies and Human Services / Anthony Jurich / This study was aimed at understanding the retrospective experiences of adults who have fathers who are cross-dressers. This study addressed common concerns that partners of men who cross-dress have regarding the impact of fathers’ cross-dressing on children. Previous research indicated that some women in relationships with men who cross-dress actively chose to not have children due to not knowing what effects their partner’s cross-dressing may have on children. Qualitative data from five interviews conducted with adult children of cross-dressing fathers was utilized. Participants reflected upon the following areas: The individual and relational factors that impacted their reaction to having fathers who are cross-dressers; the meanings they created about their fathers’ being cross-dressers; the perceived impact on their social development; and advice they would give to others that may promote the adjustment process for children who have fathers who cross-dress. This study revealed thick description of the adjustment processes for a sample of adult children of cross-dressing fathers. Specifically, the results revealed that the participants adjusted to having fathers who are cross-dressers relatively easily. The closeness of their relationships, the timing and nature of disclosure, their fathers’ comfort levels with being cross-dressers, and the familial response to the fathers’ cross-dressing were all revealed to play important roles in the participants’ acceptance of and adjustment to their fathers’ being cross-dressers. Overall, the participants identified more positive effects than negative in reference to their relationships with their fathers and their social adjustment. This research can assist clinicians in helping couples facing this issue to make informed decisions about having children and in deciding the timing and the preferred circumstances in which fathers should disclose their cross-dressing to their children.

Existing scholarship on Thomas Middleton and Thomas Dekker’s The Roaring Girl, or Moll Cutpurse primarily focuses on the title character and her unconventional gender presentation. This highlighting of Moll deemphasizes the other intriguing aspects of the play, including its thematic concerns involving issues of prejudice, reputation, gender, class, marriage, and sexuality. This thesis takes the spotlight off of Moll and shines it instead on a selection of other significant characters—including Sir Alexander Wengrave, Sebastian Wengrave, Mary Fitzallard, and a grouping of minor characters who have earned this play its designation as a city comedy: Laxton, Goshawk, the Openworks, and the Gallipots.

Uppsatsen syftar till att undersöka ungdomars reception av fenomenet manga/anime på ett etnografiskt arbetssätt, avgränsat med begreppet ungdomskultur. Fokus ligger på två mangayttringar som närmast berör ungdomar: shōjo för flickor och shōnen för pojkar. Resultatet redovisas i tre olika teman: Estetik/Stil, Makt/Könsroller och Berättelser/Myter,vilka tolkas med hjälp av ett raster på textuell, kontextuell och sociohistorisk nivå.Undersökningen är kvalitativ med sju ungdomar som informanter, och empirin består avfältanteckningar, fotodokumentation och intervjuer.Ungdomarnas fascination av mangaserier kan delvis förklaras med att de ritas i ett utstuderat ”filmiskt” maner, med snabba bildväxlingar och många olika bildvinklar, och delvis med att läsaren kan följa protagonistens utveckling under många år, parallellt med sin egen utveckling till ett vuxnare jag. Kulturyttringen uppmuntrar även till eget medskapande och egenamatörmanga-produktion, vilket medför att många ungdomar publicerar sitt eget material,både i pappersform och på internet. Detta gör fenomenet förhållandevis ohierarkiskt.Manga/anime-traditionen är ofta ironisk och lekfull, motiven i den tidiga sekventiellabildkonsten i Japan hämtades från nöjes- och teatervärlden, men under den flamsiga ytan döljsofta allvarliga resonemang. Berättartraditionen kan uppfattas utifrån tre olika modus: vardagligt, humoristiskt och poetiskt. Ungdomarna kan i postmodernistisk anda ta del av det främmande och egendomliga, men kan också; när de själva vill, stänga av och avskärma sigifrån det.Estetiken betecknas av eklekticism, brottstycken, lekfull inställning till form och konventionoch raserandet av hierarkiska traditionerna. Könsroller utmanas med crossdressing, och demanliga protagonisterna ritas ofta med påfallande feminina anletsdrag. Uppsatsen beskriverdetta med bakgrund av queerteoriska tankegångar, där en given norm ifrågasätts. Läsandet avserietidningar har nästan alltid betraktats nedlåtande, med någon form av moralpanik i sitt kölvatten. Detta kan betraktas som en reaktion mot en pågående modernisering. Resultatet av uppsatsen visar inte på någon större förändring i det traditionella könsrollstänkandet, men en viss omformulering pågår.

This thesis uncovers and historicizes an overlooked aspect of America’s transgender history. The heterosexual male cross-dressers, or transvestites, of mid-century America constituted a group of individuals that espoused a particular discourse of respectability in their cross-gender practices, conceptualized unique bi-gender identities, and cultivated a community. Heterosexual male cross-dressers, under the leadership of Virginia Prince and Ariadne Kane worked to separate themselves from broader, and more recognizable, identities such as gay transvestites, drag queens, and homosexuals in an effort to define themselves as respectable. A critical historical analysis of Fantasia Fair indicates that Prince and Kane were not alone in their desire for a community of their peers, with whom to share ideas about sexological theories, personal stories, and tactics for self-preservation. As a direct response to the pervasive nature of transsexual narratives in the field of transgender history, this project demonstrates the important advances made by heterosexual male cross-dressers to our modern understanding of trans diversity. These cross-dressing narratives prompt historians of transgender phenomena to think critically about the diversity of identity categories that are encompassed in our present understanding of the term ‘transgender’. / Graduate / 2019-07-30

Submitted by Silvana Teresinha Dornelles Studzinski (sstudzinski) on 2016-04-18T19:02:13Z No. of bitstreams: 1 Marina Seibert Cezar_.pdf: 3754624 bytes, checksum: 55637fe368c1a9852b3aa6b55b913133 (MD5) / Made available in DSpace on 2016-04-18T19:02:13Z (GMT). No. of bitstreams: 1 Marina Seibert Cezar_.pdf: 3754624 bytes, checksum: 55637fe368c1a9852b3aa6b55b913133 (MD5) Previous issue date: 2016-02-26 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / AULP - Associação de Universidades de Língua Portuguesa / Fundamentada pelo campo das ciências sociais, esta tese tem como tema de investigação, a relação entre gênero e moda, através da perspectiva orientada pela mídia sobre a transgeneridade. Instigada pelo lugar da aparência construída por meio do uso de signos estéticos, a inquietude teórica é estabelecida na noção do corpo em permanente negociação com modelos estabelecidos, conforme o sexo designado ao sujeito no seu nascimento. Este estudo objetiva investigar os princípios do sistema de moda inseridos nos estudos de gênero, o qual propõe criar um panorama da inserção do corpo e sua identidade relacional a partir das experiências vestimentares, estas, orientadas pelas instâncias da cultura material. A tese também focaliza se tais sujeitos dados como masculinos e que transitam nas dimensões de gênero pela estetização pessoal através de recursos de enfeites que são convencionados ao universo das mulheres, projetam um arquétipo feminino para a sua produção visual. Para tanto, parte-se de uma pesquisa exploratória, envolvendo uma revisão bibliográfica interdisciplinar para gerar pontos de conexões entre as principais áreas dos saberes: ciências sociais, estudos de gênero, antropologia do consumo e noções da estética; associada a uma busca em campo, na qual o universo empírico é constituído por transgêneros da associação Brazilian Cross-dresser Club, bem como, por interlocutoras que identificam-se pela prática, além do resgate de relatos das que expuseram suas experiências em biografias ou em redes sociais. Por meio desta investigação, tem-se como um dos principais resultados alcançados, a validação da importância dada à linguagem visual, quando exercida sob um ângulo de observação de discurso social dado pela categoria binária de gênero. Nesse espaço de expressão e negociação com o meio, a prática de cross-dressing redimensiona os efeitos sociais já que conduzem a imagem pessoal para uma nova hierarquia dentro das dimensões políticas, em um processo constante de luta pelo reconhecimento. / Grounded by the social sciences field, this thesis has as its investigation theme, the relation between gender and fashion, through the perspective guided by media regarding transgenderism. Instigated by the role of appearance build by the use of aesthetics signs, the theoretical restlessness is stablished on the notion of the body in a permanent bargain with the established models, according to the gender designated at birth. This study investigates the principles of the fashion system inserted in gender studies, which proposes to create a panorama of body and its relative identity from clothing experiences, and those, guided by the instances of material culture. The thesis also focus on if such subjects, labeled as masculine and that transit on the dimensions of gender through personal aesthetic choices that conventionally belong to women’s universe, projects a feminine archetype for their visual production. Therefore, it starts from an exploratory research, encompassing an interdisciplinary bibliographic revision to generate the connection points between the main knowledge areas: social sciences, gender studies, consume anthropology and aesthetic notions; associated with a field research, on which the empirical universe is constituted by transgenders from the association Brazilian Cross-dresser Club, as well as by interlocutors that identify themselves through this practice, besides the collection of reports shared on biographies and social networks. Through this investigation, one of the main results achieved is the validation of the importance given to visual language, when exerted by an angle of observation of the social speech in which gender classification s binary. On this space of expression and negotiation with the environment, the practice of cross-dressing gives a new size to the social effects, since it takes the personal image to a new hierarchy within the political dimension, in a process of constant struggle for recognition.

Junior-freshmen weddings were all-female mock weddings that were performed as annual traditions on college campuses throughout the U.S. in the early part of the twentieth-century. In the weddings, college women played both the men's and women's roles, and were joined as husband and wife by their college administration. This thesis focuses on the junior-freshman weddings of Florida State College for Women during the years 1909-1925 and argues that the weddings expressed the conflicted cultural contexts that college women in the Progressive Era confronted, but that, significantly, this expression was done through passing performances of gender. The women's choice of passing performances in the junior-freshman weddings allowed them to appropriate metaphors of masculinity as their own, thereby challenging a dominant gender ideology that limited their roles within society and their relationship with structures of power. In their performances of gender, play is the language they used to express this challenge. Because there were no existing scholarly studies of junior-freshmen weddings, it was necessary to comparatively examine analyses of other types of mock weddings. Through this examination it was possible to elucidate a working definition of what mock weddings are, which helps to understand not only junior-freshmen weddings, but also provides a framework from which to investigate the many other types of mock weddings that are as of yet unstudied.

Conselho Nacional de Desenvolvimento CientÃfico e TecnolÃgico / FundaÃÃo de Amparo à Pesquisa do Estado do Cearà / Esta dissertaÃÃo demonstra como a experiÃncia drag queen ocorrente na cidade de Fortaleza, situada no nordeste brasileiro, constitui uma experiÃncia ritual e performÃtica que desafia os limites dos binarismos de gÃnero e sexo alÃm de aproximar o que temos como sendo o mundo das artes ao que entendemos como sendo o mundo cotidiano. O trabalho de campo se fundamenta em observaÃÃes diretas nos locais que dÃo passagem a performance drag queen em Fortaleza tais como boates, bares e outras casas de show bem como na coleta de mais de 50 entrevistas, no estilo histÃria de vida, gravadas entre os anos de 2004 e 2007 com drag queens, transformistas, transexuais e travestis residentes na aludida cidade. Ao revelar o carÃter ritual/performÃtico da experiÃncia drag queen por meio de uma anÃlise daquilo que essas personagens denominam montagem, o autor conclui que um devir-artista à encontrado pelas drag queens sob o trajeto de certas liminaridades. O escopo teÃrico do trabalho se fundamenta na antropologia dos rituais, na etnoestÃtica, nos Performance Studies, na Queer Theory e na sociologia da agÃncia. A metodologia segue os rumos de uma metaetnografia em diÃlogo com a experiÃncia cartogrÃfica, desenvolvida por Gilles Deleuze e FÃlix Guattari. / This dissertation shows how the drag queen experience present in the city of Fortaleza, located in the Northeastern region of Brazil, consists of a ritualistic and performative experience which challenges the limits of the binary of gender and sex and also narrows what we understand as the world of arts and the everyday life. The field research is based on direct observations in the places where the drag queen performances happen in Fortaleza such as nightclubs, bars and other cabaret entertainment clubs, as well as on the collection of data in more than 50 interviews in life-story model recorded between the years 2004 and 2007 with drag queens, transformists, transsexuals and transvestites in this city. The ritualistic and performative aspects of the drag queen experience is evidenced through an analysis of what these characters name âmontagemâ (cross-dressing), the author can conclude that an becoming-artist can be found by the drag queens in the form of certain liminalities. The theoretical scope of this work is based on the anthropology of the ritual, the ethno-aesthetics, the Performance Studies, the Queer Theory and the sociology of agency. The methodology follows the steps of a meta-etnography in dialogue with the cartography experience, developed by Gilles Deleuze and FÃlix Guattari.

Esta tese é sobre políticas e poéticas do travestimento e, especialmente, sobre os regimes de produção de imagens-corpo agenciados a partir de algumas práticas de pessoas que se vestem com roupas do gênero associado ao sexo oposto. Inicialmente delimitada pelo trabalho de campo que realizei com pessoas que se autointitulam crossdressers, a pesquisa acabou se ampliando para abarcar sujeitos que se pensam a partir de outros territórios existenciais. Essa ampliação foi guiada pela própria dinâmica do campo, já que algumas pessoas com as quais fiz pesquisa passaram a entender suas experiências de maneira diversa daquela sugerida pela palavra crossdressing, propiciando uma compreensão desta prática ora como instanciação de um processo mais amplo de transformação ora como identidade reivindicada. Trata-se de refletir sobre os diferentes regimes de funcionamento do crossdressing e as travessias entre formas de vida distintas. Busco também pensar como alguns artistas se valeram do travestimento em seus agenciamentos artísticos na tentativa de acessar outras referências a partir das quais estas vivências pudessem ser compreendidas, além ou aquém de normatizações médico-legais tão presentes nos estudos sobre pessoas que se travestem. Desejo igualmente fomentar um campo de reflexão antropológica bastante escasso, a saber, aquele cuja consideração envolve tanto a arte contemporânea quanto seu cruzamento com discussões relativas ao gênero e à sexualidade. / This thesis is about politics and poetics of cross-dressing, and especially about regimes of production of the images-body assembled through some practices undertaken by people who dress themselves with clothes associated with the opposite sex. Initially bounded by the fieldwork I conducted with people who call themselves cross-dressers, the research was eventually expanded to encompass subjects who think of themselves out of others existential territories. This expansion was driven by the dynamics of the fieldwork, since some people with whom I did the research came to understand their experiences in a way different than the one suggested by the word cross-dressing, comprehending this practice as either an instantiation of a broader process of transformation or an identity. I aim to think distinct operating regimes of crossdressing and the crossings between different forms of life. I also consider the way some artists took advantage of the cross-dressing in their artistic assemblages in an attempt to access other references out of which these experiences could be understood, beyond or below the medical-legal norms usually taken into account in the studies of people who cross-dress. I also wish to foster an anthropological field quite scarce, namely, the one that gives consideration both contemporary art practices and its intersection with discussions related to gender and sexuality.

The idea of this thesis is to achieve deeper understanding of how gender is materialised in the retail environments of brands challenging the traditional division between male and female especially in their marketing and style direction. Furthermore, the research aims to give deeper understanding on how the gendered shop environments are understood by a sample of Millennial consumers and how the consumers reflect on gender in these settings. Using varying data collection methods from in-store observations to go-along interviews with participants chosen with purposive sampling technique, the thesis uses qualitative method as a research tool and further analyses the data upon framework of servicescape theory. Using constructivist grounded theory as main analysis method, the findings suggest that there are significant differences between merchandising womenswear and menswear assortments. The research also indicates that among Millennial consumers there is clear interest and market potential towards the assortment of opposite gender, and the consumers also recognise the gendered differences in the materialised retail environments.

Esta tese é sobre políticas e poéticas do travestimento e, especialmente, sobre os regimes de produção de imagens-corpo agenciados a partir de algumas práticas de pessoas que se vestem com roupas do gênero associado ao sexo oposto. Inicialmente delimitada pelo trabalho de campo que realizei com pessoas que se autointitulam crossdressers, a pesquisa acabou se ampliando para abarcar sujeitos que se pensam a partir de outros territórios existenciais. Essa ampliação foi guiada pela própria dinâmica do campo, já que algumas pessoas com as quais fiz pesquisa passaram a entender suas experiências de maneira diversa daquela sugerida pela palavra crossdressing, propiciando uma compreensão desta prática ora como instanciação de um processo mais amplo de transformação ora como identidade reivindicada. Trata-se de refletir sobre os diferentes regimes de funcionamento do crossdressing e as travessias entre formas de vida distintas. Busco também pensar como alguns artistas se valeram do travestimento em seus agenciamentos artísticos na tentativa de acessar outras referências a partir das quais estas vivências pudessem ser compreendidas, além ou aquém de normatizações médico-legais tão presentes nos estudos sobre pessoas que se travestem. Desejo igualmente fomentar um campo de reflexão antropológica bastante escasso, a saber, aquele cuja consideração envolve tanto a arte contemporânea quanto seu cruzamento com discussões relativas ao gênero e à sexualidade. / This thesis is about politics and poetics of cross-dressing, and especially about regimes of production of the images-body assembled through some practices undertaken by people who dress themselves with clothes associated with the opposite sex. Initially bounded by the fieldwork I conducted with people who call themselves cross-dressers, the research was eventually expanded to encompass subjects who think of themselves out of others existential territories. This expansion was driven by the dynamics of the fieldwork, since some people with whom I did the research came to understand their experiences in a way different than the one suggested by the word cross-dressing, comprehending this practice as either an instantiation of a broader process of transformation or an identity. I aim to think distinct operating regimes of crossdressing and the crossings between different forms of life. I also consider the way some artists took advantage of the cross-dressing in their artistic assemblages in an attempt to access other references out of which these experiences could be understood, beyond or below the medical-legal norms usually taken into account in the studies of people who cross-dress. I also wish to foster an anthropological field quite scarce, namely, the one that gives consideration both contemporary art practices and its intersection with discussions related to gender and sexuality.