Cross-gender casting (i.e. the casting of female performers for male parts and vice versa) of plays by William Shakespeare is not a scarce phenomenon and is getting more and more popular in the recent years. In spite of the frequent claim of the theatre-makers and critics that it is in fact a gender blind casting, where the gender of the performer does not matter, the thesis attempts to prove that, in fact, it is not the case. This is exemplified on three most frequently staged and also most commonly cross-gender cast plays: Hamlet, King Lear and Romeo and Juliet. Via these examples the thesis shows the variability of approaches to cross-gender casting and the differences in realization. In the first chapter, the key terminology is defined, in order to avoid confusion, discussing the differences between cross-dressing, travesty and cross-gender casting. That is followed by subchapters in which the basic frame of thought is suggested, building on Judith Butler's deconstruction of gender and the concept of gender performativity. The last subchapter of this section deals with the history of cross-gender casting, including the Elizabethan all-male staging tradition. The next three chapters are then devoted to each of the plays, analyzing the possible interpretive keys and motivations for a cross-gender cast...

Maria Gripe’s shadow-series consists of four novels written in the 1980s and feature a character who present themselves as both as a girl and a boy. Carolin, also known as Carl has got a mysterious and captivating aura that leaves everybody fascinated and most people enamoured with him/her. Carolin shares many similarities with the 19th century author Carl Jonas Love Almqvist’s character Tintomara from the novel The Queen’s Tiara (Drottningens juvelsmycke). This essay examines the desire that is aimed at Carolin and explores the queer situations that arises as consequences of his/her cross dressing. I comparatively analyse the desire expressed in the shadow-series and The Queen’s Tiara to find similarities in who is affected by it and where the queer situations occur. The damaging effect of the desire is explored as well. The essay concludes that while most situations can be viewed as both heterosexual and homosexual Gripe uses genres and metaphors that amplify the queerness. Both Carolin and Tintomara are greatly affected by the desire toward them and get hurt because of it. Gripe and Almqvists charismatic androgynous characters bring desire and despair wherever they go, at least as long as they do not conform to society’s norm of gender dichotomy.

Caryl Churchill, the most widely performed female dramatist in contemporary British theatre, is a playwright preoccupied with the dissection of the traditional relations of power. She challenges social and dramatic conventions through her innovative exploration of the male gaze, the objectification of women, the performativity of gender, and women as objects of exchange within a masculine economy. In so doing, Churchill locates her concerns in the area of `materialism and gender'. Churchill explicates a socialist-feminist position by pointing directly at the failure of liberal feminism. The lack of a sense of community among women, highlighted by Churchill's portrayal of women such as Marlene in `Top Girls', forms a critical aspect of Churchill's work. Her drama re-iterates how meaningful change is impossible while women continue to oppress one another, and while economic structures perpetuate patriarchy. Altered consciousness, aligned to socio-political re-structuring, is necessary for both the oppressors and the oppressed, in a society where too much emphasis has been placed on individualism. The outspoken hope for a transgression of the conventional processes of identification and other omnipresent, oppressive socio-political phenomena, is a strong aspect of Churchill's work. Her plays reveal how signs create reality rather than reflect it, and she uses Brechtian-based distancing methods to induce a critical examination of gendered relations. Time-shifting, overlapping dialogue, doubling and cross-casting are used by Churchill to manipulate the sign-systems of the dominant order. Cross-gender casting, Churchill's most widely reviewed dramatic device, is employed to destabilise fixed sexual identities determined by dominant heterosexual ideology. She calls into question the traditional sign `Woman' - which is constructed by and for the male gaze - and addresses the marginality of the female experience in a non-linear framework. Although dealing with serious issues, Churchill's plays are often executed in a style that is at once amusing and thought-provoking to exclude the possibility of didacticism. With her skilful use of language and innovative techniques as her highly effective instruments, Churchill accomplishes her broader purpose with originality. In its originality and complexity, her drama is in itself a `new possibility' for different forms. / English Studies / M. A. (English)

Ce travail d’analyse s’intéresse à la construction des différents sujets dans les chroniques de l’écrivain chilien Pedro Lemebel. Suite à la dictature d’Augusto Pinochet et à l’implantation du néolibéralisme la société chilienne s’est profondément transformée. Le chroniqueur interroge ces mutations à partir des sujets participants à cette réalité, mais qui n’ont pas de véritable place dans les discours institutionnels, littéraires et artistiques. Ainsi, le lecteur fait la connaissance de travestis, de prostitués, d’homosexuels, d’enfants de la rue, de vagabonds, de fous, et de femmes des bidonvilles. Nous souhaitons démontrer comment se constituent ces subjectivités invisibles à partir de stratégies discursives qui mettent en évidence les processus de subjectivation imposés par le système économique, politique et social. En outre, la réflexion se porte sur les stratégies privilégiant la corporalité comme discours de résistance, voire de force politique. La recherche s’articule autour de trois axes de réflexion. Nous évoquons la question de la chronique comme l’espace textuel propice au travail sur les subjectivités. Nous abordons ensuite les pratiques d’assujettissement et de constitution vécues par les subjectivités situées à la marge de la société. Celles-ci font du désir et de la mémoire leurs principes fondamentaux. Enfin, nous étudions les diverses stratégies corpo-textuelles liées à la notion de nomadisme et de corps résistants. Ainsi, nous analysons le nomadisme identitaire, les métamorphoses corporelles, la prédominance du discours de la chair et les transformations de l’imaginaire à partir de la corporéité. Sur le plan théorique nous nous appuyons sur les travaux de Michel Foucault, Gilles Deleuze, Félix Guattari et Rosi Braidotti. / The objective of this study is to analyze the construction of various subjects in the chronicles of the Chilean writer Pedro Lemebel. The dictatorship of Augusto Pinochet and the implementation of neoliberalism have profoundly transformed Chilean society. The author retrieves these transformations from the subjects who participate in this reality, and who have no real place in the institutional, literary and artistic discourse. We meet cross-dressers, prostitutes, homosexuals, street children, vagabonds, mentally disturbed individuals, and women from the slums. We want to demonstrate how these invisible subjects represent the discursive strategies invoked to highlight the processes of subjection imposed by the economic, political and social system. Furthermore, how do these strategies emphasize corporeality as a means of resistance discourse or even possibly a political force? The research is based on three lines of thought. We discuss the questions of whether the author is the textual space most conducive to explore the individual subjects. We then address the mode of subjection and constitution by subjects (subjectivity) at the fringes of society. These groups have made desire and memory their fundamental principles. Finally, we study the various text strategies related to the concept of “nomadic theory” and “resistant body”. Thus, we analyze the notion of being nomadic as part of one’s identity, bodily metamorphosis, the dominance of the flesh and the transformation of the imaginary order issued from the corporeality. Theoretically, we take as reference the work of Michel Foucault, Gilles Deleuze, Felix Guattari and Rosi Braidotti

Der Begriff Maskerade unterscheidet sich trotz etymologischen Verwandschaft vom Begriff Maske. Unter Maskerade werden vor allem Strategien der Inszenierung von Geschlechtsidentitäten verstanden, weshalb synonymisch häufig von Geschlechtermaskerade die Rede ist. Das Konzept hat in den Theater-, Film- und Literaturwissenschaften sowie in der Philosophie und der Psychologie Einzug gehalten. In den Gender Studies etablierte sich der Begriff in den 1990er Jahren, maßgeblich beeinflusst durch psychoanalytische und poststrukturalistische Theoriebildung. Mit der Maskerade können sehr verschiedene Phänomene bezeichnet werden, von der Pseudonymität weiblicher Autor_innenschaft bis hin zu alltagskultureller Performance und Körperinszenierung, etwa im Transvestitismus.

The DSM-IV-TR diagnosis Gender Identity Disorder Not Otherwise Specified (GID NOS) is used to describe individuals who have gender issues but do not meet the current criteria for GID. As part of a consensus process conducted by the World Professional Association for Transgender Health, the authors make the following recommendations for DSM 5: removal from the chapter on sexual disorders, more specific diagnostic criteria, retention of clinical significance criteria, and removal of exclusionary criteria of Intersex/Disorders of Sex Development. Changes to the existing clinical examples were also recommended, suggesting additional clinical examples that encompass a broader range of gender-variance and more commonly found transgender presentations. The diagnosis must reflect the severity of the clinical issues that represent legitimate identity experiences and possible need for gender-confirming treatments.

La ruse féminine, étudiée en regard de la littérature narrative médiévale, constitue une topique spontanément associée à une idéologie misogyne. Les itérations des motifs liés à cette topique foisonnent dans le Roman de Silence et dans les fabliaux également copiés dans le manuscrit de Nottingham. Étant donné la place prépondérante du travestissement dans le Roman de Silence, ce texte a été abondamment étudié sous l’angle des Gender Studies. Toutefois, le travestissement endossé ou orchestré par des figures féminines est compris dans un ensemble de motifs liés à la ruse féminine. Cette dernière fait l’objet de nombreux commentaires de la part des narrateurs et des personnages du corpus. Or il arrive parfois que ces commentaires, sous des dehors désapprobateurs, mettent en lumière la puissance de la ruse féminine. Qui plus est, d’un point de vue narratologique, la réussite ou l’échec de ces ruses ont été étudiés, dans un corpus où le ton se fait souvent didactique, pour établir si celles-ci tenaient lieu d’exemples ou de contre-exemples. Avant d’analyser l’énonciation, les motifs de la ruse féminine ont été étudiés en regard des hypotextes qu’ils évoquaient, et ce, tout en postulant l’interlisibilité des textes d’un même manuscrit. Il a donc été possible de déterminer dans quelle mesure le corpus désamorçait ces motifs, créant des situations souvent ironiques signalant au lecteur de ne pas s’aventurer trop crédulement dans les textes, et d’être attentif autant à l’ironie de situation qu’à celle qui s’ancre dans la situation d’énonciation. / The feminine wiles topic is part of a series of motifs found in medieval narrative literature that bring to light a misogynistic ideologie. Iterations of such motifs are abundant in the Roman de Silence and in the fabliaux also copied in the Nottingham manuscript. Because of the prominent role played by cross-dressing in the narrative of the Roman de Silence, this text has been the subject of numerous studies grounded in the Gender Studies field. However, the cross-dressing carried out or orchestrated by feminine characters is part of a larger ensemble of narrative motifs all comprised in the notion of feminine wiles. Many comments about this topic are found in the corpus, originating both from narrators and from characters. Yet those comments, who may at first sound disapproving, sometimes highlight the power of feminine wiles. Moreover, from a narratological point of view, the success or failure of those wiles, in a corpus where the tone is often didactic, have been examined as to assess if they must be considered examples or counterexamples. The motifs regarding the feminine wiles were also studied in comparison with the hypotexts they evoked. Furthermore, we postulated an interreadability between texts all copied in the same manuscript. That way it was possible to determine to what extent the corpus defused those motifs, thus often creating ironic situations which warned the reader not to venture in those texts too gullibly, and to be watchful of irony either stemming from the narrative or from the enunciation.

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Literary descriptions of shifting from and transgressing assigned sex were common in 19th Century Sweden. This thesis forms a contribution to the larger project of writing a history of Swedish trans literature, and develops new interpretations of certain works of fiction by applying a transgender studies perspective. Through trans readings the thesis also examines what potential and possible implications literature might have for trans people beyond the literary realm. Trans readings are able to supplement earlier research by providing a nuanced understanding of the production of trans- and cisgenders. The theoretical perspectives used in the thesis are drawn for the most part from queer and transgender studies. The thesis adopts a conceptual understanding of trans as a movement, and aims to widen the scope of what may be considered relevant to a history of trans literature. The primary objects of analysis are the 1833 autobiography of widely known thief and cross-dresser Lasse-Maja (Lars Molin), C.J.L. Almqvist’s Drottningens juvelsmycke (1834), and Aurora Ljungstedt’s Moderna typer (1874). In closing, two texts from the fin-de-siècle are also closely read; Amanda Kerfstedt’s Reflexer (1901) and Frida Stéenhoff’s “Ett sällsamt öde” (1911). A wide range of other fiction is additionally studied in order to establish a contextual pattern of trans literary traditions. The thesis demonstrates that trans permeates all kinds of fiction, and that the characters analysed construct both trans and cis gender categories. It concludes that trans is done in a variety of ways, and with a variety of meanings in 19th and early 20th century literature. Trans is often depicted as a positive, fruitful and desirable act, through trans characters who are both themselves subjects of erotic desire and who become symbols of liberty and emancipation. Other trans figures however are often counter images of what are considered to be correct sexes, and are depicted as threatening and/or ridiculous. Both these negative and positive representations of trans affirm the gender binary. At the same time, they also break and destabilize that same binary, and the trans characters in the study both can and cannot be interpreted as transgressing cis- and heteronormativity respectively.

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Trata-se de uma abordagem etnográfica, misturando reflexões sobre etnografia e transformismo, para pulverizar e re-significar as apresentações cênicas ditas marginais no âmbito das revisões de perspectivas e de assuntos nas artes cênicas no Brasil. Sendo uma autoetnografia transformista, onde a escritura encontra a performance, este estudo comporta trejeitos da escrita performativa, para tentar atender o “ser” da performance, assim como a sua ontologia, ou seja, a representação sem reprodução. Considera ainda as encenações do desaparecer e, ao escrever sobre o indocumentável evento da performance, tem consciência de que altera o próprio evento. Assim, também compreende: os Rastros do Desaparecimento, a Presença do Corpo em Performance, o Cross-dressing ou Transvestismo ou Transformismo, a Política/Poética Camp, Alteridade, ou as representações transnacionais do feminino coreográfico, uma grafia acerca dos Global Queerscapes, a drag queen na atualidade soteropolitana, em uma Epistemologia Drag, assim como, Nacionalidade, Transformismo e Homocultura nos cortejos e movimentos políticos públicos, em Salvador, e sua aproximação com a figura icônica da Carmem Miranda, que tem sido apropriada por homossexuais transvestidos, em todas as latitudes, como o epítome camp do excesso e da frescura internacionais. / What a Drag!: Ethnography, Performance and Female Impersonation by Fernando Antonio de Paula Passos examines the performative presence of cross-dressed men in Salvador’s public scenes: cross-dressing as the opportunity for the deconstruction of gender polarities. It consists of an approach that blends self-reflexive ethnography with issues of female impersonation and cross-dressing in order to study the multiplicity of their performances, their re-signification, their relatively recent arrival in the context of revisionist perspectives and subject matters in the academic field of the performing arts in Brazil. Incorporating concepts of auto-ethnography and theoretical transvestism, it brings together writing and performance in what is now known as performative writing, as it struggles to uncover what the “being” of performance is all about. In dealing with the ontology of performance as representation without reproduction, it is particularly focused on issues of disappearance. It is also aware that writing about the undocumentable event of the performance alters that same event. It also deals with: traces of disappearance, the presence of the body in performance, cross-dressing, camp, alterity, feminine choreography, Global Queerscapes, drag epistemology, nation, surrealism, pastoral, allegory, political resistance and Carmen Miranda, as the epitome of inter/national camp.