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Recommended: Gender theory
In this essay, authors J. Michael Bailey and Kiira Triea try to disprove the “feminine essence theory” which they consider to be a misconception of transsexuals. Using research from Ray Blanchard, a University of Toronto professor and sexologist who performed extensive studies on male-to-female transsexuals, the authors explain transsexuals are being part of two separate groups. According to them, a transsexual may either be a homosexual transsexual or an autogynephilic transsexual. Autogynephilia is a term coined by Ray Blanchard and is defined as “inner-directed heterosexuality. That is, autogynephilic males are like heterosexual men, except that their primary sexual attraction is to the image or idea of themselves as women” (Bailey). The authors associate this condition with other paraphilias such as masochism. The authors argue that if you are not homosexual then you are most certainly autogynephilic (Bailey). This essay is relevant to my research because it contradicts the majority of what I have read concerning the “feminine essence theory” and because it summarizes much of Blanchard’s research. However, I do not necessarily agree with this research because it appears that only sexual orientation was taken into consideration towards their concept of gender identity.
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This review by Desire Chilwane is for the book “Recognizing Transsexuals: Personal, Political and Medicolegal Embodiment” by Zowie Davy. This book outlines the history of transsexualism in the medical world and medical terms, such as GID (Gender Identity Disorder). This book also includes studies and interviews performed on both male-to-female transsexuals and female-to-male. This is rare and extremely helpful towards my research, because most research on tr...
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Chilwane, Desire. "Recognizing Transsexuals: Personal, Political and Medicolegal Embodiment." Journal of International Women's Studies 12.4 (2011): 158+. Expanded Academic ASAP. Web. 13 Oct. 2011
Hargreaves, Isabel, and Kenny Midence. "Psychosocial adjustment in male-to-female transsexuals: an overview of the research evidence." The Journal of Psychology 131.6 (1997): 602+. Expanded Academic ASAP. Web. 13 Oct. 2011
Kraus, Carolyn. "Screening the borderland: transsexualism as cinematic metaphor." CineAction 78 (2009): 17+. Expanded Academic ASAP. Web. 5 Oct. 2011
Milliken, Christie. "Unheimlich maneuvers: the genres and genders of transsexual documentary." Velvet Light Trap (1998): 47+. Expanded Academic ASAP. Web. 13 Oct. 2011.
Ramsey, Gerald. Trans-sexuals Candid Answers to Private Questions. Freedom, California: Crossing, 1996. Print.
Mulvey, Laura."Visual Pleasure and Narrative Cinema." The Sexual Subject: A Screen Reader in Sexuality/Screen. London: Routledge, 1992.
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
The medicalization of transgender tendencies, under what was Gender Identity Disorder, was demoralizing to all transgender people. This resulted in a form of structured and institutionalized inequality that made an entire group of people internalize their problems, making them question not only their own identity, but also their sanity. Therefore, the removal of this disorder from the Diagnostic and Statistical Manual of Mental Disorders (DSM) in 2013 and the newest editions was important in that it shows society’s recognition and acceptance of the transgender
A large portion of contemporary film and theatre has been lacking in substance. More often than not, we are presented with a “been there, seen that” scenario. One such exception to this rule is Hedwig and the Angry Inch, a film by John Cameron Mitchell that was released in 2001. Set primarily in post-Cold War America, Hedwig is a film that characteristically breaks convention. Our story follows Hedwig, a forgotten and confused homo…trans…well, human being. Growing up in East Berlin during the Cold War, Hansel Schmidt (John Cameron Mitchell) lives what I would call a horrible childhood in the bleak landscape of communist occupied Germany. He falls in love with an American soldier, and undergoes a sex change in order to marry him and leave East Berlin. The operation is botched, leaving him/her as a physical contradiction. Not quite a man, but not yet a woman, Hansel (now Hedwig) has what she describes as an “angry inch.” When describing it in lighter terms, she calls it a “Barbie doll crotch.” Upon arriving in America, the soldier leaves her the same day the Berlin wall comes down. Destroyed, Hedwig spends some time discovering her new self and eventually finds a soul mate in a young boy named Tommy Speck (Michael Pitt). They collaborate musically and romantically, but upon discovering Hedwig’s secret he leaves with all of their music. He becomes a huge rock star, living Hedwig’s dream while simultaneously leaving her in the dust. From then on, Hedwig and her band “The Angry Inch” follow Tommy as he tours the nation while Hedwig tries desperately to gain the notoriety she deserves for her music. Viewing this film through the lens of a feminist gender perspective, I find that Hedwig is a pioneer on the forefront of changing the gende...
Gay male, lesbian, and transsexual networks/communities, and cultural practices often had their own differences that coincided with meshing similarities. From the late 1940s to the 1960s, these identities were shaped through experiences of “the closet” and living a “double life,” among other factors. Alan Berubé explores the war’s impact on homosexual identity, speaking for both gay males and lesbians in “Marching to a Different Drummer: Lesbian and Gay GIs in World War II.” In “We Walk Alone,” Ann Aldrich helps identify the varying types of lesbians, addressing their intimate relationships with each other that are becoming more visible. Harry Benjamin touches more on the medical and scientific side of transsexualism and the obvious fact that
Smith, Jeff, and Chloe Beighley. "Normalizing Male Dominance: Gender Representation in 2012 Films." Grand Rapids Institute for Information Democracy. N.p., 12 Feb. 2013. Web. 1 Apr. 2014.
Mental health professional have tried to correct their ‘‘gender identity disorder’’ with brutal aversion therapies. Tran’s youth who came out often faced crises throughout their family and social systems. Once out, developing a sense of realness about their new gender became extremely important. An urgent need develops ‘‘to match one’s exterior with one’s interior’’ In ad...
In this article, Shaw and Lee describe how the action of labels on being “feminine” or “masculine” affect society. Shaw and Lee describe how gender is, “the social organization of sexual difference” (124). In biology gender is what sex a person is and in culture gender is how a person should act and portray themselves. They mention how gender is what we were taught to do in our daily lives from a young age so that it can become natural(Shaw, Lee 126). They speak on the process of gender socialization that teaches us how to act and think in accordance to what sex a person is. Shaw and Lee state that many people identify themselves as being transgendered, which involves a person, “resisting the social construction of gender into two distinct, categories, masculinity and femininity and working to break down these constraining and polarized categories” ( 129). They write about how in mainstream America masculinity and femininity are described with the masculine trait being the more dominant of the two. They define how this contributes to putting a higher value of one gender over the other gender called gender ranking (Shaw, Lee 137). They also speak about how in order for femininity to be viewed that other systems of inequality also need to be looked at first(Shaw,Lee 139).
The article “What Makes a Woman” focuses on how transgender should not define a woman because they have not lived their whole lives as a women, have not gone through the struggles, complications and life experiences that women go through. The author also brings in the idea of women and men having different brains to support her argument. The author, Elinor Burkett, effectively uses the three appeals of logos, ethos and pathos to get across her message. The first appeal is ethos that mentions other people’s opinions. The second is pathos by showing Burkett’s emotions. And finally, the third appeal is logos, which includes data statistics.
Gender Outlaws (Smith, 2010) breaks the laws of gender by defying gender normative rules that exclude trans, queer and other non-conforming gender expressions often oppressed by “gender-norming rules,” rules, “expected to observe” or be subject to ridicule and often times labeled as freak by those who consider themselves as normal (p. 28). A gender outlaw seeks to, redefine the notion of gender and are carving out spaces of their own” (p. 30).
Works Cited Kane, Matt. “Transgender characters that changed film and television”. Entertainment Media at GLAAD. 12 November 2013. Web.
Madison, D. Soyini. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship." From Mouse to Mermaid: The Politics of Film, Gender, and Culture. Indianapolis: Indiana UP, 1995. 224-35. Print.
Living life as a transgendered person is not easy. There are very few times when someone comes out as transgender and their lives are still relatively easy to manage. There are a copious...
Lev, A. I. (2013). Gender Dysphoria: Two Steps Forward, One Step Back. Clinical Social Work Journal, 41(3), 288-296.
Preves, Ph.D., Sharon E. "Intersex Narratives: Gender, Medicine, and Identity." Gender, Sex, and Sexuality. New York: Oxford University, 2009. 32-42. Print.