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History of transgender in america essay
Transgender in different eras
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Throughout history, people’s views towards gender have tightly corresponded with biology and a person’s physical and genetic makeup. Transvestites, mostly male, have battled with the question of which category they fit into and if society will accept them for whom they truly aspire to be. This untitled photograph, taken by an unknown photographer, portrays a refuge home known as “Casa Susanna,” a safe-haven for heterosexual transvestites and drag queens during the dawn of the 1960s. It was not until a decade ago that the “Casa Susanna” photos were discovered and people really questioned the meaning behind the people within the refuge home. The photos document the secret lives of breadwinning men within the safe house of “Casa Susanna,” conforming …show more content…
Some believe they are “both disturbed and exceedingly rare” (Devor, 110), others view them in terms of psycho, and some even are known as saints. In the dawn of the 1960s most cultures in the United States would view transvestites as psycho, disturbed, and exceedingly rare. Most transvestites during this time were aware of society’s unaccepting views towards them and either conformed to society’s norms or expressed themselves within the safety of accepting others. In Vern L. Bullough’s article “Transvestites in the Middle Ages” he discusses transvestites and examines it in the terms of social status. Throughout Bullough’s studies he analyzes transvestite saints that shaped the attitudes towards transvestites in North America. During Bullough’s study he comes across the difference between male transvestites and female transvestites. It is clear that status could only be gained if females dressed in the clothes of males. On the other hand, if male saints were to dress as females they would both lose status and have sinned. The difference between men and woman transvestites is just another look at society’s illiberal policies. The men at “Casa Susanna” knew that if they were to de-masculinize themselves they would be scrutinized and lose status within society. Not only were society’s views towards transvestism narrow-minded, they were discriminatory based on sex. The need to conform to society’s norms has been an ongoing battle throughout time, and is a clear example of a one-sided cultural intolerance towards
“From Lieutenant Nun,” a memoir written by doña Catalina de Erauso, tells an intriguing story of a young Spanish female and her advantageous journey through Spain and the New World. Her family intends for her to become a nun but, that is not the life she seeks for herself. Therefore, she breaks away from the convent in hopes of finding somewhere to make her fortune by passing as a male. Catalina’s story is noteworthy because it gives readers another perspective of exploration focusing on self-discovery during the seventeenth century emphasizing how passing as a male is the only thing that secured her ability to explore. In the memoir, Catalina repeatedly reminisces about clothing and, whether she consciously or unconsciously does so, she allows the reader to see that this is an important aspect of her exploration. Throughout Catalina’s journey, clothing plays an increasingly important role not only in her travels but, also her personal life because it symbolized ones status, role, gender and privileges.
Men and women were held under drastically different expectations in Spain and the Spanish colonies in the late sixteenth and early seventeenth centuries. These set gender roles are effectively demonstrated through the life of Catalina de Erauso, who experienced the entire spectrum through her adventures as a transvestite in this time period. Opportunities and freedom in culture, politics and economy, and religion varied greatly between men and women. Men were capable of living out their lives independently and ambitiously. Women, on the other hand, were taught to be reliant and mild-mannered characters in the background. De Erauso shatters this idea of a woman’s role by fulfilling a life of adventure and power. In doing so, she briefly dispels the obligations of gender roles, if only for herself. Catalina de Erauso was a nun, a lieutenant, and a history-maker.
The tragicomic Fun Home, by Alison Bechdel, is generally considered one of the most important pieces of the modern LGBTQ canon of literature. The graphic novel tells the story of Alison Bechdel’s attempt to find the truth about her father’s sexuality and what lead him to possibly commit suicide. Along the way, Bechdel finds her own sexuality. Bechdel’s choice to write about her and her father’s simultaneous journey to finding their sexuality was revolutionary at the time. Very few authors were writing openly about their own sexuality, and something even more revolutionary that Bechdel addressed was mental illness.
It is hard to imagine drag not consisting of a type of stage activity and of being a part of a theatrical performance. Contreras also points in Ester Newton’s book, Mother Camp: Female Impersonators in America. In framing drag’s importance to queer theory, it is also important to consider drag practice also a particular expression of racial identify (Contreras, 2005). In this book, Contreras explains that drag´s relationship to sexual and racial identities are discussed in a context in which relatively is visible academic work about drag, such as Marjorie Garber’s books Vested Interest: Cross Dressing and Cultural Anxiety where she elides these
It is undeniably true that an equality of the sexes exists today that was not even imagined in the medieval era. However, this rise in respect for women does not guarantee that all of the prejudices and stereotypes from preceding centuries have fallen by the wayside; on the contrary, most of the same archetypes are alive and well, even if modified to suit a new world. From the unattainably perfect virgin to the sexually insatiable temptress, these images appear throughout modern culture-but the disturbing nature of their existence is made far worse by the complacency with which women accept and further them. In many places, control of the image of women has passed into their own hands, yet broad generalizations and negative suggestions continue to fill daily life.
In the graphic novel Fun Home, by Allison Bechdel, sexual self-discovery plays a critical role in the development of the main character, Allison Bechdel herself; furthermore, Bechdel depicts the plethora of factors that are pivotal in the shaping of who she is before, during and after her sexual self-development. Bechdel’s anguish and pain begins with all of her accounts that she encountered at home, with her respective family member – most importantly her father – at school, and the community she grew up within. Bechdel’s arduous process of her queer sexual self-development is throughout the novel as complex as her subjectivity itself. Main points highlight the difficulties behind which are all mostly focused on the dynamics between her and her father. Throughout the novel, she spotlights many accounts where she felt lost and ashamed of her coming out and having the proper courage to express this to her parents. Many events and factors contributed to this development that many seem to fear.
Meyerowitz, Joanne. “Beyond the Feminine Mystique: A Reassessment of Postwar Mass Culture, 1946-1958” The Journal of American History (March 1993): 1455-1482
Her chief arguing points and evidence relate to the constriction of female sexuality in comparison to male sexuality; women’s economic and political roles; women’s access to power, agency, and land; the cultural roles of women in shaping their society; and, finally, contemporary ideology about women. For her, the change in privacy and public life in the Renaissance escalated the modern division of the sexes, thus firmly making the woman into a beautiful
From the moment a woman is born, she is automatically expected many things from her. Wear a dress, have no body hair, be with a man, don’t be too loud, etc. The list of “norms” that a woman is anticipated to uphold to goes on for days. And often times, women that decide to branch out from those “norms” are viewed as less valuable or obscene. In Robyn Ochs essay, “Bisexuality, Feminism, Men and Me”, she discusses the revolutionary moment when she realizes that living up to the assumptions of what it means to be a woman systemically limits us from our true potential. As presented in the movie “Frida”, a brilliant artist is often times overshadowed by her promiscuous relationships with women and men. A woman’s life does not dwindle down to the
Critical analysis “A man would never set out to write a book on the peculiar situation of the human male. But if I wish to define myself I must first of all say: ‘I am a woman’; on this truth must be based all further discussion. A man never being by presenting himself as an individual of a certain sex; it goes without saying that he is a man. The terms masculine and feminine are used symmetrically only as a matter of form, as on legal papers. In actuality the relation of the two sexes is not quite like that of two electrical poles, for man represents both the positive and the neutral, as is indicated by the common use of man to designate human beings in general; whereas woman represents only the negative, defined by limiting criteria, without reciprocity….Thus humanity is male and man defines woman not in herself but as relative to him; she is not regarded as an autonomous being …He is the Subject, he is the Absolute- she is the Other”. This piece of writing is taken from the book ‘Y: The Descent of Men’ by Steve Jones published in 2002, Little, Brown. This was written originally by de Beauvoir in The Second Sex, that is later elaborated both in the context and the meaning by Jones. The historical context of the writing follows the academic feminism as an interdisciplinary proposition that is deep rooted in a sort of “political reality that challenges confinement to one particular discipline”. Consequently, philosophies and principles “which developed from the 1960s onwards were shared as feminist philosophers, historians, literary therorists, anthropologists, sociologists, cultural theorists and others, engaged in a project that had a common political background – to take action against women's subordination. The genesis of fe...
Kane, Matt. “Victims or Villans: Examining Ten Years of Transgender Images on Television.” GLAAD. N.p., 21 Nov. 2012. Web. 08 Mar. 2014.
Transsexuals see themselves as an actual man or women. The don’t realized that no matter what they do to change their sex, some in society will still see them as that man or women their were born as . For society, the topic of reverse gender is complex with various emotions. Moreover, individuals frequently marked them as misfits, not understanding the genuine essence of being man or woman. There are many arguments that state, psychological disorders do not change a person gender, no matter how trapped they might seem, as
EBSCO HOST. Web. The Web. The Web. 17 Feb. 2014. Madison, D. - Soyini, S. "Pretty Woman Through the Triple Lens of Black Feminist Spectatorship."
It seems that in ordinary life, we are most likely to distinguish between a man and a woman by clothing. This is more difficult to do in the present day, in which women have adapted much traditionally male clothing for their own use, but in the time periods in which Orlando is set it was still the case that men and women wore distinct clothing. If we consider our everyday experience, it becomes clear that this is the means we use, at least from a distance. Other cues such as hairstyle, quality of voice, and so on enter the equation later, but clothing comes first. A man with long hair is eccentric at worst; a man wearing a dress runs the risk of being beaten to a pulp for this transgression. People wishing to undergo a sex-change operation must undergo a period of living as the opposite gender before going through with surgery - the first and most important thing invariably done here is to purchase a new wardrobe.
Catherine Opie’s Domestic is a series of large-scale chromogenic color print photographs portraying lesbian families and couples across the United States as well as a series of still lifes from the subjects’ households. The photographs were taken from 1995-1998 and are each about 40x50 inches. The images can be found on the Regen Projects website, where it was exhibited in 1999.