Join Amazon Prime and ship Two-Day for free and Overnight for $3.99. Already a member? Sign in.
|
|||||||||||||||||
Better Together
Customers Who Bought This Item Also Bought
Transvestites: The Erotic Drive To Cross Dress by Magnus Hirschfeld  (1)
$29.64
|
Female Masculinity by Judith Halberstam  (12)
$16.29
|
Gender Trouble: Feminism and the Subversion of Identity (Routledge Classics) by Judith Butler  (24)
$14.93
|
Unzipping Gender: Sex, Cross-Dressing and Culture (Dress, Body, Culture) by Charlotte Suthrell (1)
$31.46
|
The Performance of Self: Ritual, Clothing, and Identity During the Hundred Years War (The Middle Ages Series) by Susan Crane
$24.95
|
Editorial Reviews
From Publishers Weekly
From the "transvestite theatre" of Shakespearean England and Japan's kabuki to Peter Pan, Boy George and female Elvis impersonators, cross-dressing is a pervasive social phenomenon, claims Garber, director of Harvard's Center of Literary and Cultural Studies. She states that "there can be no culture without the transvestite," who, she argues, calls attention to cultural, social or aesthetic dissonances. The weight of her thesis is carried by such figures as Liberace, Divine, Oscar Wilde and David Bowie, yet her witty, consistently provocative study demonstrates effectively how cross-dressing is wrapped up with recognition of the power of women, androgyny, responses to gay identity and anxiety over economic or cultural dislocations. Garber also looks at transsexuals, drag performances, plays and movies. Photos.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Do clothes really make the man? What do Elvis and Liberace have in common? Why is Peter Pan always played by a woman? These are just a few of the questions of sexual and sartorial politics raised by Garber. From the sumptuary laws of medieval Europe to "vogueing" in New York City in 1991, she traces Western society's inconsistent and often arbitrary views regarding the clothes we wear and how they affect class structure, gender stereotyping, and our own self-image. Garber boldly asserts that transvestism makes culture possible by deliberately confusing the constructs of gender identification and challenging the social control they seek to maintain. Well documented and thoroughly researched, Garber's book is a serious work that is not without a piquant feel for the ironic, especially as she details the lengths to which both men and women have gone to hide their gender in order to get ahead in the world. Often raising more questions than it answers, this is nevertheless a fascinating book about an equally fascinating subject. Highly recommended.
- Jeffrey Ingram, New port P.L., Ore.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
From the "transvestite theatre" of Shakespearean England and Japan's kabuki to Peter Pan, Boy George and female Elvis impersonators, cross-dressing is a pervasive social phenomenon, claims Garber, director of Harvard's Center of Literary and Cultural Studies. She states that "there can be no culture without the transvestite," who, she argues, calls attention to cultural, social or aesthetic dissonances. The weight of her thesis is carried by such figures as Liberace, Divine, Oscar Wilde and David Bowie, yet her witty, consistently provocative study demonstrates effectively how cross-dressing is wrapped up with recognition of the power of women, androgyny, responses to gay identity and anxiety over economic or cultural dislocations. Garber also looks at transsexuals, drag performances, plays and movies. Photos.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
From Library Journal
Do clothes really make the man? What do Elvis and Liberace have in common? Why is Peter Pan always played by a woman? These are just a few of the questions of sexual and sartorial politics raised by Garber. From the sumptuary laws of medieval Europe to "vogueing" in New York City in 1991, she traces Western society's inconsistent and often arbitrary views regarding the clothes we wear and how they affect class structure, gender stereotyping, and our own self-image. Garber boldly asserts that transvestism makes culture possible by deliberately confusing the constructs of gender identification and challenging the social control they seek to maintain. Well documented and thoroughly researched, Garber's book is a serious work that is not without a piquant feel for the ironic, especially as she details the lengths to which both men and women have gone to hide their gender in order to get ahead in the world. Often raising more questions than it answers, this is nevertheless a fascinating book about an equally fascinating subject. Highly recommended.
- Jeffrey Ingram, New port P.L., Ore.
Copyright 1991 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
See all Editorial Reviews
Product Details
|