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Transvestites/Cross-Dressing
A transvestite is a person who sometimes feels the need to dress and behave as a member of the opposite sex. The majority of transvestites are men who like to dress as women; however, some women dress up as men, as well. In addition, the vast majority of male transvestites like being men. They do not feel as if they are women trapped in male bodies, nor do they desire to become female by taking hormones or having surgery to remove their male genitals. Men who do feel uncomfortable with being male are said to have gender dysphoria. If they become unhappy and feel the need to change their gender, they are called transsexuals. Some women have gender dysphoria and seek to change their sex, but they are a small minority of transsexuals. This paper will discuss why people cross-dress, types of people who cross-dress, how to cross-dress, and the cross-dresser and his or her family.
There is much speculation as to why some people want to cross-dress. Some cite hormonal or genetic...
Most people say it is an outlet for stress and they tend to want to dress up more during times of tension at work or at home. For example, some men get a remarkable relief of stress from wearing women's lingerie under their exterior male clothing. Although, some men may go no further than this; most transvestites want to appear as female as possible in their outer garments and also want to wear make-up. Other reasons people may want to cross-dress may be due to an erotic arousal or fetish, expression of hidden personality characteristics, creativity, envy of women, etc.. Each transvestite is different and will have his or her own reasons for wanting to cross-dress.
Cross-dressers come from all walks of life. They are of all different races, creeds, and economic backgrounds. Most cross-dressers are well educated and come from good family backgrounds. The majority of cross-dressers are heterosexual transvestites and are married. Most are happy…
Cross Dressing Upon meeting an individual, the first distinction observed is whether the person is male or female. More often than not, this first impression is made from what the individual is wearing, such as a man's suit or a woman's dress. However, sexual gender cannot always be assumed by what one is wearing. Based on history and culture, people have been conditioned to visually assess whether an individual appears as they
This critic argues that plays such as Twelfth Night, Midsummer Nights Dream, and as You Like it merely serve to assert masculine authority and to rebuff practices like cross-dressing. Besides, cross-dressing threatened the social order and the gendered hierarchies of power. The principles of subordination were challenged by the subversive potential of such practices which transgressed norms (Howard, 1988:418). Regarding the motivation of disguise in Shakespearean plays, it assumes a
Jennie Livingston's Paris is Burning still remains as one of my favorite documentaries. As my interest in subcultures and documentaries grew simultaneously and exponentially over the past few years, I frequently had to consider and analyze the ethics of representing others. However, before my research on the perception of Livingston's documentary, which shines a light on one of the most influential subcultures, I had never felt guilty for being a
There is no male equivalent of Sugar Cane in Some Like it Hot. Unlike the unequivocally feminine Sugar Cane, neither Joe nor Jerry plays the role of the cad or the cowboy. In fact, Joe shows genuine emotion and caring for Sugar as his feelings for her deepen. Joe and Jerry, like Sugar Cane, are musicians. All three are therefore portrayed as social equals regardless of gender. Gender and sexuality
Psycho Alfred Hitchcok's Psycho was released in 1960, and encapsulates the social, psychological, and political tensions of the Cold War era. As Raubicheck and Serebnick point out, Psycho could have been a bridge to the 1960s but the film is "less linked to and reflective of the so-called radical sixties than they are of the more controlled fifties and possess more cultural texture of this earlier era," (17). The issues related
" James a.S. McPeek further blames Jonson for this corruption: "No one can read this dainty song to Celia without feeling that Jonson is indecorous in putting it in the mouth of such a thoroughgoing scoundrel as Volpone." Shelburne asserts that the usual view of Jonson's use of the Catullan poem is distorted by an insufficient understanding of Catullus' carmina, which comes from critics' willingness to adhere to a conventional -- yet incorrect