Trans*Sichtbarkeit hat in den letzten Jahren einen Höhepunkt erreicht, so auch in TV- und Streaming-Serien. Sie geht mit Prozessen sozialer Popularisierung und akademischer Legitimierung einher. Inwiefern bildet die fiktionale Darstellung von trans*Personen ihre vielfältige Wirklichkeit ab, die von selbstbestimmten Lebensentwürfen ebenso wie von Diskriminierung und Gewalt geprägt ist? Wenn es stimmt, dass Serien Gesellschaft- und Identifikationsmodelle hervorbringen, welche Chancen und Gefahren sind dann mit ihrer Verbreitung verbunden? Die Autor_innen gehen diesen Frage anhand von ausgewählten europäischen Serien nach. creativecommons.org/licenses/by-nc-nd/4.0/
Trans*Sichtbarkeit hat in den letzten Jahren einen Höhepunkt erreicht, so auch in TV- und Streaming-Serien. Sie geht mit Prozessen sozialer Popularisierung und akademischer Legitimierung einher. Inwiefern bildet die fiktionale Darstellung von trans*Personen ihre vielfältige Wirklichkeit ab, die von selbstbestimmten Lebensentwürfen ebenso wie von Diskriminierung und Gewalt geprägt ist? Wenn es stimmt, dass Serien Gesellschaft- und Identifikationsmodelle hervorbringen, welche Chancen und Gefahren sind dann mit ihrer Verbreitung verbunden? Die Autor_innen gehen diesen Frage anhand von ausgewählten europäischen Serien nach. creativecommons.org/licenses/by-nc-nd/4.0/
Today it is widely accepted that some people feel they are born in the wrong body, we call them transgender. Can we accept that some people feel that they are born in the wrong era? Can we accept that they are transtime? Twenty-nine-year-old Esme has always felt a pull towards the late eighteenth century and feels isolated in 2015. Meanwhile Zilpha Clarke, a spinster in Swanford, is frustrated with her lot in 1790. Would they really be happier in each other’s eras or would travelling through time only exchange one set of problems for another?
The first full-length study of transgender representations in art, fiction, film, video, and music In her first book since the critically acclaimed Female Masculinity, Judith Halberstam examines the significance of the transgender body in a provocative collection of essays on queer time and space. She presents a series of case studies focused on the meanings of masculinity in its dominant and alternative forms’ especially female and trans-masculinities as they exist within subcultures, and are appropriated within mainstream culture. In a Queer Time and Place opens with a probing analysis of the life and death of Brandon Teena, a young transgender man who was brutally murdered in small-town Nebraska. After looking at mainstream representations of the transgender body as exhibited in the media frenzy surrounding this highly visible case and the Oscar-winning film based on Brandon's story, Boys Don’t Cry, Halberstam turns her attention to the cultural and artistic production of queers themselves. She examines the “transgender gaze,” as rendered in small art-house films like By Hook or By Crook, as well as figurations of ambiguous embodiment in the art of Del LaGrace Volcano, Jenny Saville, Eva Hesse, Shirin Neshat, and others. She then exposes the influence of lesbian drag king cultures upon hetero-male comic films, such as Austin Powers and The Full Monty, and, finally, points to dyke subcultures as one site for the development of queer counterpublics and queer temporalities. Considering the sudden visibility of the transgender body in the early twenty-first century against the backdrop of changing conceptions of space and time, In a Queer Time and Place is the first full-length study of transgender representations in art, fiction, film, video, and music. This pioneering book offers both a jumping off point for future analysis of transgenderism and an important new way to understand cultural constructions of time and place.
This title is part of American Studies Now and available as an e-book first. Visit ucpress.edu/go/americanstudiesnow to learn more. In the last decade, public discussions of transgender issues have increased exponentially. However, with this increased visibility has come not just power, but regulation, both in favor of and against trans people. What was once regarded as an unusual or even unfortunate disorder has become an accepted articulation of gendered embodiment as well as a new site for political activism and political recognition. What happened in the last few decades to prompt such an extensive rethinking of our understanding of gendered embodiment? How did a stigmatized identity become so central to U.S. and European articulations of self? And how have people responded to the new definitions and understanding of sex and the gendered body? In Trans*, Jack Halberstam explores these recent shifts in the meaning of the gendered body and representation, and explores the possibilities of a nongendered, gender-optional, or gender-queer future.
W. G. Sebald meets Maggie Nelson in an autobiographical narrative of embodiment, visual art, history, and loss. How do the bodies we inhabit affect our relationship with art? How does art affect our relationship to our bodies? T Fleischmann uses Felix Gonzáles-Torres’s artworks—piles of candy, stacks of paper, puzzles—as a path through questions of love and loss, violence and rejuvenation, gender and sexuality. From the back porches of Buffalo, to the galleries of New York and L.A., to farmhouses of rural Tennessee, the artworks act as still points, sites for reflection situated in lived experience. Fleischmann combines serious engagement with warmth and clarity of prose, reveling in the experiences and pleasures of art and the body, identity and community.
Winner, 2019 PROSE Award for Anthropology, Criminology and Sociology, presented by the Association of American Publishers A groundbreaking look at the lives of transgender children and their families Some “boys” will only wear dresses; some “girls” refuse to wear dresses; in both cases, as Ann Travers shows in this fascinating account of the lives of transgender kids, these are often more than just wardrobe choices. Travers shows that from very early ages, some at two and three years old, these kids find themselves to be different from the sex category that was assigned to them at birth. How they make their voices heard—to their parents and friends, in schools, in public spaces, and through the courts—is the focus of this remarkable and groundbreaking book. Based on interviews with transgender kids, ranging in age from 4 to 20, and their parents, and over five years of research in the US and Canada, The Trans Generation offers a rare look into what it is like to grow up as a trans child. From daycare to birthday parties and from the playground to the school bathroom, Travers takes the reader inside the day-to-day realities of trans kids who regularly experience crisis as a result of the restrictive ways in which sex categories regulate their lives and put pressure on them to deny their internal sense of who they are in gendered terms. As a transgender activist and as an advocate for trans kids, Travers is able to document from first-hand experience the difficulties of growing up trans and the challenges that parents can face. The book shows the incredible time, energy, and love that these parents give to their children, even in the face of, at times, unsupportive communities, schools, courts, health systems, and government laws. Keeping in mind that all trans kids are among the most vulnerable to bullying, violent attacks, self-harm, and suicide, and that those who struggle with poverty, racism, lack of parental support, learning differences, etc, are extremely at risk, Travers offers ways to support all trans kids through policy recommendations and activist interventions. Ultimately, the book is meant to open up options for kids’ own gender self-determination, to question the need for the sex binary, and to highlight ways that cultural and material resources can be redistributed more equitably. The Trans Generation offers an essential and important new understanding of childhood.
Trans Historical explores the plurality of gender experiences that flourished before the modern era, from Late Antiquity to the eighteenth century, across a broad geographic range, from Spain to Poland and Byzantium to Boston. Refuting arguments that transgender people, experiences, and identities were non-existent or even impossible prior to the twentieth century, this volume focuses on archives—literary texts, trial transcripts, documents, and artifacts—that denaturalize gender as a category. The volume historicizes the many different social lives of sexual differentiation, exploring what gender might have been before modern medicine, the anatomical sciences, and the sedimentation of gender difference into its putatively binary form. The volume's multidisciplinary group of contributors consider how individuals, communities, and states understood and enacted gender as a social experience distinct from the assignment of sex at birth. Alongside historical questions about the meaning of sexual differentiation, Trans Historical also offers a series of diverse meditations on how scholars of the medieval and early modern periods might approach gender nonconformity before the nineteenth-century emergence of the norm and the normal. Contributors: Abdulhamit Arvas, University of Pennsylvania; Roland Betancourt, University of California, Irvine; M. W. Bychowski, Case Western Reserve University; Emma Campbell, Warwick University; Igor H. de Souza, Yale University; Leah DeVun, Rutgers University; Micah James Goodrich, University of Connecticut; Alexa Alice Joubin, George Washington University; Anna Kłosowska; Greta LaFleur; Scott Larson, University of Michigan, Ann Arbor; Kathleen Perry Long, Cornell University; Robert Mills, University College London; Masha Raskolnikov; Zrinka Stahuljak, UCLA.
“This thoughtful academic treatise . . . explores the lives of three famous gender nonconformists in fin-de-siècle Paris.” —Publishers Weekly Before the term “transgender” existed, there were those who experienced their gender in complex ways. Before Trans examines the lives and writings of Jane Dieulafoy (1850–1916), Rachilde (1860–1953), and Marc de Montifaud (1845–1912), three French writers whose gender expression did not conform to nineteenth-century notions of femininity. Dieulafoy fought alongside her husband in the Franco-Prussian War; later she wrote novels about girls becoming boys and enjoyed being photographed in her signature men's suits. Rachilde became famous in the 1880s for her controversial gender-bending novel Monsieur Vénus, published around the same time that she started using a calling card that read “Rachilde, Man of Letters.” Montifaud turned to erotic writings, for which she was repeatedly charged with "offense to public decency"; she wore tailored men's suits and a short haircut and went by masculine pronouns among certain friends. Dieulafoy, Rachilde, and Montifaud established themselves as fixtures in the literary world of fin-de-siècle Paris at the same time as French writers, scientists, and doctors were becoming fascinated with sexuality and sexual difference. Even so, the concept of gender identity as separate from sexual identity did not yet exist. Before Trans explores these three figures' efforts to articulate a sense of selfhood that did not align with the conventional gender roles of their day. Their personal stories provide vital historical context for our own efforts to understand the nature of gender identity. “A fresh and original take on trans history.” —Jack Halberstam, author of The Queer Art of Failure
From bestselling author of She’s Not There, New York Times opinion columnist, and human rights activist Jennifer Finney Boylan, Good Boy: My Life in Seven Dogs, a memoir of the transformative power of loving dogs. This is a book about dogs: the love we have for them, and the way that love helps us understand the people we have been. It’s in the love of dogs, and my love for them, that I can best now take the measure of the child I once was, and the bottomless, unfathomable desires that once haunted me. There are times when it is hard for me to fully remember that love, which was once so fragile, and so fierce. Sometimes it seems to fade before me, like breath on a mirror. But I remember the dogs. In her New York Times opinion column, Jennifer Finney Boylan wrote about her relationship with her beloved dog Indigo, and her wise, funny, heartbreaking piece went viral. In Good Boy, Boylan explores what should be the simplest topic in the world, but never is: finding and giving love. Good Boy is a universal account of a remarkable story: showing how a young boy became a middle-aged woman—accompanied at seven crucial moments of growth and transformation by seven memorable dogs. “Everything I know about love,” she writes, “I learned from dogs.” Their love enables us to pull off what seem like impossible feats: to find our way home when we are lost, to live our lives with humor and courage, and above all, to best become our true selves.
