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 wide variety of functions. In Viola's case, the circumstances are that she is shipwrecked in an unknown land, where she must protect herself. Viola must cross-dress in order to serve the duke. Such situational disguise exposes the constrictiveness of social gender roles by implying the danger and weakness a woman is subdued by (Windholz, 2004).
Consequently, Windholz asserts that Shakespeare's intend is to represent women's use of cross-dressing in response to the patriarchal constraints of Elizabethan society. Disguise may be interpreted as the only means for women to attain empowerment.
However, disguise deforms identities, as characters perceive it as a constraint, a burden or a 'knot': 'Time, thou must untangle this, not I; / it is too hard a knot for me t' untie' (II.2; I-III). Up to the closing scene, Viola remains a man, as her garments are not in her possession. This fact only further emphasizes our dependence upon clothing and their prearranged significance. Orsino addresses her as 'Cesario... / for so you shall be while you are a man' (V.I.348-377). The play's ending casts some light over the whole conundrum, but Viola still confusingly remains dressed as a male. To go back to the question which started the present essay, one may speculate whether it was Shakespeare's intention precisely to leave such an open ending that suggests androgyny.
Latter-day feminists like Susan Bordo have claimed that gender lines are too short-cut for human identity. Bordo urges us to move 'beyond the number two', as she deconstructs dual grids of reading gender identity (in Nicholson, 1990: 134-135). The possible solution - the notion of androgyny - is inspired by many of Shakespeare's characters, in this case by Viola. She is identical to Sebastian and she easily transforms into a man. Clear distinctions are often subverted in Shakespearean characters, reminding us of postmodern androgyny rather than Platonic myths.
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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
In addition, the researcher note that the relatively small sample size in their study did not allow separate genetic analyses for males and females (Coolidge et al.). Environmentalism (social influence). A recent study by Wallien and Cohen-Kettenis (2008) analyzed psychosexual outcomes of gender-dysphoric children at 16 years and older to determine childhood characteristics related to psychosexual outcomes based on various social influences that may be experienced during the timeframes studied.
Bibliography Mouffak, Faycal; Gallarda, Thierry; Baup, Nicolas; Olie, Jean-Pierre; and Krebs, Marie-Odile (2007) Gender Identity Disorders and Bipolar Disorder Associated With the Ring Y Chromosome. American Journal Psychiatry 164:1122-1123 July 2007. Online available at http://ajp.psychiatryonline.org/cgi/content/full/164/7/1122#R1647CHDJECID Childhood Gender-Identity Disorder Diagnosis Under Attack (2007) National Association for Research and Therapy of Homosexuality. NARTH. Leadership U. Online available at http://www.leaderu.com/orgs/narth/childhood.html Osborne, Duncan (2003) Voices - Identity Crisis. OUT magazine. Los Angeles, April 2003. Liberation Publications, Inc.
Gender The challenges families face include lack of social support, lack of guidance, lack of information, prejudice, and hostility. Gender roles and norms are entrenched in the society, making it difficult for children and their parents to resist or subvert conformity. The media and all social institutions perpetuate gender roles and norms. Yet when parents are willing to encourage gender fluidity or gender nonconformity, children and their parents are liberated from
Americans judged the Chinese according to the own ideals and customs. This distorted the American view of China was that it was much like the United States in many ways (Jesperson, 1996, p. 8). When China came under communist control, Americans made the error of thinking that the Chinese were just like them in many ways. Regardless of how one feels about the westernization of China and Chinese culture, its
62), a society with "shallow-rooted" norms (p. 177), a "meager and difficult place" as opposed to the expansive way Ruth wishes to grow as a woman. (p. 178) Helen's storm inside, this mother's crisis of identity, has parallels not with Baldwin's women, but with characters such as the Reverend Henry, whose anger at White society can only be expressed in a eulogy over his beloved son's casket. Extremity in
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