literature

[1] Eighteenth-century court records and periodicals provide glimpses of the bodies of women who cross-dressed and married other women, the so-called female husbands whose bodies challenged emergent categories of sex, gender, and sexuality. Mary

[1] This article addresses gender and popular music-making in the city of Hamilton, New Zealand, a moderately prosperous provincial city (population 130,000) which services a large rural sector (the Waikato). Starting from the observation that few

[1] Although a prolific professional writer and perennial breadwinner for a large household, Margaret Oliphant (1828-1897) has not been easily claimed as a proto-feminist. Her tremendous industry and independence stand in contrast to the

[1] Feminist fiction emerged in both the United States and Great Britain during the height of the second wave feminist movement, marking its entrance with demands for female autonomy, sexual and reproductive freedom, and a cautionary perspective on

[1] On 27 March 1995 Nigel Hawthorne did not win a Best Actor Oscar for his role as George III in Nicolas Hynter’s The Madness of King George (1994).  In an interview with the American magazine The Advocate a week earlier,

[1] The author of five novels (the first of which was published in 1978) and numerous stories, essays, and articles, Jane DeLynn has had a respectable, if not prolific, literary career.  She has attracted little critical attention, however,

[1] Scholars have recently begun to create theoretical models that help us to register important differences within contemporary transgendered identifications.  In 1990, Judith Butler’s GenderTrouble denaturalized norms of gender and

“Stop aw this homophobic shite: it’s a total drag”–Welsh, ‘A Smart Cunt’ (245)[1] ‘Drag’, the practice of cross-dressing and performing as the opposite gender, can be homophobic, suggests an against-the-grain reading of this quote from Irvine Welsh

Setting the terms: after the Fire[1] While it would be problematic to fix a monolithic moment of change from invisibility to visibility in the context of queer citizenship in India, it could be argued that the events following the screening of 

[1] Rodion Romanovich Raskolnikov’s delirium-filled wanderings about Saint Petersburg and his subsequent encounters with various abused and anonymous young women are necessary catalysts to his eventual self-discovery as well as paradigms for