Cross-dressing is the act of wearing clothes and other equipment commonly associated with the opposite sex in a particular society. Cross-dressing has been used for the purpose of disguising, comforting, and self-discovery in modern times and throughout history.
Almost every human society throughout history has had the norms expected for each sex relating to the style, color, or type of clothing they expect to wear, as well as most societies have a set of guidelines, views or even laws that define what kind of clothing is appropriate for each sex.
The term cross-dressing refers to the action or behavior without linking or implying a specific cause for that behavior. It is often assumed that the connotation is directly correlated with transgender identity behavior or sexual, fetishist, and homosexual behavior, but the term itself does not imply any motive and is not identical to a person's gender identity.
Video Cross-dressing
History
Cross-dressing has been practiced throughout recorded history and in many societies. There are many examples in Greek mythology, Norse, and Hindu. A number of well-known historical figures are known to have cross-dress with varying degrees and for various reasons. There is a rich history of dressed in crosswords found in folklore, literature, theater, and music. Examples include Kabuki and Korean shamanism.
It was once considered taboo in Western societies for women to wear traditional attire associated with men, except when done under certain circumstances such as the case of need (as per St. Thomas Aquinas' guidance in Summa Theologiae II), which states: "Yet this can be done sometimes without sin because of some need, either to hide from the enemy, or for lack of other clothing, or for similar motives." Cross-dressing is cited as an abomination in the Bible in Deuteronomy (22: 5), which states: "A woman should not wear a man's clothes, or a man wear women's clothing, for God your God hates whoever does this," but as Aquinas notes on this principle are interpreted in context. Other people in the Middle Ages sometimes disputed its application; for example, the French poet of the fifteenth century Martin le Franc, wrote:
- Did you not see that it was banned
- That anyone should eat animals
- Unless there is a gap in the foot
- And chew her breed?
- To eat rabbits no one dares
- Not from pigs or pigs,
- However you should now be offered,
- You will take a lot of a piece.
However, women must masquerade as men to participate in the wider world. For example, Margaret King dressed in the early nineteenth century to attend medical school, because no one wanted to accept female students. While this prohibition remained generally applicable throughout the Middle Ages and early modern era, this is no longer the case and Western women are often seen wearing trousers, ties, and men's hats. However, many cultures around the world still forbid women wearing trousers or other traditional men's clothing.
Cross dressing in early modern Spain is prevalent among theaters and is the most popular form of entertainment. There is an interest in women cross dresser in particular, and it is "very popular" in "Golden Age Comedia". Spain views this cross-clad phenomenon as a threat, and passes legislation targeting transvestite women throughout the 1600s. Despite the negative reactions and rejection, it remains the most popular form of theatrical and a major contribution to Spanish comedy.
Maps Cross-dressing
Variety
There are many types of change of clothes and many different reasons why a person may be involved in cross-dressing behavior. Some people dress in a cross as a matter of comfort or style, from personal preference to clothing attributed to the opposite sex. In this case, a person's cross-dressing may or may not be visible to others. Some people dress in crosswords to shock others or challenge social norms.
Gender disguises have been used by women and girls as men in society and by men and boys to make themselves women. Gender disguise has also been used as a plot tool in storytelling and is a recurring motif in literature, theater, and film. This is a common plot device in narrative ballads. Historically, some women were dressed in crossword to adopt a male-dominated profession, such as military service. In contrast, some men dress in a cross to escape from conscription or as a disguise to assist in political or social protests, as did the men at Rebecca Riots.
Undercover journalism may require cross-dressing, such as the Norah Vincent project Self-Made Man .
Single-sex playlists often have multiple players dressed in cross to play roles written for members of the opposite sex (travesti). Cross-dressing, especially the depiction of men wearing dresses, is often used for comic effects on stage and on screen.
Drag is a special form of performance art based on cross-dressing action. A transvestite is usually a man who is assigned as a very feminine character, in a high costume sometimes consisting of striking dresses, high heels, clear makeup, and wigs. A drag queen can imitate a famous female film or pop-music star. Artificial queens are women who are assigned to use the same technique.
A drag king is an opponent of a transvestite but usually to a much different audience, and is defined as a woman-assigned person who adopts a masculine persona in performance or imitating a male film or pop-music star. Some women assigned for genital change therapy also identify themselves as
A fetishist is a person (usually a heterosexual man) who is cross-dressed as part of a sexual fetish.
The term underdressing is used by cross-dressers to describe wearing women's underwear under their men's clothing. Renowned low-cost filmmaker Edward D. Wood, Jr. said he often wore women's underwear under his military uniform during World War II.
Some people who do cross-dress may attempt to project a complete impression of another gender, including behavior, speech patterns, and sexual characteristic competition. This is referred to as passing or "trying to pass" depending on how successful the person is. An observer who sees through cross-dresser attempts to pass is said to have read or clocked them. There are videos, books, and magazines about how men look more like women.
Female masking is a cross-dressing form where men wear masks that present them as women.
Sometimes one member of a heterosexual couple will dress in a cross to awaken the other. For example, men may wear skirts or underwear and/or women will wear boxers or other men's clothing. (See also forced feminization)
Others may choose to take a mixed approach, adopt some feminine traits and some masculine traits in their appearance. For example, a man may wear a dress and a beard. This is sometimes known as genderfuck . In a broader context, crossdressing may also refer to other actions taken to pass as a particular sex, such as packing (accentuating male groin bullets) or, conversely, inserting (masking the groin).
Shirt
The actual cross-dressing determination is largely socially constructed. For example, in Western societies, trousers have long been adopted for use by women, and are no longer considered cross-dressing. In cultures where men traditionally wear clothing such as skirts like skirts or sarongs, these are not seen as women's clothing, and wear them are not seen as dressing for men. As society becomes more global, men's and women's clothing adopts clothing styles associated with other cultures.
Cosplay can also involve cross-dressing, for some women may want to dress as men, and vice versa (see Crossplay). Breast binding (for women) is not uncommon and is one of the things that may be required to cosplay male characters.
In most parts of the world, it is socially not approved for men to wear clothing traditionally attributed to women. Occasional attempts, eg. by fashion designers, to promote the reception of skirts as a daily outfit for men. Crosslinkers complain that people allow women to wear pants or jeans and other masculine clothing, while cursing anyone who wants to wear clothes sold for women.
While creating a more feminine figure, cross-dressers will often use different types and styles of breast forms, which are silicone prostheses traditionally used by women who have undergone a mastectomy to create a visual appearance of the breast.
While most male fashion designers make use of the clothing associated with modern women, some engage in subcultures that involve dressing like little girls or vintage clothing. Some men like that have written that they enjoy the feminine dress possible, so they wear frilly dresses with lace and ribbons, wedding dresses complete with hoods, as well as some skirts, bodice, belts, and/or garter belts with nylon stockings.
Social issues
Cross-dressers can start wearing clothes associated with the opposite sex in childhood, using clothing, siblings, parents, or friends. Some parents say they allow their children to get dressed and, in many cases, the child stops as they get older. The same pattern often continues into adulthood, where there may be a confrontation with the couple. A married crossbreeder experiences considerable anxiety and guilt if their partner objects to their behavior. Sometimes cross-dressers regularly throw away all their clothes, a practice called "cleaning", just to start collecting more gender clothes.
Analysis
The historical attachment between men with power and femininity with submission and carelessness means that today a woman dressed in men's suits and a man dressed in women's clothing elicits a very different response. A woman dressed in menswear is considered a more acceptable activity.
Advocacy for social change has been largely undertaken to loosen gender role restrictions on men and women, but they are still subject to the prejudices of some. It appears that as 'transgender' becomes more socially acceptable as a normal human condition, the prejudices against cross-dressing change quite rapidly, as the same prejudice against homosexuality has changed rapidly in recent decades.
The reason why it is so difficult to have statistics for female cross dresser is that the line at which cross-dressing stops and cross-dressing begins has become blurred, while the same line for men is well defined as before. This is one of many problems overcome by the feminism of the third wave as well as the modern masculine movement.
The general culture has a very diverse view of cross-dressing. A woman wearing her husband's shirt onto a bed is considered attractive while a man wearing his wife's nightgown to bed may be considered transgressive. Marlene Dietrich in a tuxedo is considered very erotic; Jack Lemmon in a dress is considered ridiculous. All of this may result from the stiffness of the overall gender role for men; that is, because of the prevalent gender dynamics around the world, men often experience discrimination when deviating from masculine gender norms, particularly violations of heteronativity. Adoption of feminine clothing by a man is often considered down in the social order of gender whereas women's adoption of traditional men's clothing (at least in the English-speaking world) has less impact because women are traditionally inferior to men. , can not affect serious changes through dress styles. So when a man dressed in a garment, he becomes a quasi-female and thus becomes the embodiment of conflicting gender dynamics. Following Butler's work, the gender results were shared through the ritual performances, but in the cross-dressing the man became a masculine "break" and a "subversive repetition" of feminine.
Psychoanalysts today do not consider cross-dressing by itself as a psychological problem, unless it interferes with a person's life. "For example," said Dr. Joseph Merlino, Freud's senior editor at 150: 21st Century Essence on Man of Genius , "[suppose that]... I am a cross-dresser and I do not want to keep it limited to my friends circle me, or my party's circle, and I want to take her to my wife and I do not understand why she does not accept it, or I take her to my office and I do not understand why they do not accept it, so that's a problem because it bothers my relationship and my environment. "
See also
References
Note
Further reading
- Anders, Charles. The Lazy Crossdresser , Greenery Press, 2002. ISBNÃ, 1-890159-37-9.
- Boyd, Helen. Betty My Husband , Press Mouth Thunder, 2003
- Chesser, Lucy. Separation with My Gender: Cross-dressing, Inversion and Sexuality in Australian Cultural Life , Sydney University Press, Sydney, 2008. ISBNÃ, 978-1-920898-31-1.
- Clute, John & amp; Grant, John. The Encyclopedia of Fantasy , Orbit Books, 1997. ISBNÃ, 978-1-85723-368-1
- Dekker, Rudolf M. and Van De Pol, Lotte C. Traditional Transplant Women in Early Modern Europe , 1989, ISBN 0-312-17334-2.
- Gravois, Valory. Cherry Single , Alchemist/Light Publishing, 1997 (Available for free, online), ISBNÃ, 0-9600650-5-9
- Leigh, Lacey. Sign out & amp; About: The Emancipated Crossdresser , Double Star Press, 2002. ISBNÃ, 0-9716680-0-0.
- "Lynne". "Cross-Dressing-Perspective"
- Novic, Richard J. Alice in genderland: crossdresser is of age , iUniverse, 2005, ISBNÃ, 0-595-31562-3
- Roscoe, Will, The Zuni Man-Woman , University of New Mexico Press, 1991. ISBNÃ, 0-8263-1253-5.
- Rudd, Peggy J. Crossdressing with Dignity: Case to Go beyond Gender Line , PM Publishers, Inc., 1999. ISBNÃ, 0-9626762-6-8.
External links
- Gender Center (Australia)
Source of the article : Wikipedia
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