Any context where an individual wears clothing that is socially designated for a different gender than the one they are assigned. The tag includes instances where clothing is used as an overt symbol rather than an overall presentation.
The General History of the Pirates
And now we’re ready to see what the General History says about Bonny and Read, three years after these events. The text I have is the second edition. My understanding is that the first edition also contained the material on Bonny and Read in the main text, but that only the appendices were new to the second edition.
Sorting Out Rackham’s Crew
Given the wide variety of numbers given for Rackham’s crew, it might be useful to digress a moment and try to sort things out.
I was inspired to tackle this set of material because of the flood of sapphic “pirate romances,” many of which are reworkings of the myth (and I use “myth” advisedly) of Anne Bonny and Mary Read, while others spin off from the Hollywood version of the broader myths of the Golden Age of Piracy derived from the anonymously authored General History of the Pirates. As often happens, I was curious to know the original primary source materials that set these myths in motion. Moreover, I was curious to try to determine what parts of that source material might have any basis in fact.
This is a dissertation exploring gender non-conformity in its various expressions, not all of which are relevant to the Project. The author’s thesis, as noted in the abstract is that “the fragmented approach historians have previously taken when examining the lives of gender non-conforming individuals has been inadequate and could be improved by envisioning the individuals not as individual anomalies or aberrations, but as participants in a long cultural tradition of gender non-conformity and transgression throughout western Europe.”
This article is very short, more a set of presentation bullet-points than a full article. Only one small section is relevant and that material is given rather odd connections to Classical Greek motifs. Given that the whole article is somewhat cursory, I feel more forgiving of the briefness of the material.
This is a startlingly (I might say unexpectedly) excellent and comprehensive survey of lesbian-relevant history in Early Modern Europe. That actually makes it difficult to summarize (as well as difficult to tag, though I’ll give it my best shot). I think I’ll approach it by noting themes and topics, without necessarily trying to compose complete sentences.
The articles looks at the phenomenon of crossdressing in England contrasting several angles: polemical literature condemning it, legal records punishing it, and cultural practices (such as theater) normalizing it, as well as some of the socio-economic background that made cross-dressing a flashpoint at this time.
The focus of this article is how 18th century English audiences perceived and experienced cross-dressing on stage. A large part of the article involves a detailed dissection of the 1713 play The Humours of the Army; or, The Female Officer, by Charles Shadwell. A major theme is the interplay not only between female performers taking on male roles (and its implications off stage), but characters who—within the scope of the performance—perform cross-gender roles. Another aspect of the analysis is a comparison of male versus female stage cross-dressing.
This article looks at the culture of public masquerade entertainments in 18th century England (primarily London), especially in how they promoted and supported an atmosphere of sexual liberty. This reputation of masquerades is solidly documented in social commentary and fiction of the time, such as the works of Pope, Hogarth, Fielding, and others.
I can forgive Vicinus for starting off by claiming that much of the historical work on cross-dressing men has focused on the theater and especially on Shakespeare’s works, only because this article was written before much of the work on gender-crossing and trans history has been done. She’s looking at the couple of decades around 1900, a time when understandings of gender and sexuality were undergoing one of those periodic revolutions. The instability of how to read “male impersonation” came from both the multiplicity of framings of the act itself and the attitude of the viewer.
