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transgender identity

I’ve used this tag to indicate entries where there is clear evidence suggesting a transgender identity or, in fantastic literature, where an actual physical sexual transformation takes place as the resolution to an apparent same-sex bond.

LHMP entry

Ovid's Iphis & Ianthe (in the Metamorphoses) raises questions about Roman views of female homoerotic relationships. Iphis, born female but raised male, falls in love with Ianthe and then is transformed into a male body in order to marry her.

This article is primarily a mid-20th century case-study of one particular woman from an upper-class clan of southern Iraq who is a poet and lives as a “mustergil”, that is, a woman living as a man. The informant reports that there are perhaps fifty women in her clan alone living as mustergils.

Although this article concerns itself with evidence from 20th century ethnographic work, a number of researchers have suggested that the evidence of folklore and earlier historic references indicate that a recognized role of this type previously existed much more widely in various European cultures. (See, e.g., Clover 1995 covered previously.) The “sworn virgins” represent a trans-gender role, although one expressed with a broad range of variation in gender expression and identity.

This is a sourcebook of excerpts (in translation) from historic documents relating to France during the 16-18th centuries that relate in some way to same-sex relationships. The documents cover court records, personal correspondence, religious commentary, medical opinion, satire, and political polemic. While most items take an external point of view, some are (or purport to be) from the point of view of homosexuals themselves.

This chapter tackles the question of how "sameness" in the context of same-sex relations reflected and represented concerns about social leveling. It begins by considering an example of the "metamorphic" framing: a 17th c. book of curiosities that included a chapter of 24 instances of persons changing sex. Though the book was reprinted regularly, the sex-change chapter was dropped, perhaps reflecting a shift from an earlier miracle-accepting age to one more concerned with rational explanations.

(by Rose Fox)

Chapter 4 is "Classic Amazons: Performing Gender in Goethe's Weimar." Weimar was small and poor, far from major trade routes, with an enormous "dominating" palace. Krimmer doesn't mince words, drawing an analogy between the “great palace” and “shabby town” and the “acclaim for Weimar's male writers” versus the “obscurity of Weimar's female writers”. "In order fully to understand the gender concepts inherent in Weimar Classicism, we must read canonical works alongside marginalized texts by women writers of the time."

(by Rose Fox)

German Romanticism was very concerned with the "transgression of polarities", so its literature has lots of crossdressing. Krimmer lists lots of examples of works with characters who crossdress or are perceived as crossdressing. Joseph von Eichendorff's "From the Life of a Good-for-Nothing"; Achim von Arnim's "Isabella of Egypt"; Clemens Brentano's "Godwi" Eichendorff's "Premonition and Present" and "Poets and Their Companions"; E.T.A. Hofmann's "Artus' Court" And Tieck's "Franz Sternbald's Migrations". All published between 1798 and 1826.

(by Rose Fox)

This chapter opens with an overview of the Chevalière d'Eon: MAAB, legally declared female by Louis XVI, wore men's clothes. Fascinating person. Transvestism was called "eonism" for a couple hundred years thanks to the Chevalière. "For several years, d'Eon's gender was the subject of numerous bets and legal proceedings." "D'Eon's story teaches us that as long as we live and breathe, the culturally mediated body is an unreliable agent of truth."

This review will necessarily be somewhat cursory, as the entire book is relevant to the LHMP project. In general, I will summarize data not covered in detail elsewhere, and include references to the rest.

Haley looks at Lucian's Dialogues of the Courtesans, including his portrayal of women who sexually desired other women, from the context of queer theory and a consideration of male gaze versus representation. Given the more classically-oriented audience for this collection, she helpfully starts with an explanation of queer theory and the examination of sexual identity as a social and political construct. [I think this may be the first time I've encountered the use of "Pomosexual" in a non-ironic way.]


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