This book looks at how Catalina de Erauso’s story has been “constructed, interpreted, marketed and consumed” in the 17-20th centuries. Velasco identifies Catalina as a “transgenderist” (that is, someone who engages in transgender performance without necessarily having transgender identity) and uses she/her pronouns as the book is examining how Catalina’s image was used (the image of a woman performing masculinity) rather than interpreting what Catalina’s own understanding might have been.
[Note: within the context of current frameworks of gender and sexuality, there are equally strong cases for viewing de Erauso as a transgender man, or as a “passing woman” who used male disguise for the purpose of gaining economic and social independence, and who may have enjoyed erotic desires for women apart from performing heterosexuality as part of that disguise. There is an equally strong case to be made for considering both framings to be anachronistically meaningless in the context of early 17th century Spain.
Mills asks (rhetorically) why medievalists rarely discuss transgender frameworks of interpretation, given that medieval people had much clearer ideas about that topic than anything that might be called “sexuality.” Moral polemics focused less on sex acts themselves, than on disruptions of gender, in particular those that violated the strict binary contrast of “male = active, female = passive.” Androgynous (or intersex) persons were recognized as existing, but were required to choose a consistent binary gender identity (or celibacy).
This chapter would seem to undermine one of Faderman’s key themes: that people (especially, but not solely) women were completely in ignorance of the possibility of women engaging in sex together (however narrowly she is defining “sex”) until the writings of the sexologists educated them on those possibilities. Only then did women who had been convinced by their upbringings that they didn’t feel sexual desire suddenly begin engaging in genital sexual activity.
In the second half of the 19th century, psychiatrists began identifying women who transgressed gender norms as “inverts” (i.e., homosexual) and as pathological. Carl von Westphal in Germany was an early example, although his work was not widely circulated. His followers Richard von Krafft-Ebing and Havelock Ellis had more influence.
In this chapter, Faderman reviews the historic and literary perception of women cross-dressing as men during the 16-18th centuries. She notes that women passing as men [or transgender men, although this framing was not typically used at the time the book was published] were considered a more serious issue than lesbian sex, as long as that sex was between “feminine” women. One difference was that sexual encounters could be framed as a transient amusement whereas passing women were engaged in a long-term transgression.
This is a translation of an 1891 publication of the summary of German trial records from1721. The 1891 publication is by Dr. F. C. Müller, a sexologist who added his own commentary from the point of view of sexual psychopathology. Eriksson’s translation omits this commentary and includes only the original trial summary. The summary was put together after the conclusion of the trial when the sentence was being sent to a higher authority for review.
Somewhat similarly to Dugaw’s book on gender disguise in military contexts in the early modern period (both in life and literature), this book examines the phenomenon of persons born as women who took up military careers as men, whether out of patriotism, as one facet of a transgender identity, from some other desperate need, or a combination thereof. The book is copiously illustrated, including many photographs of the more modern subjects who are included.
Friedli provides an extensive examination of “passing women” -- defined as women (using current terminology, it might be better to say “persons assigned female at birth”, but Friedli uses “women” and I will follow that here) who live, work, and/or marry as men for some period during their lives. This is specifically distinguished from theatrical cross-dressing or overt cross-dressing as a sexual signal. While the phenomenon is far from confined to the 18th century, there seems to have been a fascination with it in England, beginning in the late 17th century.
Jelinek has collected information about a surprisingly large number of gender-masquerade autobiographies, covering the 17-20th centuries and focused on the English-speaking world (likely due to the reseracher’s own interests). The bibliography at the end lists 18 publications, covering 17 different individuals, of whom 13 are discussed in detail in the article. As a context for the material, Jelinek notes motifs of women disguised as men in literature , including several works by William Shakespeare and Margaret Cavendish.