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Elizabeth McMahon has argued that in Australian culture the figure of the transvestite is: variously in transit, of transience, and an agent of transport across discrete categories of classification. This capacity functions at a literal level in that Australian crisis transvestite narratives are most often journeys … Yet these transvestite journeys and wanderings are also metaphorical in that they represent an internalised sense of displacement and of exile.43 Priscilla is certainly a quest narrative and in this sense McMahon is correct; however, her article tends towards the assumption of cross-dressing as a uniform category and crisis does crisis not take into account the significance of sexuality in this equation. The question of who is allowed to perform and what these performances mean is crucial. Indeed, in late twentieth century Australian culture, hegemonic masculinity has a very particular relationship to cross-dressing, one that is in evidence almost every week on The Footy Show as the footballers dress up in women’s clothes for musical numbers or parodies of recent television commercials.
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