Fabulous Femininities: Extravagant Costume and Transformative Thresholds

美妙的女性气质：奢华的服装和变革的门槛

基本信息

批准号：
AH/T002344/1
负责人：
Jacqueline Michelle Willson
金额：
$ 64.14万
依托单位：
University of Leeds
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2020
资助国家：
英国
起止时间：
2020 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FT002344%2F1
关键词：
Fabulous Femininities Extravagant Costume Transformative

项目摘要

Fabulous Femininities will seek to understand the way that resistant feminine identities are performed by burlesque club-goers via specific DIY approaches to costume. The ethnographic study will focus on a range of participants who identify as women (biologically born women and male to female transsexual woman) in order to document, understand and theorize the transformative threshold between the everyday self and the extravagant spectacle. The project will explore this transformative element of costume in order to understand the way costume performs and politicizes alternative embodied versions of 'womanhood'. It is timely to undertake this exploration as the category of 'woman' has been significantly challenged in recent years with trans people becoming more visible and central to cultural debates. Both popular Second Wave and Fourth Wave feminists who deny that trans women are 'real' women have been vociferously challenged as transphobic, regressive and intolerant (Finlayson, Jenkins, Worsdale 2018; Pearce 2018)The burlesque club is a socially sensitive and aware space that encourages a conscious and accepting attitude to this change, with many club night and event organizers insisting on unisex toilets and changing facilities as well as wheelchair accessible venues. The heightened subcultural space, enables the clubbers to transform into more expansive notions of what constitutes 'woman' via feminized costume. The significance of this research lies in giving a platform to the way that marginalized women in the UK are reacting and responding to this societal gendered shift from the grassroots level up. This will prompt us to reinvigorate more open, tolerant thinking about the possibilities for femininity and the female body at large.It is important that this theme is explored because 'self-narrative' or 'self-construction' as Mason-Schrock argues in relation to transsexuals, are not just about revealing the pre-existing self but also about bringing 'phenomenologically real "true selves"' into being (1996). Feminine dress and styling of the body allows the male to female transgender community for instance to feel 'at home'; and in contemporary debate there has been a strong push for acceptance of this as a human rights issue. However, there is an urgent need to understand and address exactly how the feminine accessories performatively work to that end - how do items of feminine dress enable this? The performance of spectacular femininity facilitates the process of feeling at home on three levels. Firstly, within a subcultural community the person feels at home as a collective outsider - this is a safe zone where alter egos can be expressed theatrically and femininity can be personalized. Secondly, there is a sense of being an outsider and excluded from femininity itself which has been harnessed and straitjacketed by the requirements of heteronormativity. 'Straight' cisgendered women (women who feel that their gender identity matches their sex as assigned at birth) find themselves squeezed out of any right to cultural resistance because it is persistently taken as read that they are normalcy and privilege itself (Willson and McCartney: 2017). Exploring DIY approaches to costume in subcultural spaces will give us a better understanding of feminine costume's role in fashioning and magnifying 'othered' subversive female identities.Costume performs and politicizes belonging with extravagant accessories operating as a linchpin - threshold - between imaginative and real topographies; between subcultural/minority scenes, spaces and sites and mainstream spaces of heterosexuality and 'womanhood'. This project seeks to understand the way in which this process performs both a psychological and social need and a political desire for democratic representational freedoms.

神话般的女性将寻求理解滑稽表演者通过特定的DIY服装方法进行抵抗的女性身份的方式。民族志研究将集中在一系列参与者上，这些参与者为妇女（生物出生的女性和男性与女性变性妇女），以记录，理解和理论化日常自我与奢侈的景象之间的变革性阈值。该项目将探索服装的这种变革性元素，以了解服装的性能并政治化替代性体现的“女人味”的方式。及时进行探索是及时进行的，因为近年来，“女人”的类别受到了挑战，因为跨性别者变得越来越明显，并且是文化辩论的核心。流行的第二波和第四波女权主义者都否认跨性别女性是“真实的”女性，都受到了恐惧，回归和不宽容的挑战轮椅无障碍场地。较高的亚文化空间使俱乐部能够通过女性化的服装转变为“女人”的更广泛观念。这项研究的意义在于为英国边缘化妇女做出反应和反应这种社会性别从基层的转变做出反应和反应的方式。这将促使我们对女性气质和整个女性身体的可能性更开放，宽容地思考。重要的是要探索这个主题，因为“自我叙事”或“自我建构”正如梅森·史克罗克（Mason-Schrock）所说的那样，在与变性方面相关的是，不仅要揭示出现象的自我，而且还揭示了现场的自我，而是实现了现实情况。女性的衣服和身体的造型使男性到女性跨性别社区可以感觉“在家”；在当代辩论中，人们强烈推动接受这一问题作为人权问题。但是，迫切需要了解并准确地解决女性配件如何在此目的上表现出色 - 女性着装的物品如何实现这一目标？壮观的女性气质的表现有助于在三个层面上享心的感觉。首先，在亚文化社区中，这个人是一个集体局外人的感觉 - 这是一个安全的区域，可以在戏剧上表达改变自我，并且可以个性化女性气质。其次，存在一种局外人的感觉，被排除在女性气质本身之外，这种感觉已被异词的要求所利用和紧张。 “直截了当”的女性（觉得自己的性别认同与出生时分配的性别相匹配的妇女）发现自己是出于任何文化抵抗权而被压缩出来的，因为它持续被认为是读到自己是正常和特权本身（Willson and McCartney：2017年）。在亚文化空间中探索DIY的服装方法将使我们更好地了解女性服装在造成和放大“其他”“其他”颠覆性女性身份中的作用。Costume表演并以奢华的配件为典型的配件进行政治化，以阈值 - 阈值 - 幻想 - 想象和真实的pletographies之间；在亚文化/少数民族场景，异性恋和“女人味”的主流空间和主流空间之间。该项目试图了解这一过程既执行心理和社会需求，又要对民主代表自由的政治渴望。