Cross-Dressing as Ambisexual Style: Queer Twists in Virginia Woolf’s Orlando
This paper examines cross-dressing in Virginia Woolf’s Orlando. Reading the novel’s gender topsy-turviness in light of the carnivalesque 1910 Dreadnought Hoax, for which Woolf cross-dressed as an Abyssinian Prince, I explore the seductiveness of queer non-conformity. Rather than focusing on Butleria...
Guardado en:
| Publicado en: | URI:https://journals.openedition.org/erea, |
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| Autor principal: | |
| Formato: | Article ou chapitre numérique |
| Lenguaje: | Anglais |
| Publicado: |
E-rea
2019
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| Acceso en línea: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Sumario: | This paper examines cross-dressing in Virginia Woolf’s Orlando. Reading the novel’s gender topsy-turviness in light of the carnivalesque 1910 Dreadnought Hoax, for which Woolf cross-dressed as an Abyssinian Prince, I explore the seductiveness of queer non-conformity. Rather than focusing on Butlerian socio-political theories on gender, I underline the existential dimension of clothes trouble. Focusing on Orlando’s love relationships and following Clotilde Leguil’s Lacanian reading of gender vacillation, I contend that Woolf’s fanciful biography pertains to Cixous’s écriture feminine as it connects sexual difference, love and writing. |
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