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Consuming desires: Performing gender in Virginia Woolf's Orlando, Neil Jordan's the crying game and sally potter's Orlando

Consuming desires: Performing gender in Virginia Woolf's Orlando, Neil Jordan's the... This essays examines how twentieth century queer practices— such as queer literature, queer theory, and queer film— attempt to resist and reconfigure the historical legacy of compulsory homosexuality and the commodification of gender. I begin by tracing the ways in which the eighteenth century discourse on masquerade offered resistance to the limited, culturally sanctioned array of gendered subject positions of the time in order to evaluate the effectiveness of postmodern modes of resisting and reconfiguring gender construction and consumption at the close of the twentieth century. I argue that the postmodern discourse on gender performance improves upon the eighteenth century discourse on masquerade as a strategy for reconceiving resistance to the hegemonic legitimation of compulsory homosexuality, and that by queering our conception of gender construction in this way we may consummate our desire for a wider array of social/ sexual desiring positions without reinscribing them within an unself‐critical consumerism. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Consumption Markets and Culture Taylor & Francis

Consuming desires: Performing gender in Virginia Woolf's Orlando, Neil Jordan's the crying game and sally potter's Orlando

Stokes, Peter
Consumption Markets and Culture , Volume 1 (4): 14 – Jan 1, 1998
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References (3)

Publisher
Taylor & Francis
Copyright
Copyright Taylor & Francis Group, LLC
ISSN
1477-223X
eISSN
1025-3866
DOI
10.1080/10253866.1998.9670306
Publisher site
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Abstract

This essays examines how twentieth century queer practices— such as queer literature, queer theory, and queer film— attempt to resist and reconfigure the historical legacy of compulsory homosexuality and the commodification of gender. I begin by tracing the ways in which the eighteenth century discourse on masquerade offered resistance to the limited, culturally sanctioned array of gendered subject positions of the time in order to evaluate the effectiveness of postmodern modes of resisting and reconfiguring gender construction and consumption at the close of the twentieth century. I argue that the postmodern discourse on gender performance improves upon the eighteenth century discourse on masquerade as a strategy for reconceiving resistance to the hegemonic legitimation of compulsory homosexuality, and that by queering our conception of gender construction in this way we may consummate our desire for a wider array of social/ sexual desiring positions without reinscribing them within an unself‐critical consumerism.

Journal

Consumption Markets and Culture – Taylor & Francis

Published: Jan 1, 1998

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