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Using the one-act comedy El parto de Juan Rana (John Frog Gives Birth) as a point of departure, Velasco argues that the figure of the pregnant man in early modern Spanish culture was not merely comic entertainment, but also served an important role as a physical representation of the anxieties about the changing roles of men and women at the time.Men were increasingly taking over medical duties--especially surrounding childbirth--usually left to women and, as their medical knowledge increased, they became aware of bodies and behaviors--both male and female--that transgressed gender norms. The anxieties about men who acted in ways seen as increasingly womanly (from acting effeminately to participating in homosexual activity) played out in the character of pregnant Juan Rana.Then, Velasco turns to Hollywood and asks if we might not use the lessons of Juan Rana to help explain why contemporary America is also fascinated by the idea of male pregnancy--think Arnold Schwarzenegger in Junior--and our increasing anxiety over the changing face of masculinity in our own culture.

Using the one-act comedy El parto de Juan Rana (John Frog Gives Birth) as a point of departure, Velasco argues that the figure of the pregnant man in early modern Spanish culture was not merely comic entertainment, but also served an important role as a physical representation of the anxieties about the changing roles of men and women at the time.Men were increasingly taking over medical duties--especially surrounding childbirth--usually left to women and, as their medical knowledge increased, they became aware of bodies and behaviors--both male and female--that transgressed gender norms. The anxieties about men who acted in ways seen as increasingly womanly (from acting effeminately to participating in homosexual activity) played out in the character of pregnant Juan Rana.Then, Velasco turns to Hollywood and asks if we might not use the lessons of Juan Rana to help explain why contemporary America is also fascinated by the idea of male pregnancy--think Arnold Schwarzenegger in Junior--and our increasing anxiety over the changing face of masculinity in our own culture.

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Over time, male homosexuality and effeminacy have become indelibly associated, sometimes even synonymous. In Faeries, Bears, and Leathermen, Peter Hennen contends that this stigma of effeminacy exerts a powerful influence on gay subcultures. Through a comparative ethnographic analysis of three communities, Hennen explores the surprising ways that conventional masculinity is being collectively challenged, subverted, or perpetuated in contemporary gay male culture. Hennen’s colorful study focuses on a trio of groups: the Radical Faeries, who parody effeminacy by playfully embracing it, donning prom dresses and glitter; the Bears, who strive to appear like “regular guys” and celebrate their larger, hairier bodies; and the Leathermen, who emulate hypermasculine biker culture, simultaneously paying homage to and undermining notions of manliness. Along with a historical analysis of the association between effeminacy and homosexuality, Hennen examines how this connection affects the groups’ sexual practices. Ultimately, he argues, while all three groups adopt innovative approaches to gender issues and sexual pleasure, masculine norms continue to constrain members of each community.

Over time, male homosexuality and effeminacy have become indelibly associated, sometimes even synonymous. In Faeries, Bears, and Leathermen, Peter Hennen contends that this stigma of effeminacy exerts a powerful influence on gay subcultures. Through a comparative ethnographic analysis of three communities, Hennen explores the surprising ways that conventional masculinity is being collectively challenged, subverted, or perpetuated in contemporary gay male culture. Hennen’s colorful study focuses on a trio of groups: the Radical Faeries, who parody effeminacy by playfully embracing it, donning prom dresses and glitter; the Bears, who strive to appear like “regular guys” and celebrate their larger, hairier bodies; and the Leathermen, who emulate hypermasculine biker culture, simultaneously paying homage to and undermining notions of manliness. Along with a historical analysis of the association between effeminacy and homosexuality, Hennen examines how this connection affects the groups’ sexual practices. Ultimately, he argues, while all three groups adopt innovative approaches to gender issues and sexual pleasure, masculine norms continue to constrain members of each community.

Cultural Writing. Gay/Lesbian Studies. New to SPD. Here is a revealing look into male effeminacy: why some gay men are swishy, why other gay men are more masculine, and why effeminate men arouse anger, disgust, and disdain in both gay and straight men. SISSYPHOBIA explores those negative feelings that are aimed at people termed fairies, faggots, flamers, and queens; men who, as the author puts it, run more toward what we could term the `Quentin Crisp school of homosexuality.' The focus of SISSYPHOBIA is the author's search of the roots of the rage toward effeminate or flamboyant men experienced by men of every sexual persuasion, even themselves. Visit the book's Web site at www.sissyphobia.com.

Richard II (1377-99) has long suffered from an unusually unmanly reputation. Over the centuries, he has been habitually associated with lavish courtly expenditure, absolutist ideas, Francophile tendencies, and a love of peace, all of which have been linked to the king's physical effeminacy. Even sympathetic accounts have essentially retained this picture, merely dismissing particular facets of it, or representing Richard's reputation as evidence of praiseworthy dissent from accepted norms of masculinity.Christopher Fletcher takes a radically different approach, setting the politics of Richard II's reign firmly in the context of late medieval assumptions about the nature of manhood and youth. This makes it possible not only to understand the agenda of the king's critics, but also to suggest a new account of his actions. Far from being the effeminate tyrant of historical imagination, Richard was a typical young nobleman, trying to establish his manhood, and hence his authority to rule, by thoroughly conventional means; first through a military campaign, and then, fatally, through violent revenge against those who attempted to restrain him.The failure of Richard's subjects to support this aspiration produced a sequence of conflicts with the king, in which his opponents found it convenient to ascribe to him the conventional faults of youth. These critiques derived their force not from the king's real personality, but from the fit between certain contemporary assumptions about youth, effeminacy, and masculinity on the one hand, and the actions of Richard's government, constrained by difficult and complex circumstances, on the other.

In Effeminate England, Joseph Bristow explores the legacy of effeminacy in homoerotic literature that began more than a century ago with the 1885 Labouchere Amendment criminalizing male homosexual contact and Oscar Wilde's subsequent incarceration. This broad overview looks into the century that followed these defining moments in the history of gay literature, demonstrating how the effeminate behavior that came to be connected so solidly with male homosexual identity has manifested itself in the literature of gay male writers in England.Effeminate England focuses closely on the works and lives of several prominent British literary figures of the past century, including E. M. Forster, John Addington Symonds, and Quentin Crisp. In a concluding section, Bristow evaluates the impact of the AIDS epidemic on gay men's writing and offers a thoughtful, original reading of Alan Hollinghurst's highly regarded recent novel, The Swimming Pool Library.

Richard II (1377-99) has long suffered from an unusually unmanly reputation. Over the centuries, he has been habitually associated with lavish courtly expenditure, absolutist ideas, Francophile tendencies, and a love of peace, all of which have been linked to the king's physical effeminacy. Even sympathetic accounts have essentially retained this picture, merely dismissing particular facets of it, or representing Richard's reputation as evidence of praiseworthy dissent from accepted norms of masculinity.Christopher Fletcher takes a radically different approach, setting the politics of Richard II's reign firmly in the context of late medieval assumptions about the nature of manhood and youth. This makes it possible not only to understand the agenda of the king's critics, but also to suggest a new account of his actions. Far from being the effeminate tyrant of historical imagination, Richard was a typical young nobleman, trying to establish his manhood, and hence his authority to rule, by thoroughly conventional means; first through a military campaign, and then, fatally, through violent revenge against those who attempted to restrain him.The failure of Richard's subjects to support this aspiration produced a sequence of conflicts with the king, in which his opponents found it convenient to ascribe to him the conventional faults of youth. These critiques derived their force not from the king's real personality, but from the fit between certain contemporary assumptions about youth, effeminacy, and masculinity on the one hand, and the actions of Richard's government, constrained by difficult and complex circumstances, on the other.