Attaining Masculinity: Charles Brockden Brown and Woman Warriors of the 1790s

Attaining Masculinity: Charles Brockden Brown and Woman Warriors of the 1790s paul lewis Boston College Attaining Masculinity Charles Brockden of the 1790s When the constructed status of gender is theorized as radically independent of sex, gender itself becomes a free-floating artifice, with the consequence that man and masculine might just as easily signify a female body as a male one, and woman and feminine a male body as easily as a female one. --Judith Butler, Gender Trouble, 1999 I delighted to assume the male dress, to acquire skill at the sword, and dexterity in every boisterous exercise. The timidity that commonly attends women, gradually vanished. I felt as if imbued with a soul that was a stranger to the sexual distinction. --From Martinette's narrative in Brown's Ormond, 1799 As a legion of fans understood, the final (2002­03) season of Joss Whedon's ``Buffy, the Vampire Slayer'' underscored its eponymous character's contribution to both popular horror and teen culture by showing that real women can both fight and win. Locked in combat with a disembodied evil called the First, Buffy and an expanding band of potential slayers triumph over ultramasculine uber-vamps and a minister whose physical power is driven by his misogynist loathing. The season finale literalizes Buffy's metaphoric representation of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Early American Literature University of North Carolina Press

Attaining Masculinity: Charles Brockden Brown and Woman Warriors of the 1790s

Early American Literature, Volume 40 (1) – Feb 17, 2005

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Publisher
University of North Carolina Press
Copyright
Copyright © 2005 by The University of North Carolina Press.
ISSN
1534-147X
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Abstract

paul lewis Boston College Attaining Masculinity Charles Brockden of the 1790s When the constructed status of gender is theorized as radically independent of sex, gender itself becomes a free-floating artifice, with the consequence that man and masculine might just as easily signify a female body as a male one, and woman and feminine a male body as easily as a female one. --Judith Butler, Gender Trouble, 1999 I delighted to assume the male dress, to acquire skill at the sword, and dexterity in every boisterous exercise. The timidity that commonly attends women, gradually vanished. I felt as if imbued with a soul that was a stranger to the sexual distinction. --From Martinette's narrative in Brown's Ormond, 1799 As a legion of fans understood, the final (2002­03) season of Joss Whedon's ``Buffy, the Vampire Slayer'' underscored its eponymous character's contribution to both popular horror and teen culture by showing that real women can both fight and win. Locked in combat with a disembodied evil called the First, Buffy and an expanding band of potential slayers triumph over ultramasculine uber-vamps and a minister whose physical power is driven by his misogynist loathing. The season finale literalizes Buffy's metaphoric representation of

Journal

Early American LiteratureUniversity of North Carolina Press

Published: Feb 17, 2005

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