INTRODUCTION

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ILLUSTRATIONS vii
4. ACKNOWLEDGEMENTS ix
5. INTRODUCTION 1
6. NOTE ON TRANSLATION AND ROMANIZATION 9
7. PROLOGUE
8. ONE. LU XUN'S STRAIGHT WORDS AND THE QUEER WORLD OF CHINESE OPERA 15
9. HISTORY
10. TWO. A THEATRE OF CROSS-DRESSING: A REVISIONIST HISTORY 29
11. THREE. A THEATRE OF DESIRE: THE CONCUBINE AND THE HEGEMON KING 67
12. FOUR. (CROSS-)DRESSING UP TO POWER: WOMAN WARRIORS 83
13. FIVE. UN/QUEERING THE LATENTLY QUEER AND TRANS GENDER PERFORMANCE: THE BUTTERFLY LOVER(S) 109
14. ARTIFACT
15. SIX. THE CRISIS OF GENDER REPRESENTATION: THE YUAN THEATRE MURAL 137
16. ACTING
17. SEVEN. GENDER AND PERFORMANCE: CROSSING REALITY/FICTION AND ACTING THE OTHER SEX 155
18. BODY
19. EIGHT. AESTHETICS AND POLITICS OF THE PERFORMING BODY: FEMALE SCHOLAR AND MALE QUEEN 173
20. NINE "THE LAST FEMALE IMPERSONATOR": WEN RUHUA AND HIS AESTHETICS OF MALE TRANSVESTISM 191
21. EPILOGUE 215
22. NOTES 219
23. BIBLIOGRAPHY 247
24. GLOSSARY 281
25. INDEX 291