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249 M. Fangbang Rd., Shanghai
Wikipedia:
- Tai Sui is a Chinese term for the stars directly opposite the planet Jupiter (木星 Mùxīng) during its roughly 12-year orbital cycle. Personified as deities, they are important features of Chinese astrology, Feng Shui, Taoism, and Chinese Buddhism to a lesser extent.
- The City God Temple or Temple of the City Gods (simplified Chinese: 上海城隍庙; traditional Chinese: 上海城隍廟; pinyin: Shànghǎi Chénghuángmiào; Shanghainese: Zånhae Zenwånmio), officially the City Temple of Shanghai,[1] is a folk temple located in the old city of Shanghai.
Several days ago, I had to get into my black and white negative files to pull an image for someone, and decided to scan a few. We are on B&O's Cranberry Grade, east of Rodemer, WV, looking at the rear of a westbound set of light helpers dropping into Graveyard Curve. The date is Sept. 21, 1980, and it wasn't unusual to see WM power in the lash up. Fading, were the days of solid four unit B&O SD35 lash ups. I remember it well. At first, I wasn't a happy camper. Don't get me wrong, I loved Western Maryland, just not muxing up a Cranberry helper set. Time has altered my view. (Kodak Plus-X)
"Tres muxes / Three Muxes"
-Vela Muxe at December 28th, 2015-
(Juchitán, Oaxaca, México. #Photograph by Gustavo Thomas © 2015)
We are Queens in machos land
...more pictures and text at www.okinreport.net
[This picture was published on Gulliver (Italian monthy magazine) in July 06]
En la región de Istmo de Tehuantepec, en el estado de Oaxaca, en el sur de México, existe un tercer género: no son hombres,no son mujeres, son Muxes.
Nail art for the 29th day of the Challenge. Full description of the mani in my nail polish blog: www.muxe.net/blog/2013/02/supernatural-nails/
Ceramic figure of a Zapotec woman (or Muxe -- trans woman) from the Isthmus of Tehuantepec. Made by Demetrio Garcia Aguilar. Ocotlan, Oaxaca
Muxes--third gender Zapotec persons from the Isthmus of Tehuantepec--celebrate the feast of San Sebastian in Oaxaca.
As always, more pics in my blog: www.muxe.net/blog/2013/05/black-flowers-on-pink/
My Facebook: www.facebook.com/pages/Maris-Nail-Polish-Blog/21811511499...
MUXES - We are Princesses in a land of Machos (Oaxaca-Mexico) (new serie)
"Candy" 14 years old, a young "Muxe", Juchitan - Mexico
They drink beer, they are part of local governement and they are symbol of good luck for their family: they are Muxes, homosexuals of the “pueblo oaxacaqueno de Juchitan”, more than 3000 homosexuals who enjoy respect and admiration in all the country.
Los Muxes (in zapotec language means homosexual)are considered as a blessing in Juchitan and you can count almost 3000 of them.
According to a taxi-driver, there is a homosexual in every family and Muxes themselves assert to be “fallen fron a broken pocket of San Vicente Ferrer” the patron saint of Juchitan,during his holy walk over the town (a local expression to say they are lucky, chosen people).
It is a luck for a homosexual to be born in Juchitan, where in a population of 160.000 people, the most of them feel respect for Muxes, while they walk proudly in the streets, dressed as women with huipiles and enaguas, typical dress of the Tehuantepec Isthmus.
The homosexuals of Juchitan have gained a place in economical and political activities, normally reserved to men.
They are ownersof shops,they work in hospitals, they are successful stylists of the typical local dresses and owners of beauty salons.
A resident in Juchitan says ”Thanks to God, we have one of them in every family... they are like women, they work as a man, but they wash, cook, clean the house and when the other sons will get married and leave, they will stay and look after their old parents”.
“A lady living here, has accepted a son muxes... and then she has winned the lottery.. it is a real blessing. .everybody shoul accept them as they are.. in every place they are”.
Carlos Lopez Toledo, municipal concellor, explains that when a family relizes that a child has a bent for homosexuality, they treat him as a lucky charme, because Muxes are good producers.
“A lot of us are in this way, because our parents have converted us and treated as female “says Felina, a 36 years old Muxes, owner of an Estetica (beauty salon). ”I’m not a man.. I’m not a woman.. I’m a Muxes and there is place for everyboby in the Vineyard of Lord “.
En la región de Istmo de Tehuantepec, en el estado de Oaxaca, en el sur de México, existe un tercer género: no son hombres,no son mujeres, son Muxes.
MUXES - We are Princesses in a land of Machos (Oaxaca-Mexico) (new serie)
They drink beer, they are part of local governement and they are symbol of good luck for their family: they are Muxes, homosexuals of the “pueblo oaxacaqueno de Juchitan”, more than 3000 homosexuals who enjoy respect and admiration in all the country.
Los Muxes (in zapotec language means homosexual)are considered as a blessing in Juchitan and you can count almost 3000 of them.
According to a taxi-driver, there is a homosexual in every family and Muxes themselves assert to be “fallen fron a broken pocket of San Vicente Ferrer” the patron saint of Juchitan,during his holy walk over the town (a local expression to say they are lucky, chosen people).
It is a luck for a homosexual to be born in Juchitan, where in a population of 160.000 people, the most of them feel respect for Muxes, while they walk proudly in the streets, dressed as women with huipiles and enaguas, typical dress of the Tehuantepec Isthmus.
The homosexuals of Juchitan have gained a place in economical and political activities, normally reserved to men.
They are ownersof shops,they work in hospitals, they are successful stylists of the typical local dresses and owners of beauty salons.
A resident in Juchitan says ”Thanks to God, we have one of them in every family... they are like women, they work as a man, but they wash, cook, clean the house and when the other sons will get married and leave, they will stay and look after their old parents”.
“A lady living here, has accepted a son muxes... and then she has winned the lottery.. it is a real blessing. .everybody shoul accept them as they are.. in every place they are”.
Carlos Lopez Toledo, municipal concellor, explains that when a family relizes that a child has a bent for homosexuality, they treat him as a lucky charme, because Muxes are good producers.
“A lot of us are in this way, because our parents have converted us and treated as female “says Felina, a 36 years old Muxes, owner of an Estetica (beauty salon). ”I’m not a man.. I’m not a woman.. I’m a Muxes and there is place for everyboby in the Vineyard of Lord “.
close to OPI Stay the Night
more pics in my blog www.muxe.net/blog/2013/02/dance-legend-liquid-sand-in-car...
St. Sebastian is one of the early martyrs of the Catholic church. Many consider him to be the patron of homosexuals and third-gender persons. The person on the left is a muxe, a third-gender person from the Zapotec region of the Isthmus of Tehuantepec.
MUXES - We are Princesses in a land of Machos (Oaxaca-Mexico) (new serie)
They drink beer, they are part of local governement and they are symbol of good luck for their family: they are Muxes, homosexuals of the “pueblo oaxacaqueno de Juchitan”, more than 3000 homosexuals who enjoy respect and admiration in all the country.
Los Muxes (in zapotec language means homosexual)are considered as a blessing in Juchitan and you can count almost 3000 of them.
According to a taxi-driver, there is a homosexual in every family and Muxes themselves assert to be “fallen fron a broken pocket of San Vicente Ferrer” the patron saint of Juchitan,during his holy walk over the town (a local expression to say they are lucky, chosen people).
It is a luck for a homosexual to be born in Juchitan, where in a population of 160.000 people, the most of them feel respect for Muxes, while they walk proudly in the streets, dressed as women with huipiles and enaguas, typical dress of the Tehuantepec Isthmus.
The homosexuals of Juchitan have gained a place in economical and political activities, normally reserved to men.
They are ownersof shops,they work in hospitals, they are successful stylists of the typical local dresses and owners of beauty salons.
A resident in Juchitan says ”Thanks to God, we have one of them in every family... they are like women, they work as a man, but they wash, cook, clean the house and when the other sons will get married and leave, they will stay and look after their old parents”.
“A lady living here, has accepted a son muxes... and then she has winned the lottery.. it is a real blessing. .everybody shoul accept them as they are.. in every place they are”.
Carlos Lopez Toledo, municipal concellor, explains that when a family relizes that a child has a bent for homosexuality, they treat him as a lucky charme, because Muxes are good producers.
“A lot of us are in this way, because our parents have converted us and treated as female “says Felina, a 36 years old Muxes, owner of an Estetica (beauty salon). ”I’m not a man.. I’m not a woman.. I’m a Muxes and there is place for everyboby in the Vineyard of Lord “.
Cherry flowers (water decals) over white OPI nail polish: www.muxe.net/blog/2013/03/sakura-blossom-season-2013/
My FB page: www.facebook.com/pages/Maris-Nail-Polish-Blog/21811511499...
From Wikipedia, the free encyclopedia
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For other uses, see Androgyny (disambiguation).
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Androgyny is the combination of masculine and feminine characteristics into an ambiguous form. Androgyny may be expressed with regard to biological sex, gender identity, gender expression, or sexual identity.
When androgyny refers to mixed biological sex characteristics in humans, it often refers to intersex people. As a gender identity, androgynous individuals may refer to themselves as non-binary, genderqueer, or gender neutral. As a form of gender expression, androgyny can be achieved through personal grooming or fashion. Androgynous gender expression has waxed and waned in popularity in different cultures and throughout history.
Contents
1Etymology
2History
3Symbols and iconography
4Biological
5Psychological
5.1Bem Sex-Role Inventory
5.2Personal Attribues Questionnaire
6Gender identity
7Gender expression
7.1Androgyny in fashion
8Alternatives
9Contemporary trends
10See also
11References
12External links
Etymology[edit]
Androgyny as a noun came into use c. 1850, nominalizing the adjective androgynous. The adjective use dates from the early 17th century and is itself derived from the older French (14th Century) and English (c. 1550) term androgyne. The terms are ultimately derived from Ancient Greek: ἀνδρόγυνος, from ἀνήρ, stem ἀνδρ- (anér, andr-, meaning man) and γυνή (gunē, gyné, meaning woman) through the Latin: androgynus,[1] The older word form androgyne is still in use as a noun with an overlapping set of meanings.
History[edit]
See also: Sexuality in ancient Rome § Hermaphroditism and androgyny
Androgyny among humans – expressed in terms of biological sex characteristics, gender identity, or gender expression – is attested to from earliest history and across world cultures. In ancient Sumer, androgynous and hermaphroditic men were heavily involved in the cult of Inanna.[2]:157–158 A set of priests known as gala worked in Inanna's temples, where they performed elegies and lamentations.[2]:285 Gala took female names, spoke in the eme-sal dialect, which was traditionally reserved for women, and appear to have engaged in homosexual intercourse.[3] In later Mesopotamian cultures, kurgarrū and assinnu were servants of the goddess Ishtar (Inanna's East Semitic equivalent), who dressed in female clothing and performed war dances in Ishtar's temples.[3] Several Akkadian proverbs seem to suggest that they may have also engaged in homosexual intercourse.[3] Gwendolyn Leick, an anthropologist known for her writings on Mesopotamia, has compared these individuals to the contemporary Indian hijra.[2]:158–163 In one Akkadian hymn, Ishtar is described as transforming men into women.[3]
The ancient Greek myth of Hermaphroditus and Salmacis, two divinities who fused into a single immortal – provided a frame of reference used in Western culture for centuries. Androgyny and homosexuality are seen in Plato's Symposium in a myth that Aristophanes tells the audience.[4] People used to be spherical creatures, with two bodies attached back to back who cartwheeled around. There were three sexes: the male-male people who descended from the sun, the female-female people who descended from the earth, and the male-female people who came from the moon. This last pairing represented the androgynous couple. These sphere people tried to take over the gods and failed. Zeus then decided to cut them in half and had Apollo repair the resulting cut surfaces, leaving the navel as a reminder to not defy the gods again. If they did, he would cleave them in two again to hop around on one leg. Plato states in this work that homosexuality is not shameful. This is one of the earlier written references to androgyny. Other early references to androgyny include astronomy, where androgyn was a name given to planets that were sometimes warm and sometimes cold.[5]
Philosophers such as Philo of Alexandria, and early Christian leaders such as Origen and Gregory of Nyssa, continued to promote the idea of androgyny as humans' original and perfect state during late antiquity.”[6] In medieval Europe, the concept of androgyny played an important role in both Christian theological debate and Alchemical theory. Influential Theologians such as John of Damascus and John Scotus Eriugena continued to promote the pre-fall androgyny proposed by the early Church Fathers, while other clergy expounded and debated the proper view and treatment of contemporary “hermaphrodites.”[6]
Western esotericism’s embrace of androgyny continued into the modern period. A 1550 anthology of Alchemical thought, De Alchemia, included the influential Rosary of the Philosophers, which depicts the sacred marriage of the masculine principle (Sol) with the feminine principle (Luna) producing the "Divine Androgyne," a representation of Alchemical Hermetic beliefs in dualism, transformation, and the transcendental perfection of the union of opposites.[7] The symbolism and meaning of androgyny was a central preoccupation of the German mystic Jakob Böhme and the Swedish philosopher Emanuel Swedenborg. The philosophical concept of the “Universal Androgyne” (or “Universal Hermaphrodite”) – a perfect merging of the sexes that predated the current corrupted world and/or was the utopia of the next – also plays a central role in Rosicrucian doctrine[8][9] and in philosophical traditions such as Swedenborgianism and Theosophy. Twentieth century architect Claude Fayette Bragdon expressed the concept mathematically as a magic square, using it as building block in many of his most noted buildings.[10]
Symbols and iconography[edit]
The Caduceus
In the ancient and medieval worlds, androgynous people and/or hermaphrodites were represented in art by the caduceus, a wand of transformative power in ancient Greco-Roman mythology. The caduceus was created by Tiresias and represents his transformation into a woman by Juno in punishment for striking at mating snakes. The caduceus was later carried by Hermes/Mercury and was the basis for the astronomical symbol for the planet Mercury and the botanical sign for hermaphrodite. That sign is now sometimes used for transgender people.
Another common androgyny icon in the medieval and early modern period was the Rebis, a conjoined male and female figure, often with solar and lunar motifs. Still another symbol was what is today called sun cross, which united the cross (or saltire) symbol for male with the circle for female.[11] This sign is now the astronomical symbol for the planet Earth.[12]
Mercury symbol derived from the Caduceus
A Rebis from 1617
"Rose and Cross" Androgyne symbol
Alternate "rose and cross" version
Biological[edit]
See also: Sex differences in humans
Historically, the word androgynous was applied to humans with a mixture of male and female sex characteristics, and was sometimes used synonymously with the term hermaphrodite.[13] In some disciplines, such as botany, androgynous and hermaphroditic are still used interchangeably.
When androgyny is used to refer to physical traits, it often refers to a person whose biological sex is difficult to discern at a glance because of their mixture of male and female characteristics. Because androgyny encompasses additional meanings related to gender identity and gender expression that are distinct from biological sex, today the word androgynous is rarely used to formally describe mixed biological sex characteristics in humans. [14] In modern English, the word intersex is used to more precisely describe individuals with mixed or ambiguous sex characteristics. However, both intersex and non-intersex people can exhibit a mixture of male and female sex traits such as hormone levels, type of internal and external genitalia, and the appearance of secondary sex characteristics.
Psychological[edit]
Though definitions of androgyny vary throughout the scientific community, it is generally supported that androgyny represents a blending of traits associated with both masculinity and femininity. In psychological study, various measures have been used to characterize gender, such as the Bem Sex Role Inventory, the Personal Attributes Questionnaire.[15]
Broadly speaking, masculine traits are categorized as agentic and instrumental, dealing with assertiveness and analytical skill. Feminine traits are categorized as communal and expressive, dealing with empathy and subjectivity.[16] Androgynous individuals exhibit behavior that extends beyond what is normally associated with their given sex.[17] Due to the possession of both masculine and feminine characteristics, androgynous individuals have access to a wider array of psychological competencies in regards to emotional regulation, communication styles, and situational adaptability. Androgynous individuals have also been associated with higher levels of creativity and mental health.[18][19]
Bem Sex-Role Inventory[edit]
The Bem Sex-Role Inventory (BSRI) was constructed by the early leading proponent of androgyny, Sandra Bem (1977).[20][better source needed] The BSRI is one of the most widely used gender measures. Based on an individual's responses to the items in the BSRI, they are classified as having one of four gender role orientations: masculine, feminine, androgynous, or undifferentiated. Bem understood that both masculine and feminine characteristics could be expressed by anyone and it would determine those gender role orientations.[21]
An androgynous person is an individual who has a high degree of both feminine (expressive) and masculine (instrumental) traits. A feminine individual is ranked high on feminine (expressive) traits and ranked low on masculine (instrumental) traits. A masculine individual is ranked high on instrumental traits and ranked low on expressive traits. An undifferentiated person is low on both feminine and masculine traits.[20]
According to Sandra Bem, androgynous individuals are more flexible and more mentally healthy than either masculine or feminine individuals; undifferentiated individuals are less competent.[20] More recent research has debunked this idea, at least to some extent, and Bem herself has found weaknesses in her original pioneering work. Now she prefers to work with gender schema theory.
One study found that masculine and androgynous individuals had higher expectations for being able to control the outcomes of their academic efforts than feminine or undifferentiated individuals.[22]
Personal Attribues Questionnaire[edit]
The Personal Attributes Questionnaire (PAQ) was developed in the 70s by Janet Spence, Robert Helmreich, and Joy Stapp. This test asked subjects to complete to a survey consisting of three sets of scales relating to masculinity, femininity, and masculinity-femininity. These scales had sets of adjectives commonly associated with males, females, and both. These descriptors were chosen based on typical characteristics as rated by a population of undergrad students. Similar to the BSRI, the PAQ labeled androgynous individuals as people who ranked highly in both the areas of masculinity and femininity. However, Spence and Helmreich considered androgyny to be a descriptor of high levels of masculinity and femininity as opposed to a category in and of itself.[15]
Gender identity[edit]
An individual's gender identity, a personal sense of one's own gender, may be described as androgynous if they feel that they have both masculine and feminine aspects. The word androgyne can refer to a person who does not fit neatly into one of the typical masculine or feminine gender roles of their society, or to a person whose gender is a mixture of male and female, not necessarily half-and-half. Many androgynous individuals identify as being mentally or emotionally both masculine and feminine. They may also identify as "gender-neutral", "genderqueer", or "non-binary".[23] A person who is androgynous may engage freely in what is seen as masculine or feminine behaviors as well as tasks. They have a balanced identity that includes the virtues of both men and women and may disassociate the task with what gender they may be socially or physically assigned to.[24] People who are androgynous disregard what traits are culturally constructed specifically for males and females within a specific society, and rather focus on what behavior is most effective within the situational circumstance.[24]
Many non-western cultures recognize additional androgynous gender identities. Jewish culture recognizes the Tumtum and Androgynos genders. In Chinese culture exists the Yinyang ren gender. The Bugis of Indonesia recognize five genders, Bissu representing the androgynous category. In Hawaiian culture, the third gender Māhū is recognized. In Oaxacan Zapotec culture, the Muxe are recognized as a third gender. In India, the Hijra is the third androgynous gender. Samoans accept Fa’afafine as a third gender. Native American culture includes Two Spirit as a general third gender.
Gender expression[edit]
Gender expression, which includes a mixture of masculine and feminine characteristics, can be described as androgynous. The categories of masculine and feminine in gender expression are socially constructed, and rely on shared conceptions of clothing, behavior, communication style, and other aspects of presentation. In some cultures, androgynous gender expression has been celebrated, while in others, androgynous expression has been limited or suppressed. To say that a culture or relationship is androgynous is to say that it lacks rigid gender roles, or has blurred lines between gender roles.
The word genderqueer is often used by androgynous individuals to refer to themselves, but the terms genderqueer and androgynous are neither equivalent nor interchangeable.[25] Genderqueer is not specific to androgynes, and does not denote gender identity. It may refer to any person, cisgender or transgender, whose behavior falls outside conventional gender norms. Furthermore, genderqueer, by virtue of its ties with queer culture, carries sociopolitical connotations that androgyny does not carry. For these reasons, some androgynes may find the label genderqueer inaccurate, inapplicable, or offensive. Androgneity is considered by some to be a viable alternative to androgyn for differentiating internal (psychological) factors from external (visual) factors.[26]
Terms such as bisexual, heterosexual, and homosexual have less meaning for androgynous individuals who do not identify as men or women to begin with. Infrequently the words gynephilia and androphilia are used, and some describe themselves as androsexual. These words refer to the gender of the person someone is attracted to, but do not imply any particular gender on the part of the person who is feeling the attraction.[citation needed]
Louise Brooks exemplified the flapper. Flappers challenged traditional gender roles, had boyish hair cuts and androgynous figures.[27]
Androgyny in fashion[edit]
Throughout most of twentieth century Western history, social rules have restricted people's dress according to gender. Trousers were traditionally a male form of dress, frowned upon for women.[28] However, during the 1800s, female spies were introduced and Vivandières wore a certain uniform with a dress over trousers. Women activists during that time would also decide to wear trousers, for example Luisa Capetillo, a women's rights activist and the first woman in Puerto Rico to wear trousers in public.[29]
Coco Chanel wearing a sailor's jersey and trousers. 1928
In the 1900s, starting around World War I traditional gender roles blurred and fashion pioneers such as Paul Poiret and Coco Chanel introduced trousers to women's fashion. The "flapper style" for women of this era included trousers and a chic bob, which gave women an androgynous look.[30] Coco Chanel, who had a love for wearing trousers herself, created trouser designs for women such as beach pajamas and horse-riding attire.[28] During the 1930s, glamorous actresses such as Marlene Dietrich fascinated and shocked many with their strong desire to wear trousers and adopt the androgynous style. Dietrich is remembered as one of the first actresses to wear trousers in a premiere.[31]
Yves Saint Laurent, the tuxedo suit "Le Smoking", created in 1966
Throughout the 1960s and 1970s, the women's liberation movement is likely to have contributed to ideas and influenced fashion designers, such as Yves Saint Laurent.[32] Yves Saint Laurent designed the Le Smoking suit and first introduced in 1966, and Helmut Newton’s erotized androgynous photographs of it made Le Smoking iconic and classic.[33] The Le Smoking tuxedo was a controversial statement of femininity and has revolutionized trousers.
Elvis Presley, however is considered to be the one who introduced the androgynous style in rock'n'roll and made it the standard template for rock'n'roll front-men since the 1950s.[34] His pretty face and use of eye makeup often made people think he was a rather "effeminate guy",[35] but Elvis Presley was considered as the prototype for the looks of rock'n'roll.[34] The Rolling Stones, says Mick Jagger became androgynous "straightaway unconsciously" because of him.[35]
However, the upsurge of androgynous dressing for men really began after during the 1960s and 1970s. When the Rolling Stones played London's Hyde Park in 1969, Mick Jagger wore a white "man's dress" designed by British designer Mr Fish.[36] Mr Fish, also known as Michael Fish, was the most fashionable shirt-maker in London, the inventor of the Kipper tie, and a principal taste-maker of the Peacock revolution in men's fashion.[37] His creation for Mick Jagger was considered to be the epitome of the swinging 60s.[38] From then on, the androgynous style was being adopted by many celebrities.
Annie Lennox was known for her androgyny in the 1980s
During the 1970s, Jimi Hendrix was wearing high heels and blouses quite often, and David Bowie presented his alter ego Ziggy Stardust, a character that was a symbol of sexual ambiguity when he launched the album The Rise and Fall of Ziggy Stardust and Spiders from Mars.[39] This was when androgyny entered the mainstream in the 1970s and had a big influence in pop culture. Another significant influence during this time included John Travolta, one of the androgynous male heroes of the post-counter-culture disco era in the 1970s, who starred in Grease and Saturday Night Fever.[40]
Continuing into the 1980s, the rise of avant-garde fashion designers like Yohji Yamamoto,[41] challenged the social constructs around gender. They reinvigorated androgyny in fashion, addressing gender issues. This was also reflected within pop culture icons during the 1980s, such as David Bowie and Annie Lennox.[42]
Power dressing for women became even more prominent within the 1980s which was previously only something done by men in order to look structured and powerful. However, during the 1980s this began to take a turn as women were entering jobs with equal roles to the men. In the article “The Menswear Phenomenon” by Kathleen Beckett written for Vogue in 1984 the concept of power dressing is explored as women entered these jobs they had no choice but to tailor their wardrobes accordingly, eventually leading the ascension of power dressing as a popular style for women.[43] Women begin to find through fashion they can incite men to pay more attention to the seduction of their mental prowess rather, than the physical attraction of their appearance. This influence in the fashion world quickly makes its way to the world of film, with movies like "Working Girl" using power dressing women as their main subject matter.
Androgynous fashion made its most powerful in the 1980s debut through the work of Yohji Yamamoto and Rei Kawakubo, who brought in a distinct Japanese style that adopted distinctively gender ambiguous theme. These two designers consider themselves to very much a part of the avant-garde, reinvigorating Japanism.[44] Following a more anti-fashion approach and deconstructing garments, in order to move away from the more mundane aspects of current Western fashion. This would end up leading a change in Western fashion in the 1980s that would lead on for more gender friendly garment construction. This is because designers like Yamamoto believe that the idea of androgyny should be celebrated, as it is an unbiased way for an individual to identify with one's self and that fashion is purely a catalyst for this.[citation needed]
Also during the 1980s, Grace Jones's a famous singer and fashion model gender-thwarted appearance in the 1980s which startled the public, but her androgynous style of heavily derivative of power dressing and eccentric personality has inspired many, and has become an androgynous style icon for modern celebrities.[45] This was seen as controversial but from then on, there was a rise of unisex designers later in the 1990s and the androgynous style was widely adopted by many.
In 2016, Louis Vuitton revealed that Jaden Smith would star in their womenswear campaign. Because of events like this, gender fluidity in fashion is being vigorously discussed in the media, with the concept being articulated by Lady Gaga, Ruby Rose, and in Tom Hooper's film The Danish Girl. Jaden Smith and other young individuals, such as Lily-Rose Depp, have inspired the movement with his appeal for clothes to be non-gender specific, meaning that men can wear skirts and women can wear boxer shorts if they so wish.[46]
Alternatives[edit]
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This section needs expansion. You can help by adding to it. (August 2009)
An alternative to androgyny is gender-role transcendence: the view that individual competence should be conceptualized on a personal basis rather than on the basis of masculinity, femininity, or androgyny.[47]
In agenderism, the division of people into women and men (in the psychical sense), is considered erroneous and artificial.[48] Agendered individuals are those who reject genderic labeling in conception of self-identity and other matters.[49] [50][51][52] They see their subjectivity through the term person instead of woman or man.[49]:p.16 According to E. O. Wright, genderless people can have traits, behaviors and dispositions that correspond to what is currently viewed as feminine and masculine, and the mix of these would vary across persons. Nevertheless, it doesn't suggest that everyone would be androgynous in their identities and practices in the absence of gendered relations. What disappears in the idea of genderlessness is any expectation that some characteristics and dispositions are strictly attributed to a person of any biological sex.[53]
Contemporary trends[edit]
This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (January 2015) (Learn how and when to remove this template message)
Jennifer Miller, bearded woman
X Japan founder Yoshiki is often labelled androgynous, known for having worn lace dresses and acting effeminate during performances[54]
South Korean pop star G-Dragon is often noted for his androgynous looks[55][56]
Androgyny has been gaining more prominence in popular culture in the early 21st century.[57] Both fashion industries[58] and pop culture have accepted and even popularised the "androgynous" look, with several current celebrities being hailed as creative trendsetters.
The rise of the metrosexual in the first decade of the 2000s has also been described as a related phenomenon associated with this trend. Traditional gender stereotypes have been challenged and reset in recent years dating back to the 1960s, the hippie movement and flower power. Artists in film such as Leonardo DiCaprio sported the "skinny" look in the 1990s, a departure from traditional masculinity which resulted in a fad known as "Leo Mania".[59] This trend came long after musical superstars such as David Bowie, Boy George, Prince, Pete Burns and Annie Lennox challenged the norms in the 1970s and had elaborate cross gender wardrobes by the 1980s.[citation needed] Musical stars such as Brett Anderson of the British band Suede, Marilyn Manson and the band Placebo have used clothing and makeup to create an androgyny culture throughout the 1990s and the first decade of the 2000s.[60]
While the 1990s unrolled and fashion developed an affinity for unisex clothes there was a rise of designers who favored that look, like Helmut Lang, Giorgio Armani and Pierre Cardin, the trends in fashion hit the public mainstream in the 2000s (decade) that featured men sporting different hair styles: longer hair, hairdyes, hair highlights.[citation needed] Men in catalogues started wearing jewellery, make up, visual kei, designer stubble. These styles have become a significant mainstream trend of the 21st century, both in the western world and in Asia.[61] Japanese and Korean cultures have featured the androgynous look as a positive attribute in society, as depicted in both K-pop, J-pop,[62] in anime and manga,[63] as well as the fashion industry.[64]
See also[edit]
List of androgynous people
Bigender
Epicenity
Futanari
Gender bender
Gender dysphoria
Gender neutrality
Gonochorism
Gynandromorph
Gynomorph
Hermaphrodite
List of transgender-related topics
Non-binary gender
Pangender
Postgenderism
Sexual Orientation Hypothesis
Third gender
Transsexualism
Trigender
True hermaphroditism
References[edit]
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^ Jump up to: a b c Leick, Gwendolyn (2013) [1994]. Sex and Eroticism in Mesopotamian Literature. New York City, New York: Routledge. ISBN 978-1-134-92074-7.
^ Jump up to: a b c d Roscoe, Will; Murray, Stephen O. (1997). Islamic Homosexualities: Culture, History, and Literature. New York City, New York: New York University Press. pp. 65–66. ISBN 0-8147-7467-9.
^ The Symposium: and, The Phaedrus; Plato's erotic dialogues. Translated and with introduction and commentaries by William S. Cobb. Albany: State University of New York Press. 1993. ISBN 978-0-7914-1617-4.
^ "Androgyn". University of Michigan Library. Retrieved 1 April 2015.
^ Jump up to: a b van der Lugt, Maaike, "Sex Difference in Medieval Theology and Canon Law," Medieval Feminist Forum (University of Iowa) vol. 46 no. 1 (2010): 101–121
^ Hauck, Dennis William (2008). The Complete Idiot's Guide to Alchemy. New York: Alpha Books. ISBN 9781592577354. OCLC 176917711.
^ Atkinson, William Walker (2012). Marsh, Clint (ed.). The Secret Doctrine of the Rosicrucians. San Francisco, CA: Weiser Books. pp. 52–61. ISBN 9781578635344. OCLC 792888485.
^ Rosicrucian Order, AMORC (13 December 2011). "Rosicrucian Prophecies" (PDF). rose-croix.org. Retrieved 4 December 2017.
^ Ellis, Eugenia Victoria (June 2004). “Geomantic Mathematical (re)Creation: Magic Squares and Claude Bragdon's Theosophic Architecture”. Nexus V: Architecture and Mathematics: 79-92.
^ William Wallace Atkinson, The Secret Doctrines of the Rosicrucians (London: L.N. Fowler & Co., 1918), 53-54.
^ "Solar System Symbols". Solar System Exploration: NASA Science. Retrieved 31 December 2018.
^ www.britannica.com/topic/androgyny
^ www.isna.org/faq/what_is_intersex
^ Jump up to: a b Cook, Ellen Piel (1985). Psychological Androgyny. Pergamon Press. ISBN 0-08-031613-1.
^ Sargent, Alice G. (1981). The Androgynous Manager. New York: AMACOM. ISBN 0-8144-5568-9.
^ Rogers, Kara (6 February 2009). "Androgyny". Encyclopedia Britannica. Retrieved 4 November 2019.
^ Gartzia, Leire; Pizzaro, Jon; Baniandres, Josune. "Emotional Androgyny: A Preventive Factor of Psychosocial Risks at Work?". Frontiers in Psychology. 9 – via PMC.
^ Kaufman, Scott Barry (1 September 2013). "Blurred Lines, Androgyny and Creativity". Scientific American Blog Network. Retrieved 10 October 2019.
^ Jump up to: a b c Santrock, J. W. (2008). A Topical Approach to Life-Span Development. New York, NY: The McGraw-Hill Companies. 007760637X[page needed]
^ DeFrancisco, Victoria L. (2014). Gender in Communication. SAGE Publications. p. 11. ISBN 978-1-4522-2009-3.
^ Choi, N. (2004). Sex role group differences in specific, academic, and general self-efficacy. Journal of Psychology, 138, 149–159.
^ "Definition of androgynous: Dictionary and Thesaurus". Retrieved 13 July 2013.
^ Jump up to: a b Woodhill, Brenda; Samuels, Curtis (2004). "DESIRABLE AND UNDESIRABLE ANDROGYNY: A PRESCRIPTION FOR THE TWENTY-FIRST CENTURY". Journal of Gender Studies.
^ www.merriam-webster.com/dictionary/genderqueer
^ "Psychological Androgyny -- A Personal Take". Retrieved 13 July 2014.
^ New world coming: the 1920s and the making of modern America. New York: Scribner, 2003, p. 253, ISBN 978-0-684-85295-9.
^ Jump up to: a b Ewing, E.; Mackrell, A. (2002). History of Twentieth Century Fashion. LA: Quite Specific Media Group Ltd.
^ Valle-Ferrer, Norma (1 June 2006). Luisa Capetillo, Pioneer Puerto Rican Feminist: With the collaboration of students from the Graduate Program in Translation, The University of Puerto Rico, Río Piedras, Spring 1991. Peter Lang Publishing Inc. ISBN 9780820442853.
^ Köksal, Duygu; Falierou, Anastasia (10 October 2013). A Social History of Late Ottoman Women: New Perspectives. BRILL. ISBN 9789004255258.
^ "Harriet Fisher". The Queen of Androgyny – Marlene Dietrich – Blog. Archived from the original on 16 June 2016. Retrieved 22 May 2016.
^ Commentator, Sally Kohn, CNN Political. "The Seventies: The sex freakout". CNN. Retrieved 22 May 2016.
^ Moet, Sophie (1 May 2014). "Androgyny and Feminism". Sophie Moet. Retrieved 22 May 2016.
^ Jump up to: a b "Elvis Never Gets Credit for One of His Greatest Gifts to Rock 'n Roll". Observer. 8 January 2016. Retrieved 23 May 2016.
^ Jump up to: a b Daniel, Pete (1 January 2000). Lost Revolutions: The South in the 1950s. Univ of North Carolina Press. ISBN 9780807848487.
^ Baker, Lindsay. "His or hers: Will androgynous fashion catch on?". www.bbc.com. Retrieved 22 May 2016.
^ Elan, Priya (13 March 2016). "Peacock revolution back with label that dressed Mick Jagger and David Bowie". The Guardian. London.
^ "Mick Jagger's white dress cast him as a romantic hero". The Daily Telegraph. Retrieved 22 May 2016.
^ Lalovic, Itana (19 November 2013). "Androgyny in the fashion world". Wall Street International. Retrieved 22 May 2016.
^ Rehling, Nicola (21 June 2010). Extra-Ordinary Men: White Heterosexual Masculinity and Contemporary Popular Cinema. Lexington Books. ISBN 9781461633426.
^ "Global Influences: Challenging Western Traditions". London: Berg.
^ Andrew Anthony (10 October 2010). "Annie Lennox: the interview". The Observer. London, UK. Retrieved 2 October 2012.
^ "The Menswear Phenomenon". Vogue; Conde Nast.
^ "Global Influences: Challenging Western Traditions". London: Berg.
^ "Androgynous Fashion Moments". Highsnobiety. 14 May 2015. Retrieved 23 May 2016.
^ "Gender Fluidity in the Fashion Industry". Cub Magazine. 8 February 2016. Retrieved 19 February 2017.
^ Pleck, J. H. (1995). The gender-role strain paradigm. In R. F. Levant & W. S. Pollack (Ed.s), A new psychology of men. New York: Basic Books.
^ Butler, Judith P. (1993). Bodies that Matter: On the Discursive Limits of 'Sex'. New York: Routledge. pp. 2–3. ISBN 9780415903660. Retrieved 12 October 2014.
^ Jump up to: a b Galupo, M. Paz; Pulice-Farrow, Lex; Ramirez, Johanna L. (2017). "Like a Constantly Flowing River": Gender Identity Flexibility Among Nonbinary Transgender Individuals. pp. 163–177. doi:10.1007/978-3-319-55658-1_10. ISBN 978-3-319-55656-7.
^ Johanna Schorn. "Taking the "Sex" out of Transsexual: Representations of Trans Identities in Popular Media" (PDF). Inter-Disciplinary.Net. Universität zu Köln. p. 1. Archived from the original (PDF) on 25 October 2014. Retrieved 6 February 2017.
^ Galupo, M. Paz; Henise, Shane B.; Davis, Kyle S. (2014). "Transgender microaggressions in the context of friendship: Patterns of experience across friends' sexual orientation and gender identity". Psychology of Sexual Orientation and Gender Diversity. 1 (4): 462. CiteSeerX 10.1.1.708.6228. doi:10.1037/sgd0000075.
^ Sumerau, J. E.; Cragun, R. T.; Mathers, L. A. B. (2015). "Contemporary Religion and the Cisgendering of Reality". Social Currents. 3 (3): 2. doi:10.1177/2329496515604644.
^ Erik Olin Wright (2011). "In defense of genderlessness (The Sex-Gender Distinction)". In Axel Gosseries, Philippe Vanderborght (ed.). Arguing about justice. Louvain: Presses universitaires de Louvain. pp. 403–413. ISBN 9782874632754. Retrieved 6 February 2017.
^ Ian Chapman, Henry Johnson, ed. (2016). Global Glam and Popular Music: Style and Spectacle from the 1970s to the 2000s. Routledge. pp. 203–205. ISBN 9781317588191.
^ "Move over, Psy! Here comes G-Dragon style". The Independent. 17 August 2014. Retrieved 5 April 2015.
^ "K-pop: a beginner's guide". The Guardian. 3 March 2014. Retrieved 5 April 2015.
^ "Androgyny becoming global?". uniorb.com. Archived from the original on 26 December 2010. Retrieved 17 December 2010.
^ Wendlandt, Astrid. "Androgynous look back for spring". Reuters. Retrieved 17 December 2010.
^ Peter Hartlaub (24 February 2005). "The teenage fans from 'Titanic' days jump ship as Leonardo DiCaprio moves on". sfgate.com. Retrieved 17 December 2010.
^ Cavendish, Marshall (2010). Sex and Society, Vol 1. Paul Bernabeo. p. 69.
^ "Androgynous look catches on". The Himalayan Times. 13–16 September 2010. Retrieved 17 December 2010.
^ "Harajuku Girls Harajuku Clothes And Harajuku Gothic fashion Secrets". Tokyo Top Guide. Retrieved 17 December 2010.
^ "Profile of Kagerou". jpopasia.com. Retrieved 17 December 2010.
^ Webb, Martin (13 November 2005). "Japan Fashion Week in Tokyo 2005. A stitch in time?". The Japan Times. Retrieved 17 December 2010.
External links[edit]
Look up androgyny in Wiktionary, the free dictionary.
Wikimedia Commons has media related to Androgyny.
Androgyny: study and collection of articles
Androgyne Online
Sandra Bem and androgyny
The Two-Spirit Tradition
showvte
Intersex
showvte
Lesbian, gay, bisexual, and transgender (LGBT) topics
Authority control Edit this at Wikidata
BNE: XX538802 BNF: cb11960041p (data) GND: 7654104-6
Categories: AndrogynyNon-binary genderHuman appearanceFashion aestheticsLGBT
3 coats of BeYu #107 with a top coat, OPI Alpine Snow for the accent
More pics in my blog: www.muxe.net/blog/2013/05/beyou-107/
Facebook page: www.facebook.com/pages/Maris-Nail-Polish-Blog/21811511499...
Close to sunset on an overcast fall day. The lighthouse at Prospect Point keeps a few hardcore joggers company on the Sea Wall.
Details
Shot on Canon 5DII with 3 exposures (-2,0,2) and muxed up in Photomatix. Curve work to bring back some contrast.
This shot inspired by: De Dutch
Avon Serene in the background (2 coats)
More pics in my blog: www.muxe.net/blog/2013/05/avon-serene/
My FB page: www.facebook.com/pages/Maris-Nail-Polish-Blog/21811511499...
Lilac polka dots nails
OPI Done Out in Deco + Pupa nail polish
more pics in my blog: www.muxe.net/blog/2012/03/day-11-polka-dots/
Morales, Nelson. Muxe : musas. Primera edición. México: Inframundo, 2018.
"This book addresses the Muxes in an exploration of the cultural, sexual and personal identity of the author and of this community in Oaxaca, México. Since pre-Hispanic times the Zapotec culture accepts homosexuality, gives it an active role and an open position within society, much more relevant than anywhere else in Latin America. The Muxes are organically integrated into the social and economic net of the community, commenting on the duality as a deeply rooted feature in this country. Nelson Morales has developed this project for almost eight years, in which he has photographed in his own community on the Isthmus of Oaxaca. Muses Muxe, as in a movie, is built from the process of creating the work in itself. Throughout the time, Nelson Morales tackles the subject, the photographic medium and the way of relating to the Muxes in different ways, creating and recreating the imaginary of the portrayed ones and the author himself from changing perspectives that go deeper and deeper into the multiple layers of the Zapotec culture. Sexuality, identity, and gender as key issues in society. Musas Muxe is the author's quest to glimpse the complexity of the Muxes in the transit of the search for their own identity, confronting themselves in the sensual space, overflowing and disturbing, the Muxe space."--from the publisher.
See MCAD Library's catalog record for this book.
OPI Alpine Snow + SH Wet Cement
More pics of the design + color wheel swatches in my blog: www.muxe.net/blog/2013/03/black-white-top-aztec-07-by-dan...
www.facebook.com/pages/Maris-Nail-Polish-Blog/21811511499...
Nail art inspired by Winnie the Pooh and bees :)
more pics on my blog: www.muxe.net/blog/2013/01/honey-nails/
Cranham Publications
The Collections Portfolio
includes full-size folded print
500 pieces, used and complete
343x490mm
TED: "This is a funny ABC... it don't go in the rite order! C is follered by F then I an' J, an' then A. So if yew wuz tryin' to lern yer ABC's yew'd get all muxed ip!"
*shakes head in disbelief*
"At least all the peeces wuz there so that's sumfink."
2021 piece count: 61024
Puzzle 68
Meet Fu Lu and Shou. These are marble sculptures of Chinese folklore characters, which we purchased in Marble Mountain in Vietnam in 2008.
Whilst the photograph itself is unremarkable, the stories of the characters are wonderful.
The Three Stars of Wealth, Status and Longevity (fu lu shou sanxing 福祿壽三星) are three very popular deities that can be found almost in any place where Chinese communities live. The Three Stars (sanxing 三星) are also called the "Three-Star Door-Gods" (sanxing menshen 三星門神, see Door-Gods). The trinity consists of the God or "Star" of Wealth (fushen 福神, fuxing 福星), the God of Status (lushen 祿神, luxing 祿星), and the God of Longevity (shoushen 壽神, shouxing 壽星). They are either shown as a trinity in one painting or picture, or crafted as three separate figurines. The tritinty of such deities as Celestial functionaries (sanguan 三官) has its origin in the religious movement of the late Han period 漢 (206 BCE-220 CE) master Zhang Daoling 張道陵. The three heavenly ministers administrated Heaven, the Earth, and the water. It was believed that the Minister of Heaven (tianguan 天官) bestowed fortune, that of the Earth (diguan 地官) was invoked to bring amnesty from punishment, and the Minister of Water (shuiguan 水官) was believed to bring support in dangerous situations. These three deities later transformed into the "three stars".
The God of Wealth (also called fupan 福判 "Supervisor of Fortune") is venerated to bring prosperity and money. As a star he is identified with Jupiter (suixing 歲星 or muxing 木星). The Ming period 明 (1368-1644) book Sanjiao soushen daquan 三教搜神大全 says that he was a regional inspector (cishi 刺史) in the prefecture of Daozhou 道州 during the Tang period 唐 (618-907) and had the personal name Yang Gong 楊公 or Yang Cheng 楊成. He was venerated highly by the local population because he insisted to end the emperor's inclination for the small people of his prefecture that were used at the court as dwarfs for entertainment. He soon transformed into a deity that was prayed for to attract money and fortune. The God of Wealth is shown in the robes of a state official, in red colour and embroidered with dragons, and adorned with a jade chain. He holds a large ruyi scepter 如意 in his hands and wears courtly shoes. His face is bright and happy, and he has a long beard. Sometimes a mountain of gold and silver (jinyinshan 金銀山) is shown above his head, and the character for "fortune" (fu 福, often wrongly translated as "luck") is written. The God of Wealth is sometimes accompanied by a bat, because of a wordplay of the Chinese word for "prosperity" (fú 福) with that for "bat" (fú 蝠).
The God of Status is believed to correspond the constellation of the six stars of the Wenchang Palace 文昌宮宫, in which, according to tradition, the deity lives which regulates access to state offices. The term lu 祿 actually means "register" (same as 錄), meaning the list of state officials who were to be salaried. In this context, the word lu does not refer to the actual money a state official is given, but to the social status he has achieved. The God of Status is therefore prayed to in the hope for a prospering career. An official career is, at least in popular belief, coupled with wealth and fortune. Deities in popular religion are commonly identified with historical or semi-historical persons. The God of Status is identified with Immortal Zhang 張仙 who was probably the same person as Zhang Yuanxiao 張遠霄 who lived in Sichuan during the Five Dynasties period 五代 (907-960), dwelled on Mt. Qingcheng 青城 and cultivated the Dao 道. He was also called Song zi Zhang Xian 送子張仙 "Immortal Zhang presenting a baby", and figures in a theatre play. In popular art the God of Status is shown in the robes of a ministerial vice director (yuanwailang 員外郎), with a peony blossom on his head, symbolizing wealth. He commonly holds a baby in his arms or holds a small child at the hand. In some pictures the figure of the God of Status is accompanied by a deer, or the picture is inscribed with the word for deer, which is a wordplay because "deer" (lù 鹿) is pronounced in the same way as "status" (lù 祿).
The God of Longevity is shown as an old man, and therefore also called Shouxing lao'er 壽星老兒 "Old Guy Longevity Star, Nanji xianweng 南極仙翁 "Old Immortal of the South Pole", or Nanji laoren 南極老人 "Old Man from the Southpole". The deity is identified with the starry constellations jue 角 and kang 亢. It was believed that if this constellation was visible, the earth was in peace. Therefore offerings were brought to this star deity from ancient times, not only at the court, but also among the people. The figure of the God of Longevity shows him as an old man, with a tall head, long ears and a long beard, but with the face of a young man. He is commonly holding a stick of peach wood. Sometimes he is riding on a deer, and the peach stick is carried by a retainer.
Source: www.chinaknowledge.de/Literature/Religion/personssanxing.... taken 18/9/2016
OPI La-Pazitively Hot NL A20 swatch
more pics + SH Twisted Pink comparison in my blog: www.muxe.net/blog/2012/06/la-paz-itively-hot-opi-nl-a20/