5. I don't think it's possible to compare to modern genderqueer identities. They do not translate, and the time period of Irene Adler had their own ways of understanding gender.
Maybe the people in the lesbian subculture of this time would have identified differently now, but women dressing as men was a significant part of lesbian subculture then. It's definitely possible to read Irene's cross-dressing as being a sign of bisexuality.
Furthermore I've always connected Adler's way or dressing with her career. Genderplay has long traditions in theatre. In opera there is of course breeches parts, just as one example. The play with gender in theatre was mostly 'safe' and yet it managed to titillate both women and men. It was basically bisexual in character. And working with theatre/art might in itself be considered a 'queer' signifier.
But to answer your last question, I'd say that more than anything Adler signals strength and freedom. She doesn't feel like a typical representative of the women's movement, but as an ideal of what women can be.
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branchandroot
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Date: 2010-05-14 10:44 am (UTC)Maybe the people in the lesbian subculture of this time would have identified differently now, but women dressing as men was a significant part of lesbian subculture then. It's definitely possible to read Irene's cross-dressing as being a sign of bisexuality.
Furthermore I've always connected Adler's way or dressing with her career. Genderplay has long traditions in theatre. In opera there is of course breeches parts, just as one example. The play with gender in theatre was mostly 'safe' and yet it managed to titillate both women and men. It was basically bisexual in character. And working with theatre/art might in itself be considered a 'queer' signifier.
But to answer your last question, I'd say that more than anything Adler signals strength and freedom. She doesn't feel like a typical representative of the women's movement, but as an ideal of what women can be.