By Sherry Velasco
Catalina de Erauso (1592-1650) was once a Basque noblewoman who, earlier than taking ultimate vows to turn into a nun, escaped from the convent at San Sebastian, dressed as a guy, and, in her personal phrases, 'went hither and thither, embarked, went into port, took to roving, slew, wounded, embezzled, and roamed about'. Her lengthy provider battling for the Spanish empire in Peru and Chile received her a soldier's pension and a papal dispensation to proceed dressing in men's clothing.This theoretically educated learn analyzes the various ways that the "Lieutenant Nun" has been developed, interpreted, advertised, and fed on by means of either the dominant and divergent cultures in Europe, Latin the United States, and the U.S. from the 17th century to the current. Sherry Velasco argues that the ways that literary, theatrical, iconographic, and cinematic productions have remodeled Erauso's existence event right into a public spectacle convey how transgender narratives reveal and manage spectators' fears and needs. Her ebook therefore unearths what occurs while the non-public event of a transgenderist is shifted to the general public sphere and thereby advertised as a hybrid spectacle for the curious gaze of the overall viewers. Sherry Velasco is affiliate Professor of Spanish on the collage of Kentucky.
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Extra info for The Lieutenant Nun: Transgenderism, Lesbian Desire, and Catalina de Erauso
Example text
Laurela’s father entrusts the most intimate aspect of his daughter’s care (dressing, undressing, and so forth) to a woman who has openly declared her physical attraction and love for Laurela. 13 The father’s joke reflects an underlying sexual code, that honor, chastity, and the control of female sexuality are solely related to issues of reproduction and paternity. 15 Cubillo presents the beautiful but rebellious Dionisia, who not only prefers the male gender role but is openly in love with another woman.
61 In fact, Coronel’s masculine characteristics were believed to facilitate her theatrical success for roles requiring the male disguise. Casiano Pellicer describes her as a ‘‘woman who was almost a man, the Amazon of the actresses of her time. Having the misfortune of belonging to the weaker sex, she usually wore male garb, while almost always riding a horse, which she could control like the most skilled horseman. 62 As Mary Daniels notes, Coronel ‘‘became an almost freakish antimodel for womankind’’ (116–117).
Women with more body fat were thought to possess high levels of coldness and humidity but strong and muscular women with little body fat possess low levels of the ‘‘feminine fluids’’ (616–617). If we apply Huarte’s theories to what has been written about Catalina de Erauso by those who came in contact with her during the seventeenth century, we would conclude that she had low levels of coldness and humidity in areas related to both behavior and appearance. According to the seventeenth-century broadsides, letters, and her autobiography, she possessed a disposition for violence and fighting as well as for same-sex attraction.