By Conn Holohan, Tony Tracy
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Extra info for Masculinity and Irish Popular Culture: Tiger's Tales
Likewise, the denomination of certain forms of masculinity as subordinate does not merely serve to reassure those men whose subjectivity is not encompassed by such denominations; on the contrary, it serves as a constant and anxious reminder that the privileges of normative, heterosexual masculinity are always provisional, requiring constant endeavour and self-policing; for this reason homophobia is not, contrary to liberal pluralist aspirations, a lingering problem to be expunged but a structural component of the capitalist sex-gender system.
Cronin 23 natural but ideological does not mean they are not ‘real’, in the sense of being profoundly deep-rooted and resistant to change – on the contrary, to recognize gender as ideology is to confront precisely the difficulty of transforming those norms. Moreover, the drag performance may not necessarily be motivated by any subversive intent but by a mournful longing for a reified gender ideal. In other words, the failure of the drag performance may equally serve to reinforce our presumption that there is a ‘real’ masculinity or femininity which is clearly not being accomplished here.
19 In utilizing the dynamics of consensual, sexual dominance and submission within the performance, Opus Gei makes a parodic commentary on the abuses of its extensive power by the institution of the Catholic Church. As with most drag performances, Opus Gei is designed to evoke laughter and hilarity among its audience. One can speculate whether the location of drag within the language of laughter may be one of the reasons why it is dismissed as operating ‘merely’ within the sphere of cultural representation rather than within the sphere of substantive political activism.
Masculinity and Irish Popular Culture: Tiger's Tales by Conn Holohan, Tony Tracy