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            "abstractNote": "Academic and public interpretations of drag performance have been bound by the argument that drag queens reveal the non‐essential nature of gender but still reinforce the hegemonic gender order through portrayals of emphasized femininity. I offer a fresh perspective on professional drag queen performance by examining how it intersects with the gay masculinity of an accomplished performer. By incorporating visual research methods, life‐history analysis, and field observations, I find that drag performance is a salient way to reify aspects of gay masculinity that are otherwise rejected by the hegemonic gender order. When alternative masculinities are met with acceptance the hegemonic gender order is subverted and masculinity can be expanded in lasting ways. Researchers would do well to treat sexuality as a key component of gender in drag performances and the audience as an active participant.",
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            "abstractNote": "SUMMARY This article explores the Canadian military entertainment units during World War II (WWII), specifically those formed by the Navy, Army and Air Force from talent found amongst their own personnel. These entertainment units toured extensively in Canada, the United Kingdom and Europe with the goal of increasing the morale of combat troops while encouraging the enlistment of Canada's domestic populations in the war effort generally and the armed forces specifically. By focusing on male to female cross-dressing in the performances of these entertainment units and their pre-WWII antecedents, it will become clear that the nature and importance of the representation of femininity within the virtually all-male milieu that existed near the battlefront changed over time in response to the demands of the audiences. Until the second half of WWII, soldier audiences were generally unwilling to form any ideological links between cross-dressing and homosexuality. Female impersonators were the key cast members in troop shows during the Great War, but eventually fell out of favor in the last years of WWII after women were recruited in large numbers into the Canadian military and thus its entertainment infrastructure. With women then on the military stage, men who persisted in female impersonation were decreasingly popular with audiences, ultimately under growing suspicion of being homosexuals and gradually removed from the productions.",
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            "title": "The Association Between Gay Men's Stereotypic Beliefs About Drag Queens and Their Endorsement of Hypermasculinity",
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            "abstractNote": "To date, few researchers have investigated gay men's stereotypic beliefs about drag queens and the association between these beliefs and individual difference variables such as hypermasculinity. To address this omission, 118 men self-identifying as non-heterosexual completed an online survey consisting of an adjective checklist about drag queens and a psychometrically sound indicant of hypermasculinity. As predicted, participants who were more likely to endorse hypermasculine belief statements tended to perceive negatively valenced attributes as more characteristic of drag queens. Possible explanations for this relationship, limitations associated with the current study, and directions for future research are delineated.",
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            "abstractNote": "Traditional definitions of gender focused on static, discreet, categorical distinctions that were assumed to be products of sex. These formulations, however, have inhibited the understanding of the relationship between gender and social structure. This paper examines the social construction of gender by focusing on how professional female impersonators transform themselves from man to woman. Relying on interviews with 10 professional female impersonators, the dynamic process of creating and publicly presenting a “deviant” gender performance is explored. Successful constructions of feminine genders necessitate that individuals transform themselves both physically and socially. Physical transformations are cosmetic modifications of one's face and body coupled with sex‐typed attire and accessories that create visual images suggesting membership in a female sex class. Social transformations include adopting the mannerisms, actions, and interactional roles accorded feminine members of society. Because female impersonators are very successful in constructing gendered performances that do not accord with their biological sex, it is suggested that gender itself be most appropriately viewed as a dynamic, fluid and contextually guided, individually managed social construct.",
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