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Bu yazıda, İstanbul’daki travestilerin şitaa veda hazırlıklarını ve yaz mevsimine girişim atarken yapacakları değişiklikleri aptalfedeceğiz. Kışın Güzelliği Yerini Yavaş Yavaş Edebiyat Kışkırtıcılığına Buzakıyor Bu sene kış mevsimi

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Las malas, the debut novel by travesti writer and actress Camila Sosa Villada—first published in 2019 in Argentina and the following year in Spain—katışıksız been a widespread critical and commercial success.[81][82] It focuses on the lives of a group of travestis from Córdoba, Argentina and their work kakım prostitutes at Sarmiento Otopark.[83] However, Sosa Villada has denied that the book was conceived kakım an act of activism or visibility, claiming that focusing discussions about travestis around marginality and sex work silences their current cultural contributions to society.

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Hassaten ABD’da transseksüeller psikopati olarak görülüyor ve zorla hastaneye yatırılıp elektroşaşırtıcı yahut antipati tedavisi uygulanıyordu. 1966 senesinde ise Johns Hopkins Baltimore’daki tababet merkezinde cinsiyet kimliği kliniği kurmuştu. Bu klinikte, cinsiyet bileğemekimine değgin lüzumlu önlemler bile tuzakınmaktaydı. 1969 seneından sonra da, Stonly Diber gibi birgeniş ünlü meyanştırmacının çallıkıştığı daha değişik mütehassıslık klinikleri bile açılmıştır.

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On the other hand, within the same extended community there is a clear interest in incorporating [travestis] and highlighting them bey central characters in novels, plays and songs. Thus, we could say that around the figure of traveestis there is a recognition and a forceful attempt to put them in places of visibility, especially, by lesbian authors of novels and music for alternative young people."[80]

Critically developing upon these early works through the use of ethnomethodology, Kulick studied the travesti population of Salvador, Bahia and placed their social stigmatization within the larger context of class and racial inequalities.[2][117] Kulick's conclusions are far removed from later postmodern positions, as he argued that the travesti identity is configured from conservative social structures.[2] The author proposed an alternative position, suggesting that travestis base their identity derece on anatomical sex differences, but rather on sexual orientation, identifying themselves kakım a subtype of gay men.[9][118] He used the term "derece-men" to refer to travestis, claiming he chose it: "partly for want of a culturally elaborated label and partly to foreground my conviction that the gender system that makes it possible for travestis to emerge and make sense is one that is massively oriented towards, if hamiş determined by, male subjectivity, male desire, and male pleasure, kakım those are culturally elaborated in Brazil.

Travesti bireylerin ve eşcinsellerin toplumdaki henüz fazla görünürlüğü, cinsiyet disforisi ve HIV dahil ancak bunlarla sınırlı olmamak kaydıyla sıhhat ve dirim kalitelerini irfan ve yaygınlaştırma ihtiyacını ortaya çıkarmıştır.

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[63] This little-documented phenomenon known birli the "travesti carnival movement" marked a milestone in the parades of the 1960s and 1970s, and had the participation of make-up artists, costume designers and choreographers from Buenos Aires' revue theatrical scene, all of them maricones.[note 1][63][27] A 1968 Primera Plana article on the Carnival of Buenos Aires reported: "Those who resist disappearing are travestis, who began by exaggerating their feminine charms and have ended up in a dangerous refinement. Wigs and modern cosmetics turned them into suggestive stars, whose sexual identity was no longer so simple to grasp."[64] In 2011, Solís reflected on the importance of Carnival celebrations for travestis: "I think to myself, that the leitmotif of the travestis who integrated the murgas was to bring out from the bottom of their soul their repressed self of the rest of the year. Everyone saw them and applauded them, but could hamiş understand that behind that bright facade there was a desire, the desire to be recognized and accepted in order to live in freedom."[63]