Trans Bodies, Hermaphrodites, and Androgynes: William Blake’s Ménage à TransIn a review of the Metropolitan Museum of Art exhibition “Pergamon and the Hellenistic Kingdoms of the Ancient World,” Daniel McDermon regards Roman statues of hermaphrodites (figures with bodies similar to those we might now refer to as intersex) in a contemporary light: “[g]ender and sexual identity are on many minds right now” and, “[f]or those used to dividing the world neatly into male and female, the new way of thinking feels, well, new.” The statues he reviews here, however, date back as early as the third century, making a neat point: bodies not easily falling on one side or the other of the currently popular male/female binary aren’t new. On the contrary, they’ve been depicted in art—visual and textual—for a great deal of time, as well as researched from more scientific points of view.
As McDermon notes, statues of hermaphrodites were seen by the Romans “as light amusements, signifiers of good taste.” Looking at “Sleeping Hermaphrodite” (fig. 1) from one side, we assume the figure in question to be a (cisgender) woman asleep. On the other side, we see the “joke,” not unlike the filmic trope wherein a figure appears from behind to be a cis woman but, upon turning, is revealed to be a man with longer hair (or, in other cases, a trans woman) (fig. 2). TV Tropes catalogues such moments under encyclopedia entries with titles like “Unsettling Gender Reveal” and “Dude Looks Like a Lady,” demonstrating the immense period of time over which such reveals have been regarded as humorous. (At what point will the joke stop being funny?) Joking as these statues (of which there might have been hundreds) are, they’re beautiful, as well—far from imagining hermaphrodites as monsters, as much literature later would. “It would be a mistake,” McDermon writes, “to interpret the popularity of these works as a sign of ancient tolerance,” as “[t]he birth of intersex people was seen as a bad omen; those born with ambiguous genitals were usually killed.” Still, the hermaphroditic body has been represented for a large swath of time, if not with respect. Joking as “Sleeping Hermaphrodite” might be, it’s been copied in marble and bronze. As McDermon notes, “sculptures like this filled the homes and gardens of wealthy people” in imperial Rome. Contemporary uses of the “unsettling gender reveal” in texts like comedic films, in comparison, read like—are usually are—cheap jokes told at the expense of trans, gender-nonconforming, and intersex people.
Groups like interACT, or Advocates for Intersex Youth, are quick to note that that the term “hermaphrodite” “comes from mythology”: using the term nowadays “might suggest that intersex people are monsters, or not of this world.” Another reason they argue that people shouldn’t use “the h word” in reference to intersex people runs as follows: “[t]here are many ways to have an intersex body, but it is not possible for one person to have both a fully developed penis and vagina” as the hermaphrodites depicted in texts like “Sleeping Hermaphrodite” so often do (InterACT). As interACT defines it, “intersex” “is an umbrella term for differences in sex traits or reproductive anatomy.” “Intersex people are born with these differences or develop them in childhood,” and, contrary to much of popular thought, “[t]here are many possible differences in genitalia, hormones, internal anatomy, or chromosomes, compared to the usual two ways that human bodies develop” (InterACT). I include this definition here in an effort to individuate the hermaphrodite, the intersex body, and the transgender body, all figures I reference in this introduction and attempted to depict in the prints that make up the body of this seminar project. Stealing the first few words of William Blake’s poem “To Spring,” I call this project “O thou, with dewy locks” ("Poetical Sketches" 408). Maybe it, like “To Spring,” is an ode, as well. *
I started testosterone in January, and I've gone through eight vials so far (fig. 3). The list of side effects--or just effects, I should maybe say--of going on T are a little amusing to me: my weight is redistributing itself; my voice is dropping like a teenage boy's, and, according to the fact sheet my doctor gave me, I might end up with better upper body strength. (Male privilege has never felt so physically real to me.) I mention these changes here because, looking through old sketches of "hermaphrodites" and contemporary photos of intersex people, I've seen myself in them, a connection I hadn't expected to find when I went looking for those images. Over the past spring, my own genitalia have grown more ambiguous; some of the images I've found match them to a T.
So I'm interested in intersex, hermaphroditic, trans bodies. I'm coming to learn my own body, and, while the changes I've been wading through have gone on, I've been reading William Blake. I've been drawn to questions, in the process. Why is it that Blake mentions hermaphrodites in numerous poems, when so many artists haven't done so even once? And what of all his drawings of nude people, unclothed and yet still ambiguously sexed? Why depict androgyny? Are androgyny and hermaphroditism, in Blake's work, presented as good or bad things? And what lessons do such figures have to teach us? For the remainder of this introduction, I seek to consider such questions.
In the following sections, I overview the status of so-called hermaphrodites in Blakean era medical texts, then review what some literary critics have written on androgynous, hermaphroditic, and trans figures in Blake's work. Then, I move to talking about my project itself: a series of prints made from linoleum blocks and painted with watercolors. Inspired by lines from Milton and Poetical Sketches, they seek to reimagine Blake's ambigiously-sexed bodies. Or maybe I'm just copying them, with the thought in mind that doing so might bring us closer. They aren't intended to be jokes. *
William Blake lived from 1757 to 1827; I focus in this section, then, on texts published between 1741 and 1818, attempting to read the eighteenth century's mood on hermaphroditism. The three texts I focus on were published in London during this period; they oscillate between suspiciously vivid sex scenes between women and attempts at dispelling myths about hermaphroditism from observed truths. At many points, they read as volumes that would still feel innovative today: while medical studies of intersex people have come a long way over the past few centuries, more than half of the grad school applications I filled out a year and a half ago asked if I was male or female without mention of intersex bodies; so, too, did the 2020 U. S. census. (I'm a tiny bit endlessly infuriated about it.) One or two of the universities I applied to included an intersex option under the question of sex; a few more asked for my gender identity or pronouns. (My new manager at Taco Bell did, too, this week, and I'm definitely still excited about it.) The very fact, then, that James Parsons' A Mechanical and Critical Enquiry Into the Nature of Hermaphrodites (1741) aims to put out “the Truth” about hermaphrodites surprised me (xii). My bar is a bit low. Still, Parsons is fairly justice-minded in the introduction to his book: “What,” he asks, “but Ignorance or Superstition, could perswade Men to imagine, that poor human Creatures (which were only distorted in some particular Part, or had any thing unusual appearing about them, from some morbid Cause affecting them, either in the Uterus, or after their Births) were Prodigies or Monsters in Nature?” (xvi-xvii) For Parsons, "[i]gnorance of the Fabrick of the Body" is one of those "destroying Evils, which exist not only amongst the most ignorant Americans, but also amongst the Litterati themselves in other Parts of the World" (xvi).
Parsons begins the first chapter of his book by pulling apart a popular definition of the hermaphrodite from his era: An Hermaphrodite is an Animal, in which the two Sexes, Male and Female, ought to appear to be each distinct and perfect, as well with regard to the Structure proper to either, as to the Power of exercising the necessary Offices and Functions of those Parts. This Definition naturally arises from the very Term, and therefore, whatsoever is so accounted, and fails of answering these Characters in the most minute Particular, should be consider'd in another light, and indeed call'd by some other Name. (1-2) The term "hermaphrodite" implies, he argues, the existence of bodies at once "distinctly" and "perfectly" male and female; as interACT has pointed out, too, however, this definition is more mythic than scientifically accurate. To settle for such simplicity is characteristic, Parsons writes, of an "indolent Person" (xi). As interACT points out that "[t]here are many possible differences in genitalia, hormones, internal anatomy, or chromosomes, compared to the usual two ways that human bodies develop,” so, too, did Parsons, as well as those writing in his wake.
Georges Arnaud de Ronsil's A Dissertation on Hermaphrodites (1750) and Giles Jacob's Tractatus de Hermaphroditis (1818) both include extensive literature reviews on studies of hermaphrodites that preceded their own, many of which divided hermaphroditism into four or five categories that were differentiated by reproductive ability or observable external and internal genitalia. (See figs. 5 and 6 for sketches of these categories published in 1696 and 1796). Arnaud de Ronsil defines the hermaphrodite as "him or her, in whom the parts, which form the essential difference between the two sexes, are found together, either perfectly or imperfectly"; doing so, he refers to four "species of hermaphrodite": "the male hermaphrodite... the female hermaphrodite... the perfect hermaphrodite... [and] the imperfect hermaphrodite," as well as "a particular sort of [person] of bad formation of the parts of generation, to which we cannot ascribe any character of hermaphrodite" (11; 16-17). The male hermaphrodite, for instance, "is he in whom the parts of generation of the man are perfect, both in dimensions, figure, and actions; and in whom the parts of the woman err through some peculiarities, as when the vagina is not open enough to admit the penis; and that there is only an imperceptible outlet for the discharge of the menstrual blood" (18). Perfect hermaphrodites, on the other hand, are "where we find the parts of generation of both sexes, with both the active and passive power" (Arnaud de Ronsil 19). Imperfect hermaphrodites "are those in whom the natural parts of both sexes have defects, which either entirely suspend, or diminish their action" (Arnaud de Ronsil 30). Focus falls, in these definitions, on reproductive ability. Other definitions of hermaphrodites focus less on sex and reproduction than visible genitalia. Giles Jacob cites French sexologist Nicolas Venette's Le Tableau de l'Amour Conjugal (published in Paris in 1710) as referring to five types of hermaphrodite:
The first have the privy Parts of a Man very entire; they make Water and Engender like other Men, but with this difference, that they have a pretty deep Slit between the Seat and the Cod, which is of no Use in Generation. For Venette (whose ideas are sketched out in fig. 5), the genitals that define us aren't only built for reproduction; they urinate and menstruate, as well. His focus might be compared to that of Jacob, who writes that "I doubt not but there are many Persons in the World of both Species, particularly of the Female Sex, who would willingly assume to themselves the Parts belonging to Hermaphrodites, if they could have a vigorous Use of the Members of both Sexes, upon any lustful Inclination; a lascivious Female would be transported at the Thoughts of acting the Part of a Man in the amorous Adventure, and a lecherous Male would propose equal Pleasure in receiving the Embraces he use to bestow." I might feel like offering Jacob more slack for this sexualization of the hermaphrodite if it weren't for later statements he makes: one chapter of his book, for instance links hermaphroditism with "unnatural Births; Monsters, and extraordinary Conceptions," noting that, "Hermaphrodites being Monsters in Nature, it is no more than what may be reasonably expected that my Account of their Generation, should be follow'd with some very extraordinary unnatural Births, monstrous Productions of another Kind, and wonderful Conceptions." The figure of the hermaphrodite, in Blake's time, ranges from myth and monster to scientific subject, from lascivious to mere fact. As Tom Hayes has noted, the term has also been used "since the sixteenth century to refer to men and women who had sexual relations with people of the same gender" (153). Just as interACT struggles to detach the intersex body from myth, so, too, do some eighteenth- and nineteenth-century scientists. Then and now, this detaching is still needed. In the following section, I consider where Blake himself might fall on this spectrum of hermaphroditic representation.
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Damon S. Foster's A Blake Dictionary: The Ideas and Symbols of William Blake defines the hermaphrodite, in the context of Blake's work, as "a being with the organs of both sexes" (181). "To Blake," Foster writes, "[the hermaphrodite] symbolized a sterile state of unreconciled and warring opposites" (181). Blake, in his writing, "applied the term to war, to rational philosophy, to Nature herself... and unadjusted sex" (181). In an effort to illustrate this internal war, Foster offers two lines from Blake's For the Sexes: The Gates of Paradise: "In Doubt which is Self contradiction / A dark Hermaphrodite We stood" ("For the Sexes" 268). Hermaphroditism lingers here in the form of a paradoxical meshing of the singular and plural, recalling a scene from Jesus' life depicted in the book of Mark: when Jesus asks a possessed man for his name, the demons in him answer, "My name is Legion, for we are many" before they are exorcised (New International Version, Mark 5:9). Hermaphroditism--for Foster, anyway--is adjacent to parasitism; it's a mismatching of body and soul in which a host's soul is replaced by the kind of monster(s) that Giles Jacob describes.
Diane Hoeveler describes a similar depiction of hermaphroditism in Blake: "[t]he hermaphrodite in Blake's poetry," she writes, "is embodied in the fusion of the fallen male... and the fallen female" (30). The fall into sin described by Christian theology turns ideal, androgynous beings into male and female, two separated sexes; "[a]ny union or forced merger between these two fallen forms can only produce the monstrous hermaphrodite, embodiment of the horrors of sexual separation" (Hoeveler 30). In other words, as Tom Hayes writes, "double-sexed hermaphrodites... [in Blake] represent the narcissistic fantasy of wholeness" (160). That "fantasy of wholeness" is encapsulated by the figure of the androgyne. Hoeveler, Hayes, and Foster all sketch out a dichotomy in Blake’s work between androgynes and hermaphrodites: the former are untouched by sin and not yet divided by sex—prelapsarian—whereas the latter are symbolic of failed, postlapsarian attempts to achieve an original, androgynous state of being. "The opposite of the Hermaphrodite is the Androgyne," Foster writes, "in which man's bisexual nature is perfectly harmonized. This was his original state. Blake found the theory in Ovid... in Plato's Symposium, in Spenser's Faerie Queene, and also in Genesis" (182). Hoeveler describes this "androgynous ideal" in Blake's work as "an apocalyptic union within the self that redeems the internal and external worlds," modeled by Jesus himself, "who was aware as no other human being has been of his own divinity and inner integration" (33). According to Hoeveler, "Blake's art aims ultimately to depict the recovery of Paradise within, a state in which humanity is perfectly integrated with God, that is, integrated within itself" (33). Hayes reads these goals in Blake's Jerusalem, offering the following lines, spoken by Los: When the Individual appropriates Universality Divided, we are many, or Legion, and this division becomes Blake's ostensible exigence for writing so much about hermaphroditism: the hermaphrodite figure is representative of a need we all—according to Blake, at least—own. A few plates later, Los claims in Jerusalem ("swift as the shuttle of gold") that “[s]exes must vanish and cease / To be, when, Albion arises from his dread repose” ("Jerusalem" 252).
How might we concretely imagine Blake's androgyne, if the "double-sexed" hermaphroditic body is emblematic of our failed attempts to do so? Hoeveler describes the androgyne in Blake as "a consciousness that is neither masculine nor feminine"; instead, "it is a distinct third psychic possibility in which neither sex predominates" (29). Hayes reads the hermaphrodite/androgyne dichotomy as a Lacanian situation, arguing that "Jerusalem is about the painful necessity of choosing division over wholeness" (154). "All hermaphrodites," Hayes claims, "must finally put off... their union with the mother" and "accept their separateness, their loneliness, their alienation from the mother" (154). Hoeveler, along a similar line of thought, writes that "the hermaphrodite in Blake's poetry serves a crucial function at the conclusion of each of the epics. Before salvation can occur the central figures consistently confront the horrible figure of the hermaphrodite" (Hoeveler 32). In these readings, androgyny recalls Keats' concept of negative capability ("the state in which "a man is capable of being in uncertainties, mysteries, doubts, without any irritable reaching after fact and reason") as well as Lacan's concept of the real. Blake's hermaphroditic body is "monstrous" because it refuses negative capability, stubbornly clinging to the rational. *
In Blake's Milton, the sons and daughters of Rahab and Tirzah send their children, hermaphrodites, after Blake's protagonist, with the intention of capturing his attention:
[T]hey sent forth all their sons & daughters Like Legion, they speak "in one voice," evoking inhumanity in addition to the failed attempts at self-unification that Hayes, Hoeveler, and Foster describe ("Milton" 114). More interesting to me, though, they recall the sirens of Homer's Odyssey, positioned across a river from Milton as they are. Rahab and Tirzah's offspring have the sinful beauty of incubi and succubi, at once repulsive and attractive to their audience. They're less subjects than objects here, defined by Milton's relationship with them. Will he become like them or embrace the real?
A few plates earlier in Milton, we find Blake's protagonist face-to-face with his shadow, hermaphroditic in form: Then on the verge of Beulah he beheld his own Shadow; Even more noticeably in these lines, the hermaphroditic body is regarded both positively and negatively, as not only "mournful" but "wonderful," too. Reading this description, I looked up "wonderful" in the Oxford English Dictionary, the thought in mind that the word might have meant, at some point in time, something like "awful" rather than "awesome." "Wonderful," granted, could point less to beauty than to the kinds of monstrosity or inhumanity that strike fear into those who witness them. The TV Tropes page on "unsettling gender reveals" that I mentioned earlier refers to such reveals in texts not only as "reveal tropes," but also as "character reaction tropes"—"when what initially appears to be compatible gender attraction is later revealed to actually be incompatible gender attraction" ("Unsettling"). As an example for this interaction between reader and text, TV Tropes offer the instance in which a straight boy likes a (in this case fictional) girl, who, to the straight boy's bewilderment, turns out to be a boy ("Unsettling"). The straight boy's object of desire might be "wonderful" in the sense that they are in turn regarded as attractive and not. Milton's shadow, perhaps, is "unsettling" for Milton to view: as the straight boy might feel the need to question his sexual orientation (that which defines him as "the straight boy" in the first place) after realizing he's felt attraction for another boy, so, too, might Milton fear the hermaphroditism of his own shadow, and the fact that that shadow is at once "dread" and "wonderful."
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The hermaphroditic body, at this point in my introduction, has proved itself unsettling, beautiful, and humorous in turn. I'm interested in the manner in which these "character reaction tropes" repeat over such long periods of time. And if the hermaphroditic body is all of those things, what, then, is my own body? I come back, now, to statues.
Even older than the hermaphrodite statues of imperial Rome are those of the Hellenistic period, which ran from the death of Alexander the Great in 323 BCE to the Roman Empire's emergence in 31 BCE. My favorite of these is photographed in fig. 8. The marble figure in question has their hair up in the way I've always liked drawing; they have the small breasts of a cis woman and the penis and testicles of a cis man. They don't necessarily look like the top half of a woman and the bottom half of a man collaged together: their face looks androgynous to me, and their legs could be my own. Unlike "Sleeping Hermaphrodite," this statue of Hermaphroditus (the mythic child of Hermes and Aphrodite) is unabashed, freely showing off a variety of sex characteristics. If this piece was meant to read as a joke, it doesn't--not now, at least. Something nags me as I stare at Hermaphroditus. It occurs to me, finally, that they are a familiar figure. I've gone into sex shops and looked in curiosity at their sections of trans porn DVDs, and nearly every body on every cover looks like Hermaphroditus. Consider, for instance, fig. 9, the cover of a film that came out in January of 2020. (I choose it partly for the "wonderful" pun in its title, Ménage à Trans 5.) Actress Angelina Please is not only posed similar to Hermaphroditus' Hellenistic statue, one hand near her hip and the other raised up; the two figures have similar bodies, as well. While groups like interACT seek to decouple intersex bodies from mythological ones, it's also true that, in the past century, medical advances have allowed trans women to shape their bodies into ones that recall that of Hermaphroditus. And while it's certainly true that many trans bodies look nothing like that, trans porn almost entirely consists of depictions of Hermaphroditus-like trans women with full, feminine breasts and sizable penises. (A brief search on Porn Hub confirms as much, if one types "trans" into their search bar.)
Carving Blake-inspired blocks of linoleum for this project, such figures weren't the ones solely on my mind. One of my prints, photographed in fig. 10, recalls Hermaphroditus. I designed this print with interchangeable parts, though: shown in fig. 11 are the smaller linoleum cuts I did of varying body parts, carved with the thought in mind that I could give the body of fig. 10 large or flat breasts alongside a penis, a vagina, or intersex genitalia. In fig. 12, for instance, The Twofold Form features an intersex individual with a flat chest, in opposition to fig. 10. As Blake made many copies of his own prints and colored each one differently, so did I; the mix-and-match body parts only take this fluidity a step further.
Producing other prints for this project, I took inspiration from Blake's more androgynous figures, focusing on two poems from his early volume Poetical Sketches. Tristanne Connolly compliments Blake alongside his contemporary Ann Batten Cristall for what she terms their "transgender juvenilia," a category that, for Blake, features Poetical Sketches:
They try on the voice of the other gender, or create gender-ambiguous speakers. They play with courtship, probing the limitations of heterosexual conformity and trying out different kinds of partnership. They test whether masculinity and femininity can be escaped entirely, and adolescent experimentation (both sexual and poetic) extended indefinitely. By constantly shifting personae and relationships, they literally do not make anything of themselves. (27) I've always loved drawing people with ambiguous genders and sexes; depicting the characters of Poetical Sketches, then, I embraced this desire, drawing androgynous figures from the back (fig. 13) and the front (fig. 14). So many of the bodies Blake has drawn are ambiguous in sex solely because he draws them from behind, or too small for little details like genitalia. Consider, for instance, the figures drawn in the margins on plate 17 of Milton, shown in fig. 15. Viewing them, I'm inclined to not prescribe them any gender or sex at all.
I return, finally, to my own body, the thing that carved and painted, researched and wrote this project as well as received its most recent injection of testosterone the Sunday prior to the night it now types this conclusion. Have I learned anything, personally speaking, from all this? I've sketched enough genitalia by now to feel a fraction more used to my own, and I feel an honored kind of awe, looking at and relating to those old statues. It's very easy to cringe at myself, to read my body as unsettling or farcical. I don't know if reading it as wonderful or attractive is my ultimate aim, either. On my favorite days, I think I just forget about it. The presence of an audience—of either others or myself, looking in the bathroom mirror—is what changes things for me: I feel examined, and inclined to present myself in manners others often don't seem to recognize. It's necessary that I don't forget gender; otherwise, I'd be read by most people as a woman.
On my favorite days, I dress on instinct. Lately, during quarantine, I've been growing fonder and fonder of skirts, although I hesitate to wear them around others. They make me feel fancy, put-together, free to catch breezes on my legs. It's my hope that Blake's gender-ambiguous Spring feels a similar liberation, looking down through "dewy locks" and "the clear windows of the morning" ("Poetical Sketches" 408). Works CitedArnaud de Ronsil, Georges. A Dissertation on Hermaphrodites. A. Millar, 1750.
The Bible. New International Version, Biblica, Inc., 2011. Blake, William. "For the Sexes: The Gates of Paradise." The Complete Prose and Poetry of William Blake, edited by David V. Erdman, Anchor Books, 1988, pp. 259-269. ---. "Milton: A Poem in 2 Books." The Complete Prose and Poetry of William Blake, edited by David V. Erdman, Anchor Books, 1988, pp. 95-144. ---. "Milton: A Poem in 2 Books." The William Blake Archive, http://blakearchive.org/copy/milton.a?descId=milton.a.illbk.01. Accessed 15 May 2020. ---. "Jerusalem: The Emanation of the Great Albion." The Complete Prose and Poetry of William Blake, edited by David V. Erdman, Anchor Books, 1988, pp. 144-259. ---. "Poetical Sketches." The Complete Prose and Poetry of William Blake, edited by David V. Erdman, Anchor Books, 1988, pp. 408-455. Connolly, Tristanne. “Transgender Juvenilia: Blake's and Cristall's Poetical Sketches.” Women Reading William Blake, edited by Helen P. Bruder, Palgrave Macmillan, 2007, pp. 26-34. Damon, S. Foster. “Hermaphrodite.” A Blake Dictionary: The Ideas and Symbols of William Blake, Dartmouth College Press, 2013, pp. 181-182. Hayes, Tom. “William Blake's Androgynous Ego-Ideal.” ELH, vol. 71, no. 1, 2004, pp. 141–165. "Hellenistic statue of Hermaphroditus (marble copy of a fresco from Herculaneum)." Lady Lever Art Gallery, https://en.wikipedia.org/wiki/Hermaphrodite#/media/File:Hermaphroditus_lady_lever.jpg. Accessed 15 May 2020. “Hermaphrodite, n. and adj.” OED Online, Oxford University Press, March 2020, www.oed.com/view/Entry/86249. Accessed 17 April 2020. Hoeveler, Diane. “Blake’s Erotic Apocalypse: The Androgynous Ideal in ‘Jerusalem.’” Essays in Literature, vol. 7, no. 1, 1979, pp. 29-41. InterACT. "FAQ: What is Intersex?" https://interactadvocates.org/faq/. Accessed 14 May 2020. Jacob, Giles. Tractatus de Hermaphroditis (1818). Project Gutenberg, http://www.gutenberg.org/files/13569/13569-h/13569-h.htm. Accessed 14 May 2020. Keats, John. "To George and Thomas Keats." 21, 27 [?] December 1817. The Broadview Anthology of British Literature, Vol. 4: The Age of Romanticism, 2nd ed., edited by Joseph Black, et al., Broadview Press, pp. 849-850. McDermon, Daniel. “What the Sleeping Hermaphrodite Tells Us About Art, Sex and Good Taste.” The New York Times, 24 June 2016, https://www.nytimes.com/interactive/2016/06/27/arts/design/statue-hermaphrodite.h tml. Accessed 20 Apr. 2020. Parsons, James. A Mechanical and Critical Enquiry Into the Nature of Hermaphrodites. J. Walthoe, 1741. Powers, Jim, director. Ménage à Trans #05. Devil’s TGirls, 29 Feb. 2020, https://www.devilstgirls.com/en/dvd/Menage-A-Trans-05/52985#!prettyPhoto. Accessed 15 May 2020. "Sexual Organs of the Male, the Female and Hermaphrodites. Etching." Wellcome Collection, https://wellcomecollection.org/works/wn8jvmus. Accessed 15 May 2020. "Unsettling Gender Reveal." TV Tropes, https://tvtropes.org/pmwiki/pmwiki.php/Main/UnsettlingGenderReveal. Accessed 15 May 2020. Venette, Nicolas. Sketch from La Generation De L'homme. Wellcome Collection, https://wellcomecollection.org/works/w642udua. Accessed 15 May 2020. |