{"title":"有色人种跨性别女性的性史","authors":"Jules Gill-Peterson","doi":"10.7560/jhs32107","DOIUrl":null,"url":null,"abstract":"I n s e a s o n 3 o f S e x a n d t h e C i t y ( 200 0 ) , Samantha moves into a $7,000 a month apartment in New York City’s rapidly gentrifying Meatpacking District. In a series of now infamous scenes, she confronts a trio of Black trans women whose sex work in the early hours of the morning is driving her to open hysteria. “I didn’t pay a fortune to live in a neighborhood that’s trendy by day and tranny by night,” Samantha exclaims at brunch. Her first attempt to resolve the issue is to patronize the women by complimenting their looks before asking if they would kindly move to another block. (Narrates Carrie Bradshaw: “Samantha always knew how to get her way with men, even if they were half-women.”) But when they return and are loud enough to stall an orgasm with her boyfriend, Samantha opens her bedroom window, screams, “Shut up, you bitches! I called the cops!” and hurls a pot of water onto one of them. “I am a tax-paying citizen and a member of the Young Women’s Business Association! I don’t have to put up with this!” she rants to herself before launching the liquid projectile. A police car then appears on the street, and Samantha watches, triumphantly, as the Black trans women move on. The episode, as contemporary devotees of the series openly admit, hasn’t aged especially well over the past twenty years.1 When the series was given a sequel, And Just Like That, Kim Cattrall, who played Samantha, chose not to return. But what that temporal marker of not ageing well signifies, I gather, is that the conventions of representing trans people, especially Black trans women, have since traversed the arc of the so-called trans tipping point, where framing racialized trans femininity and sex work as the butts of jokes colludes with actual social death and material vulnerability.2 To that we might add that trans women are the subject of an avalanche of contemporary moral panics that trade in even more vicious fantasies of","PeriodicalId":45704,"journal":{"name":"Journal of the History of Sexuality","volume":null,"pages":null},"PeriodicalIF":0.4000,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"The Trans Woman of Color's History of Sexuality\",\"authors\":\"Jules Gill-Peterson\",\"doi\":\"10.7560/jhs32107\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"I n s e a s o n 3 o f S e x a n d t h e C i t y ( 200 0 ) , Samantha moves into a $7,000 a month apartment in New York City’s rapidly gentrifying Meatpacking District. In a series of now infamous scenes, she confronts a trio of Black trans women whose sex work in the early hours of the morning is driving her to open hysteria. “I didn’t pay a fortune to live in a neighborhood that’s trendy by day and tranny by night,” Samantha exclaims at brunch. Her first attempt to resolve the issue is to patronize the women by complimenting their looks before asking if they would kindly move to another block. (Narrates Carrie Bradshaw: “Samantha always knew how to get her way with men, even if they were half-women.”) But when they return and are loud enough to stall an orgasm with her boyfriend, Samantha opens her bedroom window, screams, “Shut up, you bitches! I called the cops!” and hurls a pot of water onto one of them. “I am a tax-paying citizen and a member of the Young Women’s Business Association! I don’t have to put up with this!” she rants to herself before launching the liquid projectile. A police car then appears on the street, and Samantha watches, triumphantly, as the Black trans women move on. The episode, as contemporary devotees of the series openly admit, hasn’t aged especially well over the past twenty years.1 When the series was given a sequel, And Just Like That, Kim Cattrall, who played Samantha, chose not to return. 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引用次数: 0
摘要
在s e x a n d t h e C I t y(200 0)的3 o f中,Samantha搬进了纽约市迅速绅士化的肉类加工区一套每月7000美元的公寓。在一系列现在臭名昭著的场景中,她与三名黑人跨性别女性对峙,她们在凌晨的性工作让她歇斯底里。萨曼莎在早午餐时惊呼道:“我没花一大笔钱就住在一个白天时髦,晚上时髦的社区。”。她解决这个问题的第一个尝试是在询问女性是否愿意搬到另一个街区之前,先赞美她们的长相,以此来讨好她们。(讲述Carrie Bradshaw:“Samantha总是知道如何与男人相处,即使他们是半个女人。”。“我是一名纳税公民,也是青年妇女商业协会的成员!我不必忍受这一切!”她在发射液体炮弹前对自己咆哮道。随后,一辆警车出现在街上,萨曼莎得意洋洋地看着黑人跨性别女性继续前行。正如该剧的当代粉丝公开承认的那样,这一集在过去20年里并没有特别老。1当该剧推出续集《就这样》时,扮演萨曼莎的金·卡特拉尔选择不回来。但是,我认为,这种衰老的时间标志意味着,代表跨性别者,尤其是黑人跨性别女性的传统,已经跨越了所谓的跨性别临界点,将种族化的跨性别女性气质和性工作视为笑柄,与实际的社会死亡和物质脆弱性相勾结。2除此之外,我们还可以补充一点,跨性别女性是当代道德恐慌雪崩的主题,这些恐慌会带来更恶毒的幻想
I n s e a s o n 3 o f S e x a n d t h e C i t y ( 200 0 ) , Samantha moves into a $7,000 a month apartment in New York City’s rapidly gentrifying Meatpacking District. In a series of now infamous scenes, she confronts a trio of Black trans women whose sex work in the early hours of the morning is driving her to open hysteria. “I didn’t pay a fortune to live in a neighborhood that’s trendy by day and tranny by night,” Samantha exclaims at brunch. Her first attempt to resolve the issue is to patronize the women by complimenting their looks before asking if they would kindly move to another block. (Narrates Carrie Bradshaw: “Samantha always knew how to get her way with men, even if they were half-women.”) But when they return and are loud enough to stall an orgasm with her boyfriend, Samantha opens her bedroom window, screams, “Shut up, you bitches! I called the cops!” and hurls a pot of water onto one of them. “I am a tax-paying citizen and a member of the Young Women’s Business Association! I don’t have to put up with this!” she rants to herself before launching the liquid projectile. A police car then appears on the street, and Samantha watches, triumphantly, as the Black trans women move on. The episode, as contemporary devotees of the series openly admit, hasn’t aged especially well over the past twenty years.1 When the series was given a sequel, And Just Like That, Kim Cattrall, who played Samantha, chose not to return. But what that temporal marker of not ageing well signifies, I gather, is that the conventions of representing trans people, especially Black trans women, have since traversed the arc of the so-called trans tipping point, where framing racialized trans femininity and sex work as the butts of jokes colludes with actual social death and material vulnerability.2 To that we might add that trans women are the subject of an avalanche of contemporary moral panics that trade in even more vicious fantasies of