Fink Marty
Ryerson University, 350 Victoria Street, Toronto, ON, M5B 2K3, Canada.
J Med Humanit. 2019 Mar;40(1):21-31. doi: 10.1007/s10912-018-9524-2.
This paper will examine Choir Boy (2005), a trans coming-of-age novel by Charlie Anders, to disrupt historically rooted medical narratives of gender transition. Through a disability studies lens, this paper locates vocal performance as a means of speaking back to gatekeeping practices held in place by medical authorities since the inception of transsexuality as a classificatory category. Offering imaginative alternatives to "wrong body" diagnostics, this analysis places cultural texts in conversation with disability theory to reframe the trans self as a singing body that cannot be reduced to normalizing biomedical practices. Choir Boy frames vocal performance as a mode of gender expression and as a survival strategy against violence. The trans counter-narratives offered by Anders resist the medicalization of trans bodies and the classification of some bodies as not "trans enough" to qualify for transition. Choir Boy locates vocal performance and not binary gender identification as impetus for transition, thereby advocating for trans self-determination over medical access.
本文将审视查理·安德斯所著的跨性别成长小说《唱诗班男孩》（2005年），以打破历史悠久的关于性别转变的医学叙事。通过残疾研究的视角，本文将声乐表演定位为一种回应自变性作为一个分类类别确立以来医学权威所实施的把关做法的方式。该分析为“错误身体”诊断提供了富有想象力的替代方案，使文化文本与残疾理论展开对话，将跨性别自我重塑为一个无法被简化为标准化生物医学实践的歌唱身体。《唱诗班男孩》将声乐表演构建为一种性别表达模式和一种抵御暴力的生存策略。安德斯提供的跨性别反叙事抵制跨性别身体的医学化以及将某些身体归类为不够“跨”而无资格进行转变的做法。《唱诗班男孩》将声乐表演而非二元性别认同定位为转变的动力，从而倡导跨性别者在医疗获取方面的自决权。
