For some mysterious reason, school marms and style manuals decided that the epicene "they" was ungrammatical.
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Singular, epicene they has not just modern gender equality but seven centuries of the finest literary tradition on its side.
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Supporters of the epicene they argue that it is high time this was accepted, in a world aware of sex discrimination.
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His name is Strat, and he is played with beguiling epicene virility and lungs of steel by the willowy Andrew Polec.
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David Bowie's audacious claims of bisexuality, recently said while wearing epicene attire, were more the mechanisms of courting controversy than candid affirmations of difference.
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Some would say that "each president chooses his own cabinet" is epicene—but psychological research proves that the his calls to mind a man.
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She made Van Vechten, who was gay but married twice, appear both epicene and heroic in a painting of him in his apartment, amid symbols of his myriad vocations.
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GEORGE JOCHNOWITZProfessor emeritus of linguisticsCollege of Staten Island, CUNYNew York * As the American Copy Editors Society stoke this debate, I would propose "o" for the epicene pronoun to replace he and she.
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So this "Dream" features a mostly female (and delightful) troupe of amateur thespians for the play within the play; a punkish epicene Puck (the Welsh actress Katy Owen); and a gay relationship among the central quartet of young lovers.
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And while The New York Times hasn't officially included the word in their style guide, editors note that they have occasionally used Mx. (Choosing a title is especially relevant for The Times, since unlike many newspapers, they customarily refer to all people with a title upon second mention.) Linguists call pronouns that can apply to either sex epicene pronouns.
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Both plays also reveal the influence of Ben Jonson's Epicene (1609).Maxwell, p. 49.
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Trengove occasionally directs theatre, including the cult hit, The Epicene Butcher (and Other Stories for Consenting Adults).
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Polytheistic religions, however, almost always attribute gender to their gods, though a few notable divinities are associated with various forms of epicene characteristics—gods that manifest alternatingly as male and female, gods with one male and one female "face", and gods whose most distinctive characteristic is their unknown gender. "We are yet more strongly reminded by the two-fold nature of Phanes of the epicene god-heads, who occur frequently in the Babylonian pantheon." Banerjee, Gauranga Nath. 2007. Hellenism in Ancient India.
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The system of sex marking for Esperanto nouns is frequently criticised for being asymmetric and male biased. In contrast Novial has one symmetric, unbiased system for both nouns and pronouns which marks either male, female, epicene or inanimate.
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The original version of the computer game Zork makes reference to an "epicene gnome of Zurich". Valiant Comics' Archer & Armstrong features a group of literal gnomes referred to as the Gnomes of Zurich, one of many factions within The Sect formed to kill the titular immortal, Armstrong.
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Usually, feminine nouns are derived from epicene (genderless) roots via the suffix -ino. A relatively small number of Esperanto roots are semantically masculine or feminine. In some but not all cases, masculine roots also have feminine derivatives via -ino. Usage is consistent for only a few dozen words.
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Relacion de las Costumbres de Los Tagalos. The supreme deity, Bathala, has also been referred as an epicene divinity. In Suludnon mythology, there are accounts of female binukots (well-kept maidens) who had powers to transition into male warriors. The most famous of which are Nagmalitong Yawa and Matan-ayon.
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"The Macaroni. A real Character at the late Masquerade", mezzotint by Philip Dawe, 1773 "What is this my Son Tom?", 1774 A macaroni (or formerly maccaroni)OED; Compare fop. in mid-18th-century England was a fashionable fellow who dressed and even spoke in an outlandishly affected and epicene manner.
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Esperanto personal pronouns distinguish gender in the third-person singular: li (he), ŝi (she); but not in the plural: ili (they). There are two practical epicene third- person singular pronouns: expanding the use of the demonstrative pronoun tiu (that one), and Zamenhof's suggestion, ĝi. See the discussions at gender reform in Esperanto.
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There are relatively few mythological terms that can only be masculine. Inkubo (incubus), for example, is prototypically masculine, but the feminine inkubino is found as an alternative to sukubo (succubus). :Dedicated masculine words for domestic animals that have a separate epicene root: boko (buck), stalono (stallion), taŭro (bull). These do not take the suffix -ino.
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Allen's biographer Nina BoydBoyd, Nina (2013), From Suffragette to Fascist: The Many Lives of Mary Sophia Allen, Stroud: The History Press suggests that in the novel That Hideous Strength by C. S. Lewis the character of "Fairy" Hardcastle, an epicene ex-suffragette turned security director for a tyrannical progressive organisation, is based on Allen.
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For job titles ending in epicene suffixes such as () or (), the only change is in the article () and any associated adjectives. Abbreviated professions only change the article as well (). In some cases, words already had a feminine form which was rarely used, and a new one was created. For instance had the feminine but was still created.
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The Globe and Mail, February 12, 2013. The series stars Alexander Chapman as Epicene, a transgender detective investigating the murder of Mars Brito (Chase Joynt), a bike courier, in the fictional town of Passing, British Columbia. The cast also includes Guillermo Verdecchia, Arsinée Khanjian, Moynan King and Nina Arsenault."Film prof's 'whodunit' Murder in Passing captivates Toronto commuters".
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Nana is a given name that has different origins in several countries across the world. Its use as a feminine or masculine name varies culturally. It is feminine in Japan, Georgia and Greece, and it is masculine in Ethiopia and India, and epicene in Ghana and Indonesia. In Georgia, Nana is the fifth most popular given name for girls.
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According to Dennis Baron's Grammar and Gender: > In 1789, William H. Marshall records the existence of a dialectal English > epicene pronoun, singular "ou": "'Ou will' expresses either he will, she > will, or it will." Marshall traces "ou" to Middle English epicene "a", used > by the 14th century English writer John of Trevisa, and both the OED and > Wright's English Dialect Dictionary confirm the use of "a" for he, she, it, > they, and even I. This "a" is a reduced form of the Anglo-Saxon he = "he" > and heo = "she". By the 12th and 13th centuries, these had often weakened to > a point where, according to the OED, they were "almost or wholly > indistinguishable in pronunciation." The modern feminine pronoun she, which > first appears in the mid twelfth century, seems to have been drafted at > least partly to reduce the increasing ambiguity of the pronoun system... > As cited by: Thus in Middle English the new feminine pronoun she established itself to satisfy a linguistic need.
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Sparganium eurycarpum Sparganium (bur-reed) is a genus of flowering plants, described as a genus by Linnaeus in 1753.Linnaeus, Carl von. 1753. Species Plantarum 2: 971 in LatinTropicos, Sparganium L. It is widespread in wet areas in temperate regions of both the Northern and Southern Hemispheres.Kew World Checklist of Selected Plant Families The plants are perennial marsh plants that can grow to 3.5 m (depending on the species), with epicene flowers.
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S. Bertoldi, L'ultimo re, l'ultima regina, Milan, 1992 As a young man, the epicene Umberto was mostly noted for his pursuit of handsome young officers. One of his lovers, Enrico Montanari, remembered as a lieutenant in 1927 Turin that the prince gave him a silver cigarette lighter with the inscription reading "Dimmi di si!" ("Say yes to me!").Dall'Oroto, Giovanni "Umberto II" from Who's Who in Contemporary Gay and Lesbian History, London: Psychology Press, 2002 p. 453.
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Most of his pranks are played on Dr. Dashwood, of Orgasm Research. However, the most important plot line follows the path of one Hugh Crane which may or may not be this Universe's Hagbard Celine; a character that is an obvious representation of Wilson himself. Another follows an "Ithyphallic Eidolon", a penis removed from a transsexual woman named Epicene (post-surgery, Mary Margaret) Wildebloode. She puts it on display on her mantelpiece, where it gets stolen.
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Kemble added a dance to Cloten's comic wooing of Imogen. In 1827, his brother Charles mounted an antiquarian production at Covent Garden; it featured costumes designed after the descriptions of the ancient British by such writers as Julius Caesar and Diodorus Siculus. William Charles Macready mounted the play several times between 1837 and 1842. At the Theatre Royal, Marylebone, an epicene production was staged with Mary Warner, Fanny Vining, Anna Cora Mowatt, and Edward Loomis Davenport.
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Brome did not rely upon a single source for the plot of his play, though he was strongly influenced by the works of Ben Jonson, his model in most artistic and dramaturgical matters; the play's links with Epicene have been noted by critics. The play alludes to the device of blackface make-up employed in Jonson's The Masque of Blackness. Brome was also influenced by earlier works in city comedy and the writers in that subgenre. His play bears significant resemblances to Shackerley Marmion's A Fine Companion.
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The main plot, about the Pennyboy family and Lady Pecunia, is a satire on the emerging ethic of capitalism; and the play features a complex threefold satire on abuses of language, in the News Staple, the society of jeerers, and the project for a Canting College. The play also provides an expression of the females-out-of-control theme that is so central and recurrent in Jonson's plays, from the Ladies Collegiate in Epicene (1609) to the three bad servants in The Magnetic Lady (1632).
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John Herbert, the author of Fortune and Men's Eyes, had been incarcerated previously after an altercation by some thugs had caused a mass roundup by police. The judge sentenced him to prison due to his epicene appearance.Rothenberg, page 58 Being deeply moved by the play, his experience at Rikers, and Herbert's plight, Rothenberg channeled his passion for activism into a non-profit advocacy organization called Fortune Society, borrowing from the play's own name. By the time the play premiered in Canada, the Fortune Society had been created.
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Her first two children drowned in the care of their nanny in 1913, when a runaway car went into the River Seine. Following the accident, Duncan spent several months recuperating in Corfu with her brother and sister, then several weeks at the Viareggio seaside resort with the actress Eleonora Duse. The fact that Duse had just left a relationship with the rebellious and epicene young feminist Lina Poletti fueled speculation as to the nature of Duncan and Duse's relationship, but there has never been any indication that the two were involved romantically.
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The third-level plot concerns the uncle of Mistress Peregrine and Jacinta, Sir Solitary Plot, "a character compounded of Jonson's Morose in Epicene and Jonson's Sir Politic Would-Be in Volpone."Arthur Huntington Nason, James Shirley, Dramatist: A Biographical and Critical Study, New York, 1915; reprinted New York, Benjamin Blom, 1967; pp. 258-9. The result is an interesting study of paranoia in a 17th-century context: Sir Solitary sees enemies everywhere, and hides in his residence for safety. His servants Dormant and Oldrat are similar Jonsonian "humors" characters.
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A third-person pronoun is a pronoun that refers to an entity other than the speaker or listener. The English pronouns he and she are third-person personal pronouns specific to the gender of the person (not to be confused with grammatical gender). The English pronoun they is an epicene (gender-neutral) third-person pronoun that can refer to plural antecedents of any gender and, informally, to a singular antecedent that refers to a person, the "singular they". Many of the world's languages do not have gender-specific pronouns.
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In 1879 the Emperor's sculptor, Albert-Ernest Carrier-Belleuse was commissioned by Jumeau to fashion an epicene head, to be used as that of either boy or girl. Carrier-Belleuse is reputed to have used a portrait of King Henry of Navarra at age four as model and the design became known as Jumeau Triste. Emile-Louis becomes a Knight of the Légion d’Honneur in 1889. Henri Lioret, a French watchmaker and pioneer in the manufacture of talking machines, helps the firm develop Bébé Phonographe, the talking doll in 1894.
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Like most printers who published, Stansby had to arrange for retail sale of his works. The title page of his 1620 edition of Jonson's Epicene specifies that the work is sold by the bookseller John Browne. Stansby's editions of two works by John Selden, Titles of Honour (1614, 1631) and Mare Clausum (1635), were notable for being among the earliest English books that printed Arabic and Turkish words. The former book, in both editions, used carved woodblocks for its non- English terms; the latter was the first English book that used movable type to print Arabic.
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Bechstein mentions le Vaillant's reluctance to consider it as an independent species, but explains that having examined a living bird, he considers it a valid species, mentioning the size difference and enumerating numerous other characteristics he deems distinctive. After almost 200 years, the binomial name was changed from Ara ambigua to Ara ambiguus in 2004, as it was decided that the word ara was in fact male, despite ending in an -a (see epicene). There are two subspecies which are geographically isolated at present: Ara ambiguus ssp. ambiguus, which has the largest distribution range (Central and northern South America), and Ara ambiguus ssp.
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Jonson She was a noted patron of Ben Jonson, who dedicated his play Cynthia's Revels (1600) to her and addressed several of his Epigrams to her, extolling her patronage. By his own admission, Jonson portrayed her as Ethra in his lost pastoral, The May Lord — though he may also have depicted her as Lady Haughty, president of the Collegiates in Epicene (1609). When Jonson was imprisoned in 1605 for his role in the Eastward Ho scandal, he wrote a letter to an unknown lady, who is thought by some scholars to have been the Countess of Bedford.Joseph, p. 98.
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She is, in other words, both a Fallen and a Risen Woman, depending upon the nexus within which she is viewed. In the unpropitious environment of Angoulême Mme de Bargeton is an absurd bluestocking; transplanted to Paris, she undergoes an immediate "metamorphosis", becoming a true denizen of high society – and rightfully, in Part III, the occupant of the préfecture at Angoulême. As to whether Lucien's writings have any value, the social laws are paramount: this is a fact which he does not realize until it is too late. (7) A parallel ambiguity is present in the character of the epicene Lucien de Rubempré.
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There are several parts in the book where it reviews and jokingly deconstructs itself. The fictional journalist Epicene Wildeblood at one point is required to critique a book uncannily similar to The Illuminatus! Trilogy: Several protagonists come to the realization that they are merely fictional characters, or at least begin to question the reality of their situation. George Dorn wonders early on if he "was in some crazy surrealist movie, wandering from telepathic sheriffs to homosexual assassins, to nympho lady Masons, to psychotic pirates, according to a script written in advance by two acid-heads and a Martian humorist".
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There is still variation in many of the above words, depending on the social expectations and language background of the speaker. Many of the words are not clearly either masculine or epicene today. For example, the plural bovoj is generally understood to mean "cattle", not "bulls", and similarly the plurals angloj (Englishpeople) and komencantoj (beginners); but a masculine meaning reappears in bovo kaj bovino "a bull & cow", kaj anglino (an Englishman & Englishwoman), komencanto kaj komencantino (a male & female beginner). There are several dozen clearly masculine roots: :Words for boys and men: fraŭlo (bachelor – the feminine fraŭlino is used for 'miss'), knabo (boy), viro (man).
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Richard Burbage died in March 1619; Taylor joined the King's Men the next month, and over the coming years he acted all the major roles of the Shakespearean canon. According to James Wright's Historia Histrionica (1699), Taylor "acted Hamlet incomparably well" and was noted for his Iago. He was also famous for the parts of Paris in The Roman Actor (Philip Massinger), Ferdinand in The Duchess of Malfi (John Webster), and Mosca in Volpone, Face in The Alchemist, and Truewit in Epicene (all by Ben Jonson). Taylor starred in many King's men plays; he played the protagonists in Massinger's The Picture and Arthur Wilson's The Swisser; he was the Duke in Lodowick Carlell's The Deserving Favourite.
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"Epicene gender" (epiceno) is the term applied to those nouns that have only one grammatical gender, masculine or feminine, but can refer to a living creature of either sex. Most animal names are of this type. E.g.: el ratón ('mouse'), la rata ('rat'), la rana ('frog'), la comadreja ('weasel'), la liebre ('hare'), la hormiga ('ant'), el búho ('owl'), el escarabajo ('beetle'), el buitre ('vulture'), el delfín ('dolphin'), el cóndor ('condor'), la paloma ('dove'), la llama ('llama'). To specify sex, a modifying word is added, with no change of gender: el delfín macho ('the male dolphin'), el delfín hembra ('the female dolphin'), la comadreja macho, la comadreja hembra (male and female weasels respectively).
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At Magdalen College, Oxford, Tynan lived flamboyantly but was already beginning to suffer from the effects of his heavy smoking. He did not discover until much too late that he had been born with a rare lung condition, which significantly increased the damage done by smoking. The writer Paul Johnson, who was "an awestruck freshman-witness to his arrival at the Magdalen lodge" described Tynan as a "tall, beautiful, epicene youth, with pale yellow locks, Beardsley cheekbones, fashionable stammer, plum-coloured suit, lavender tie and ruby signet-ring." Unlike Johnson and Tynan, most undergraduates at the university had been through World War II, but were nevertheless "struck speechless" by Tynan's extravagant style.
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There are several dozen feminine roots that do not normally take the feminine suffix -ino: :Words for women: damo (lady), matrono (matron), megero (shrew/bitch, from mythology); :Female professions: almeo (almah), gejŝo (geisha), hetajro (concubine), meretrico (prostitute), odalisko (odalisque), primadono (prima donna), subreto (soubrette); :Female mythological figures: amazono (Amazon), furio (Fury), muzo (Muse), nimfo (nymph), sireno (siren), etc. :Special words for female domestic animals: guno (heifer) :Spayed animals: pulardo (poulard) :Words for female: ino, femalo. Like the essentially masculine roots (those that do not take the feminine suffix), feminine roots are rarely interpreted as epicene. However, many of them are feminine because of social custom or the details of their mythology, and there is nothing preventing masculine usage in fiction.
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Sexologist John Money coined the term gender role, and was the first to use it in print in a scientific trade journal. In a seminal 1955 paper he defined it as "all those things that a person says or does to disclose himself or herself as having the status of boy or man, girl or woman." The modern academic sense of the word, in the context of social roles of men and women, dates at least back to 1945, and was popularized and developed by the feminist movement from the 1970s onwards (see § Feminism theory and gender studies below), which theorizes that human nature is essentially epicene and social distinctions based on sex are arbitrarily constructed. In this context, matters pertaining to this theoretical process of social construction were labelled matters of gender.
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Because of the riots that took place in 1607, a number of scholars believe the play could not have been written earlier than the final months of 1609 and attribute the play to the early years of the reign of King James I. Others have favored a date as late as 1618-22 for the original version of the play, based on internal characteristics of Fletcher's evolving style.Logan and Smith, p. 61. Scholars who see a debt in the play to Ben Jonson's Epicene favor a date c. 1611. However, the first surviving reference to the play is contained in a government document dating on the morning of 18 October 1633 when Sir Henry Herbert, the Master of the Revels, `sent a warrant by messenger of the chamber to suppress The Tamer Tamed, to the King’s players for the afternoon`.
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Cupid’s Whirligig, by Edward Sharpham (1576-1608), is a city comedy set in London about a husband that suspects his wife of having affairs with other men and is consumed with irrational jealousy. It was first published in quarto in 1607, entered in the Stationer’s Register with the name "A Comedie called Cupids Whirlegigge." It was performed that year by the Children of the King’s Revels in the Whitefriars Theatre (a private theatre) where Ben Jonson’s Epicene was also said to have been performed. It was again published in 1611, 1616 and 1630, each with an epistle to Robert Hayman before the play, however, the only other record of it being performed is an amateur performance by apprentices at Oxford on 26 December 1631. Its authorship was not known until 1812, when scholars connected it to Edward Sharpham’s other play, The Fleire, written on 13 May 1606.
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The Anti-Defamation League accused Gibson of anti-semitism over the film's unflattering depiction of Caiaphas and the Sanhedrin. In The Nation, reviewer Katha Pollitt said, "Gibson has violated just about every precept of the (United States Conference of Catholic Bishops) conference's own 1988 'Criteria' for the portrayal of Jews in dramatizations of the Passion (no bloodthirsty Jews, no rabble, no use of Scripture that reinforces negative stereotypes of Jews, etc.) ... The priests have big noses and gnarly faces, lumpish bodies, yellow teeth; Herod Antipas and his court are a bizarre collection of oily-haired, epicene perverts. The 'good Jews' look like Italian movie stars (Magdalene actually is an Italian movie star, the lovely Monica Bellucci); Mary, who would have been around 50 and appeared 70, could pass for a ripe 35." Among those to defend Gibson were Orthodox Jewish rabbi Daniel Lapin and radio personality Michael Medved.
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Paglia criticizes feminists for sentimentality or wishful thinking about the causes of rape, violence, and poor relations between the sexes. The "sexual personae" of Paglia's title include the female vampire (Medusa, Lauren Bacall); the pythoness (the Delphic Oracle, Gracie Allen); the beautiful boy (Hadrian's Antinous, Dorian Gray); the epicene man of beauty (Byron, Elvis Presley); and the male heroine (the passive male sufferer; for example, the old men in William Wordsworth's poetry). Writers Paglia discusses include Spenser, Shakespeare, Jean-Jacques Rousseau, the Marquis de Sade, Goethe, William Blake, Wordsworth, Coleridge, Byron, Percy Bysshe Shelley, John Keats, Honoré de Balzac, Théophile Gautier, Charles Baudelaire, Joris- Karl Huysmans, Brontë, Algernon Charles Swinburne, Walter Pater, Wilde, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Ralph Waldo Emerson, Walt Whitman, Henry James, and Emily Dickinson. The works of literature Paglia analyzes include Spenser's The Faerie Queene, Shakespeare's As You Like It and Antony and Cleopatra, Goethe's Wilhelm Meister's Apprenticeship, Coleridge's Rime of the Ancient Mariner, Byron's Don Juan, Brontë's Wuthering Heights, and Wilde's The Importance of Being Earnest and The Picture of Dorian Gray.
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