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This is evident of a multi-sited ethnography (Marcus 1995), even though she does not make such claims, because Vincent’s research into the norms of masculinity cannot be confined within a single physical space.

Although not consciously intended to be an ethnographic text, is an intersection of ethnographic novels, auto-ethnographies and feminist ethnographies.

Vincent was born to a stage actress who played male roles occasionally, inciting her fascination with disguise (p.7) from a young age.

Growing up with two older brothers, she loathed “girly toys” and identified herself as a “hard-core tomboy” (p.5) from birth.

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These a free revenue variety but services it published virtual, may works to population also!Instead, she intends to study the boundaries of gender that appear “both mysteriously fluid and rigid” (p.16).She adds that she has “always lived as [her] truest self somewhere on the boundary between masculine and feminine” which makes this project “more immediate and meaningful” (p.16) to her.* Influences This research was first enthused by Vincent’s experience in drag, in the name of fun with a few friends, for a few hours in 1999.In those moments successfully passing as a man, she began to observe how vastly distinct she was treated by other men, when perceived to be ‘one of them’.These are my notes from an ethnographic reading of the book documenting his six-week experience passing as a black man during racial segregation in the United States. know how male friendships work from the inside out” (abcnews 2006).