<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>1688-499X</journal-id>
<journal-title><![CDATA[Revista Uruguaya de Ciencia Política]]></journal-title>
<abbrev-journal-title><![CDATA[Rev. Urug. Cienc. Polít.]]></abbrev-journal-title>
<issn>1688-499X</issn>
<publisher>
<publisher-name><![CDATA[Universidad de la República. Facultad de Ciencias Sociales. Instituto de Ciencia Política.]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S1688-499X2022000100103</article-id>
<article-id pub-id-type="doi">10.26851/rucp.31.1.5</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Maricas chicharras y travestis: mercados, espectáculos e intercambios transnacionales en los orígenes de la identidad de mujeres trans (Buenos Aires, años 1960-1970)]]></article-title>
<article-title xml:lang="en"><![CDATA[«Maricas chicharras» and «transvestis»: markets, shows and transnational exchanges in the origins of the identity of trans women (Buenos Aires, 1960s and 1970s)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Álvarez]]></surname>
<given-names><![CDATA[Ana Gabriela]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,New York University  ]]></institution>
<addr-line><![CDATA[ ]]></addr-line>
<country>USA</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>06</month>
<year>2022</year>
</pub-date>
<volume>31</volume>
<numero>1</numero>
<fpage>103</fpage>
<lpage>126</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_arttext&amp;pid=S1688-499X2022000100103&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_abstract&amp;pid=S1688-499X2022000100103&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.edu.uy/scielo.php?script=sci_pdf&amp;pid=S1688-499X2022000100103&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen: En este artículo se explora la aparición de las identidades travesti y marica quemante o chicharra en la ciudad de Buenos Aires durante las décadas de 1960 y 1970. A través de entrevistas con mujeres trans de la época y archivos, se observa el nacimiento de estas identidades genéricas femeninas. Mediante el uso inventivo de nuevas biotecnologías, performances y prótesis, se diferenciaron del abanico homosexual creando una femineidad erótica. Los espacios de experimentación fueron el mundo artístico y la prostitución. Una diferencia entre ambas radicaba en su publicidad/clandestinidad: si travesti era una categoría pública del teatro nombrando vedettes que actuaban sobre el escenario como mujeres, Marica chicharra o quemante era utilizado por las propias maricas para enfatizar su femineidad y su intención de pasar por mujeres en las calles, tanto para que conseguir clientes como para evitar que los policías las arrestaran.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract: This article explores the appearance of travesti and of marica quemante or marica chicharra identities in the city of Buenos Aires during the 1960s and 1970s. Through interviews with trans women from the time and the use of archives, I observe the emergence of these identities gendered as feminine. Making inventive use of new biotechnologies, performances and prosthetics, these identities distiguished themselves from the arc of homosexualities by creating an eroticized femininity. Their spaces of experimentation were the artistic field as well as that of prostitution. One of the differences between these two was its degree of publicity or clandestinity: whereas travesti was a public category in theatre for «vedettes» who acted onstage as women, mariuca chicharra or quemante was being used by the maricas themselves as a way of emphasizing their femininity and attempt to pass as women while working the streets, both in order to attract clients and to avoid being arrested by police.]]></p></abstract>
<kwd-group>
<kwd lng="es"><![CDATA[identidad travesti]]></kwd>
<kwd lng="es"><![CDATA[marica]]></kwd>
<kwd lng="es"><![CDATA[prostitución]]></kwd>
<kwd lng="es"><![CDATA[cabaret]]></kwd>
<kwd lng="en"><![CDATA[travesti and marica identities]]></kwd>
<kwd lng="en"><![CDATA[prostitution]]></kwd>
<kwd lng="en"><![CDATA[cabaret]]></kwd>
</kwd-group>
</article-meta>
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<publisher-loc><![CDATA[Paris, Francia ]]></publisher-loc>
<publisher-name><![CDATA[Flammarion]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
