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Globalization, advanced by technologies of production and information, created seamless world markets with profound impacts on the world economy. Vast amounts of wealth have been created, but that wealth has been unequally distributed. Such inequality has meant that large numbers of young people have not been able to find the kinds of jobs and careers that provide the “goods” life extolled in a consumer society. Nor do the dominant values of rationality, neo-liberalism or secularism hold much appeal. These conditions have encouraged the emergence of a number of subcultures of transgression, identity-granting communities of meaning which provide members with a sense of community with recognition and empowerment. As many such subcultures repudiate dominant norms, we note how they resemble the medieval carnival, which Bakhtin showed was a time and place of inversion, transgression, and celebration of the grotesque. It allowed the common people encapsulate realms of agency to articulate disdain and resistance. Yet this served to reproduce the dominant system.

In much the same way, insofar as globalization is intimately tied to cities, we have seen the growing importance of cities as nodal points for global commerce as well as sites for entertainment and tourism. These factors, together with the longstanding anonymity and toleration of the city, have become focal points for the emergence of a number of oppositional subcultures. They include those who embrace extreme body modification, numerous forms of body adornment through piercings (rings, posts, studs), tattoos, and surgical modifications such as implanted horns, furrows, or split tongues. Following Simmel, adornment can be seen as a means of inclusion within a group and differentiation from others. The practitioners of extreme body modification label themselves “urban primitives,” who see themselves rejecting global modernity, the occupation-based status hierarchies of the dominant occupational system and its shallow, materialistic culture. They see themselves as a moment of the “transvaluation of values” in which Dionysian passion triumphs over Apollonian control and restraint. This is especially evident in various genital decorations in which what heretofore has been private and exposure was a matter of shame. There has been a “cultural transformation of the pubic sphere.” While such groups find community, identity and recognition, they must also be understood as a key ingredient of the city in a global age in which diversity, cosmopolitanism, and the offbeat constitute essential moments of urban ambience.

The medical suppression of female sexuality in Victorian society has long been the subject of historical and cultural scholarship, with documentation not only of textual threats by religious and medical “experts,” but also of surgical assaults on female reproductive systems (Longo, 1979, 1986; Scull & Favreau, 1986; Sheehan, 1997). Less well known is the apparent obverse: the use of medical techniques to stimulate the female genitalia as a means of treating hysteria and other mental disorders (Maines, 1999; Schleiner, 1995). In this paper, I trace the cultural history (mainly Anglo-American) of the psychiatric enhancement, as well as repression, of female sexual pleasure, through various genital treatments, including the surgical and the electrical.¹ I then make the case that these “opposite” treatments are, in the context of Victorian society, two sides of the same coin of the patriarchal, medical control of female sexuality.²

In 1993, inspired by Sansone's (1998) book on the origin of sport, I speculated about sport mascots and cultural performance in an article published in the Journal of Sport & Social Issues (Sydnor-Slowikowski, 1993). It was a tentative piece that combined some of Sansone's ethological thesis with performativity/performance studies to contemplate contemporary collective/social authenticity, imperialist nostalgia and to critique racist ideologies linked to sport mascots, such as that of Chief Illiniwek, the University of Illinois’ stereotyped mascot of a mythical Native American.