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Research on lesbian and bisexual women has documented various biological and behavioral differences between butch and femme women. However, little research has examined whether differences exist in sexual identity development (i.e., the coming-out process). The present study examined longitudinally potential butch/femme differences in sexual identity formation and integration among an ethnically diverse sample of 76 self-identified lesbian and bisexual young women (ages 14–21 years). A composite measure of butch/femme identity classified 43% as butch and 51% as femme. Initial comparisons found butch/femme differences in sexual identity (i.e., nearly all butches identified as lesbian, but about half of femmes identified as bisexual), suggesting the need to examine this confound. Comparisons of lesbian butches, lesbian femmes, and bisexual femmes found that lesbian butches and femmes generally did not differ on sexual identity formation, but they differed from bisexual femmes. Lesbian butches and femmes had sexual behaviors and a cognitive sexual orientation that were more centered on women than those of bisexual femmes. With respect to sexual identity integration, lesbian butches were involved in more gay social activities, were more comfortable with others knowing about their homosexuality, and were more certain, comfortable, and accepting of their sexual identity than were bisexual femmes. Fewer differences were found between lesbian femmes and bisexual femmes or between lesbian butches and lesbian femmes. The findings suggest that sexual identity formation does not differ between butch or femme women, but differences are linked to sexual identity as lesbian or bisexual. Further, the findings that lesbian femmes sometimes differed from lesbian butches and at other times from bisexual femmes on sexual identity integration suggest that neither sexual identity nor butch/femme alone may explain sexual identity integration. Research examining the intersection between sexual identity and butch/ femme is needed.
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Si les spéculations idéologiques concernant les différences biologiques entre les sexes persistent dans le domaine de la création, elles ont été mises en valeur dès 1970 par des écrivaines et plasticiennes pour oeuvrer en fonction de mythes spécifiques touchant à leur féminité, au corps de la femme chargé de stigmates, afin qu’émerge un « art féminin ». D’une certaine manière, des compositrices vont emprunter cette voie en affirmant entretenir un rapport différent de celui des hommes à l’écriture musicale. Selon elles, leur sensibilité spécifique et leur situation d’être au monde les poussent à travailler autrement, à partir de thématiques « existentielles » inspirées de leur condition sociale et culturelle. De telles circonstances ont provoqué cette quête identitaire par l’invention d’un style artistique particulier qui, paradoxalement, use de ce qui était considéré par un féminisme radical comme les pièges de la féminité. Cet article tente de montrer que ces spécificités, du moins ces constantes relevées par les créatrices expliquant leur démarche, sont le résultat de recherches esthétiques pour caractériser une création universelle au féminin, et non le produit de diktats biologiques.