A history of Argentina that examines how trans bodies were understood, policed, and shaped in a country that banned medically assisted gender affirmation practices and punished trans lives.

As a trans history of Argentina, a country that banned medically assisted gender affirmation practices and punished trans lives, A Body of One’s Own places the histories of trans bodies at the core of modern Argentinian history. Patricio Simonetto documents the lives of people who crossed the boundaries of gender from the early twentieth century to the present. Based on extensive archival research in public and community-based archives, this book explores the mainstream medical and media portrayals of trans or travesti people, the state policing of gender embodiment, the experiences of those transgressing the boundaries of gender, and the development of homemade technologies from prosthetics to the self-injection of silicone. A Body of One's Own explores how trans activists' challenges to the exclusionary effects of Argentina’s legal, cultural, social, and political cisgender order led to the passage of the Gender Identity Law in 2012. Analyzing the decisive yet overlooked impact of gender transformation in the formation of the nation-state, gender-belonging, and citizenship, this book ultimately shows that supposedly abstract struggles to define the shifting notions of "sex," citizenship, and nationhood are embodied material experiences.

During the nineteenth century, British-owned railways grew under the protection of an Argentine ruling elite that considered railways both instruments and symbols of progress. Under this program of support for foreign enterprise, Argentina had by 1914 built the largest railway network in Latin America.

During the first decades of the twentieth century, the railways were successful in following a policy of calculated disregard for Argentine interests in general. However, following the end of World War I, the British economic empire began to decline and Argentine economic nationalism grew. A number of popularistic political movements incorporated economic nationalism into their platforms, and even among the ruling elite there were signs of increasing nationalistic sentiment.

Although most studies of economic nationalism have emphasized the importance of the middle-class Radical party in the rise of xenophobia, Winthrop R. Wright's study shows that antiforeign economic nationalism was not entirely a reaction to the conservative elite. Between 1932 and 1938 the nationalistic programs of General Agustin Justo's government—basically a conservative regime—led the British interests to decide to sell their holdings. The British govemment had arrived at a position of supporting the economic withdrawal of the large British-owned firms long before Juan D. Perón appeared on the political scene.

Perón combined traditional Argentine economic nationalism with his own scheme to gain power over all elements in Argentina. His solution to the railway problem, although more dramatically executed, did not differ greatly from that of the conservative Justo. Perón purchased the railways outright in 1947–1948, but his use of nationalism was in reality covering his own inability to outbargain Britain and the United States following the conclusion of World War II.

By 1920 Buenos Aires was the largest and most cosmopolitan city of Latin America due to mass immigration from Europe in the previous decades. Unbridled urban expansion had drastic effects on the social and cultural topography of the Argentine capital, raising ideological and aesthetic issues that shaped the modernist landscape of the country. Artists across disciplines responded to these changes with conflicting depictions of urban space. Centering these conflicts as a cognitive map of modernity’s new realities in the city, Buenos Aires across the Arts looks at the interaction between modernity and modernism in literature, photography, film, and painting during the interwar period. This was a time of profound change and heightened cultural activity in Argentina. Eleni Kefala analyzes works by Jorge Luis Borges, Oliverio Girondo, José Ferreyra, Xul Solar, Roberto Arlt, and Horacio Coppola, with a focus on the city of Buenos Aires as a playground of modernity.