Abstract
By appropriating Jacques Lacan’s psychoanalytic theory in light of sexual difference, the importance of drag theory for gender and sexuality studies is resurrected through a formulation of exactly how this figural instantiation subverts: not because of disloyal repetitions vis-a-vis performativity, but because of its mirroring of the (humorous) absurdity of the Real that resists all attempts at signification and yet remains structurally intrinsic to the semantic field contra the anti-social thesis of queer theory. This claim is substantiated via an erection of a homology between the drag figure and the clown or jester, thereby entailing that drag artists are the keepers of truth in the Lacanian sense.
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