Edinburgh Research Archive >
Literatures, Languages, and Cultures, School of >
Literatures, Languages, and Cultures PhD thesis collection >
Please use this identifier to cite or link to this item:
|Title: ||From queer rejection of gender binaries to nomadic gender corporealisation: a reconsideration of spaces claimed by the queering literary critics of the late twentieth century|
|Authors: ||Sellberg, Karin Johanna|
|Supervisor(s): ||Colebrook, Claire|
|Issue Date: ||30-Jun-2010|
|Publisher: ||The University of Edinburgh|
|Abstract: ||The thesis aims to produce a reconsideration of the queer spaces articulated in 1980s and
1990s literary criticism through the corporealising theory of gender and sexuality in the
recent development of Australian material feminism and Rita Felski‟s idea of transient time.
It particularly focuses on interpretations of transgender characters in critical readings of
Renaissance drama and contemporary fiction. The academic fields investigated are thus late
twentieth-century Renaissance criticism of gender and sexuality, late twentieth-century queer
interpretations of transgenderism and transgender characters in contemporary literature,
contemporary transgender studies and material feminist theory.
Chapter 1 introduces a queer space articulated by discourses of gender and sexuality
in 1980s and 1990s criticism of Renaissance drama. It concludes that the historical
methodology of the critics is flawed and that the idea of Renaissance queerness is built as a
contrast to late twentieth-century queerness.
Chapter 2 is a reconsideration of the Renaissance anatomical sources used by the
canonical critics introduced in the previous chapter. It establishes that the queer idea of sex
and gender developed through these should rather be read in light of the more corporeal
Renaissance discourse of monstrosity.
Chapter 3 reconsiders the transgender characters in Shakespeare‟s Twelfth Night and
As You Like It and introduces a reading of Middleton and Dekker‟s The Roaring Girl from a
point of view that introduces Renaissance sexual monstrosity as a formation of corporealised
though flexible gender subjectivity.
Chapter 4 introduces a late twentieth-century queer space partly articulated in
relation to the Renaissance queer space. It critiques the theoretical foundations of late
twentieth-century queer theory, introducing transgender responses to „queering‟ readings of
transgender bodies, as well as queer theorists‟ own attempts to narrativise themselves as
points of incoherence in Butler‟s model and introduces a corporealising material feminist
perspective of gender subjectivity as a more accommodating alternative.
Chapter 5 reconsiders queer readings of transgender characters in Angela Carter‟s
The Passion of New Eve. It concludes that the novel has been evaluated from a queer
perspective and that it offers a more interesting comment on sex and gender if read from a
material feminist point of view.
Chapter 6 discusses John Cameron Mitchell‟s Hedwig and the Angry Inch as one
transgender narrative that has been critiqued by transgender academia and Gore Vidal‟s
Myra Breckinridge as a transgender narrative that has been approved. It analyses and
critiques the reasons for the texts‟ reception and formulates a new poetics of corporeal
gender based on the idea of nomadic gender subjectivity developed in the works of the
Australian school of material feminists.
The thesis finally exchanges a queer reading of transgender characters for a nomadic
corporeal reading that better accommodates the historical discourses surrounding the
Renaissance material, the literary content of the contemporary fiction, and the idea of
transgender identity as it is considered in transgender studies.|
|Appears in Collections:||Literatures, Languages, and Cultures PhD thesis collection|
Items in ERA are protected by copyright, with all rights reserved, unless otherwise indicated.