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Transvestite sub/versions: Power, performance, and seduction in Shakespeare's comedies.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Transvestite sub/versions: Power, performance, and seduction in Shakespeare's comedies./
作者:	Chang, Hsiao-hung.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1990,
面頁冊數:	208 p.
附註:	Source: Dissertations Abstracts International, Volume: 53-02, Section: A.
Contained By:	Dissertations Abstracts International53-02A.
標題:	British and Irish literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9116144
ISBN:	9798645400323

Transvestite sub/versions: Power, performance, and seduction in Shakespeare's comedies.
Chang, Hsiao-hung.

Transvestite sub/versions: Power, performance, and seduction in Shakespeare's comedies. - Ann Arbor : ProQuest Dissertations & Theses, 1990 - 208 p.

Source: Dissertations Abstracts International, Volume: 53-02, Section: A.

Thesis (Ph.D.)--University of Michigan, 1990.

This item must not be sold to any third party vendors.

This study is an attempt to explore the subject of female transvestism in Shakespeare's comedies under a feminist "both/and" politics of reading. The central discussion is situated among competing discourses on transvestism--the humanist one which emphasizes the discrepancy between the outer appearance and the inner essence; the modernist one which privileges the notion of "a wardrobe of costume selves"; the postmodernist one which exteriorizes gender as merely a corporeal stylization through costume, voice, gesture and body movement. Three theoretical frameworks--the materialist, the deconstructive, and the psychoanalytic--are adopted to map out respectively the ideological and theatrical sub/versions of the three individual plays--The Merchant of Venice, As You Like It, and Twelfth Night. The materialist approach highlights the political aspect of gender fashioning the The Merchant of Venice. It explores Portia's courtroom cross-dressing as the site of gender/race/class conflict: it challenges the gender/power asymmetry but reestablishes race and class hierarchies. The deconstructive approach offers a critique of the binary oppositions of masculinity/femininity, reality/appearance, signified/signifier, truth/fiction and origin/copy foregrounded by the theatrical practice of transvestism in As You Like It. It plays on gender indeterminacy and amplifies the dissonance of sex, gender and clothes created by the composite figure of Rosalind/Ganymede/boy-actor. The psychoanalytic approach draws attention to the process of sexual differentiation and the heterosexual discourse of desire in Twelfth Night. It demonstrates how sexual difference between men and women is finally achieved in the play by a repression of the difference within men and women: Cesario, Viola's transvestite internal-double, is irrevocably replaced by Sebastian, Viola's biological external-double. Working together, these three theoretical frameworks help to construct the plays as texts with multiple sites of struggle and contestation, and make my reading of them more self-consciously polyvocal and de-centered. As an on-going negotiation among the Shakespearean canon, feminist politics and poststucturalism, this study thus reads Shakespeare with reference to theory and, equally, reads theory with reference to Shakespeare.

ISBN: 9798645400323Subjects--Topical Terms:

3433225
British and Irish literature.

Transvestite sub/versions: Power, performance, and seduction in Shakespeare's comedies.
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506 $a This item must not be sold to any third party vendors.
506 $a This item must not be added to any third party search indexes.
520 $a This study is an attempt to explore the subject of female transvestism in Shakespeare's comedies under a feminist "both/and" politics of reading. The central discussion is situated among competing discourses on transvestism--the humanist one which emphasizes the discrepancy between the outer appearance and the inner essence; the modernist one which privileges the notion of "a wardrobe of costume selves"; the postmodernist one which exteriorizes gender as merely a corporeal stylization through costume, voice, gesture and body movement. Three theoretical frameworks--the materialist, the deconstructive, and the psychoanalytic--are adopted to map out respectively the ideological and theatrical sub/versions of the three individual plays--The Merchant of Venice, As You Like It, and Twelfth Night. The materialist approach highlights the political aspect of gender fashioning the The Merchant of Venice. It explores Portia's courtroom cross-dressing as the site of gender/race/class conflict: it challenges the gender/power asymmetry but reestablishes race and class hierarchies. The deconstructive approach offers a critique of the binary oppositions of masculinity/femininity, reality/appearance, signified/signifier, truth/fiction and origin/copy foregrounded by the theatrical practice of transvestism in As You Like It. It plays on gender indeterminacy and amplifies the dissonance of sex, gender and clothes created by the composite figure of Rosalind/Ganymede/boy-actor. The psychoanalytic approach draws attention to the process of sexual differentiation and the heterosexual discourse of desire in Twelfth Night. It demonstrates how sexual difference between men and women is finally achieved in the play by a repression of the difference within men and women: Cesario, Viola's transvestite internal-double, is irrevocably replaced by Sebastian, Viola's biological external-double. Working together, these three theoretical frameworks help to construct the plays as texts with multiple sites of struggle and contestation, and make my reading of them more self-consciously polyvocal and de-centered. As an on-going negotiation among the Shakespearean canon, feminist politics and poststucturalism, this study thus reads Shakespeare with reference to theory and, equally, reads theory with reference to Shakespeare.
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