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'An uncouth love': Queering processes in medieval and early modern romances.

机译:“无情的爱情”:中世纪和早期现代浪漫史中的酷爱过程。

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摘要

Most scholars of the romance genre can think of any number of examples in which the tale's hero or heroine finds him- or herself caught up in a rather comic episode resulting from either mistaken identity, cross-dressing, or the "mis-directed" sexual liaisons resulting there-from. At times it seems as if everyone is doomed to stumble across at least a brief period of gendered or sexual confusion as a result of these tropes, a momentary digression into the realm of queer transgression. My project builds off the work of medieval scholar, Tison Pugh, and contends that the protagonist must undergo this brief, contained period of sexual and/or gendered transgression as a kind of requirement or steppingstone necessary in order to eventually achieve his or her goal, most often in these cases, acceptance within the chivalric court and/or heteronormative coupling. In this way, these texts demarcate sexual and gender transgression as not only essential to, but also a very part of, a larger heteronormative paradigm. The presence of these queer transgressions, is not separate, nor oppositional to the overarching heteronormative, chivalric plot, but rather an indispensable part of it. In this way, the tales seem to allow for a temporary suspension of prototypical norms as a means to ultimately reinforce and re-inscribe these exact hierarchies.;My project thus not only illustrates another way of reading the genre of romance, but also examines the notion of a medieval or early modern "queer" subjectivity. I use the work of Fa number of medieval- and early modern- sexuality scholars (Carolyn Dinshaw, Karma Lochrie, and Valerie Traub, to name a few) to examine four canonical texts (Sir Gawain and the Green Knight, Malory's "The Tale of Sir Gareth," Spenser's The Faerie Queene, and Sidney's The Old Arcadia), and consider to what extent the queer episodes presented therein actually subvert or conform to the larger heteronormative paradigms of that particular culture. There are many examples of medieval and early modern texts in which temporary, controlled transgression is not only endorsed, but encouraged as a means of diffusing rebellious desire, a "getting it out of the system," if you will. The extent to which such controlled transgressions remain contained, however, is debatable. In allowing a period of controlled transgression, one admits that the very act of deviancy and its containment are intrinsically important to the larger power structure. Although these tales present queer transgressions as demons to be exorcised, this exorcism, this period of release, is ultimately part of the larger quest goal; rather than oppositional to the heteronormative ideal, these queer transgressions are an important component of such a model, interwoven and essential to the overall quest.;This topic also engages with a number of issues related to queer and feminist theories, most specifically those posited by Eve Sedgwick and Judith Butler. For example, when a character switches from his previous normative role to the period of controlled transgression described here, he surely does not abandon his position within the normative sphere entirely, nor does he adopt his new deviant role completely. Rather, his state is that of in-betweeness. During this period he is both Self and Other, pursuing quests in an attempt to be assimilated into heteronormative structures of the chivalric ideal, but also temporarily assuming the "queer," marginalized subject position. Such characters do not move from heteronormative to queer and back again, but rather occupy a space in which they are both heteronormative and queer. Therefore, their time of "controlled transgression" essentially shakes the foundation of binary-based identification as a whole. That is, since such characters occupy a kind of hybrid space between heteronormative and queer roles, they serve as proof that the binaries of Self and Other are not binaries at all, but rather points on a continuum. I argue that even if the "transgression" embraced by these characters is temporary and within a "controlled" environment, it is nonetheless subversive as the mere presence of a character who is both Self and Other threatens to break down this system of hierarchies as a whole.
机译:大多数浪漫史类型的学者都可以想到许多例子,其中故事的主人公或女主人公发现他或她陷入了一个相当可笑的情节中,这是由于错误的身份,装扮或“误导”性行为造成的。由此产生的联络。有时,似乎所有人都注定要至少因这些偏见而在短暂的性别或性混乱中绊倒,这是一瞬间脱离了酷儿超越的境界。我的项目以中世纪学者蒂森·普格(Tison Pugh)的工作为基础,并主张主角必须经历这一短暂的,包含性和/或性别犯罪的时期,以此作为最终实现其目标的必要条件或垫脚石,在这些情况下,最常见的是在骑士法庭和/或异规范的耦合中接受。通过这种方式,这些文本将性侵犯和性别侵害界定为不仅是更大的异性规范范式的必要组成部分,而且也是很大一部分的重要组成部分。这些奇怪的过犯的存在并不是分开的,也不是反对总体的,规范的,侠义的情节,而是其中不可或缺的一部分。这样,这些故事似乎可以暂时中止原型规范,以此作为最终强化和重新刻画这些确切等级的手段。因此,我的项目不仅说明了阅读浪漫流派的另一种方式,而且还考察了浪漫的流派。中世纪或早期现代“酷儿”主观性的概念。我使用了一些中世纪和早期现代性研究学者(卡罗琳·丁肖,K玛·洛赫里和瓦莱丽·特劳布,仅举几例)的Fa著作来研究四种经典著作(Sir Gawain和Green Knight,马洛里的《加雷斯爵士,《斯宾塞的《仙境女王》和西德尼的《老阿卡迪亚》),并考虑其中呈现的酷儿情节在多大程度上实际颠覆或符合了该特定文化的更大的异规范范式。有许多中世纪和早期现代文献的例子,其中临时的,有控制的过犯不仅得到认可,而且被鼓励作为传播叛逆欲望的一种手段,如果可以的话,可以将其“摆脱体系”。但是,这种受控过犯的保留程度尚有待商de。在允许一段时期内的过犯期间,人们承认,背叛的行为及其遏制对于更大的权力结构具有内在的重要性。尽管这些故事以恶魔般的恶魔被驱逐出场,但这种驱魔,即释放的时期,最终是更大追求目标的一部分。这些奇怪的违背行为不是对异规范的理想的反对,而是这种模式的重要组成部分,相互交织,对于整个探索至关重要。该主题还涉及许多与酷儿和女权主义理论有关的问题,最具体地讲是由夏娃·塞奇威克和朱迪思·巴特勒。例如,当角色从其先前的规范角色切换到此处描述的受控违法时期时,他肯定不会完全放弃其在规范领域的地位,也不会完全采用新的越轨角色。相反,他的状态是介于中间人之间。在此期间,他既是“我自己”又是“他者”,他追求各种任务,试图被同化为骑士精神的异规范结构,但也暂时承担“奇怪”的边缘化主体地位。这样的角色不会从异规范迁移到酷儿并再次返回,而是占据一个既异规范又酷的空间。因此,他们的“受控越界”时间从根本上动摇了基于二进制的识别的基础。也就是说,由于此类字符在异规范角色和酷儿角色之间占据了某种混合空间,因此它们可以证明“自我”和“其他”的二进制文件根本不是二进制文件,而是指向一个连续体。我认为,即使这些角色所接受的“过犯”是暂时的,并且是在“受控”环境中,但它还是具有颠覆性的,因为同时存在“自我”和“其他”角色的角色的存在可能会破坏这种等级制度。整个。

著录项

  • 作者单位

    The University of Iowa.;

  • 授予单位 The University of Iowa.;
  • 学科 Literature Medieval.;GLBT Studies.;Literature English.;Literature Modern.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 190 p.
  • 总页数 190
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

  • 入库时间 2022-08-17 11:37:27

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