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Full-Text Articles in Arts and Humanities
Performativity And Sexual Identity In Calderón’S Las Manos Blancas No Ofenden (White Hands Don't Offend), Matthew D. Stroud
Performativity And Sexual Identity In Calderón’S Las Manos Blancas No Ofenden (White Hands Don't Offend), Matthew D. Stroud
Modern Languages and Literatures Faculty Research
Spanish comedia brims with examples of fluid gender identification. Not only do women frequently dress as men, but other characters almost always accept them as men or women depending solely on the clothes they wear. Is gender so superficial in these plays that it is merely a function of one's choosing the signifiers one wants to wear? Or is there an essentialism to gender that forces each character to assume the gender that corresponds to his or her sex in order to have a happy ending? Or is it something else, perhaps more reflective of Judith Butler's investigations into the …
Homo/Hetero/Social/Sexual: Gila In Vélez’S La Serrana De La Vera, Matthew D. Stroud
Homo/Hetero/Social/Sexual: Gila In Vélez’S La Serrana De La Vera, Matthew D. Stroud
Modern Languages and Literatures Faculty Research
There is an ever growing body of criticism noting the homosocial underpinnings of comedia society in which women serve primarily to cement the relationships among men. Barbara Simerka, Harry Vélez de Quiñones, and others have convincingly begun to establish the homosocial nature of the stage society in which women, often as objects given signification only when they acquire exchange value, frequently have little say in their marriages or in other important aspects of their lives. The dama, to borrow a definition from Eve Kosofsky Sedgwick, is a character who takes her "shape and meaning from a sexuality of which …