This thesis investigates competing representations of androgyny as grotesque and/or divine in selected works by Ben Jonson, John Marston, and William Shakespeare. The literary grotesque is a combination of incompatibles—such as the combination of masculine and feminine—which evokes simultaneous reactions of laughter and revulsion, while I define the divine as that which inspires awe and wonder through its otherworldliness. Throughout, the thesis examines figures such as physical or metaphorical hermaphrodites, eunuchs, Amazons, transvestites, the asexual, the pansexual, and those who transgress gender boundaries. The Introduction establishes historical contexts for physical and behavioural androgyny, the grotesque, and the divine. Each subsequent chapter close-reads one literary text: Chapter 1 examines place-based androgyny in Jonson’s Volpone; Chapter 2 explores Antonio/Florizel’s effect in Marston’s Antonio and Mellida; Chapter 3 analyses role-reversal in Shakespeare’s Venus and Adonis; Chapter 4 investigates Ganymede’s magnetism and Rosalind’s wondrousness in As You Like It; and Chapter 5 evaluates Cesario’s invigoration in Twelfth Night. I argue for a progression in the degree of wonder evoked by androgynous figures, and an increase in these figures’ subjectivity and agency. My thesis is the first to explore the liberating unfixity of androgyny as funny, frightening, repulsive, and yet also potentially divine.
| Identifer | oai:union.ndltd.org:bl.uk/oai:ethos.bl.uk:655855 |
| Date | January 2015 |
| Creators | McKague, Cathleen Meghan |
| Publisher | University of Birmingham |
| Source Sets | Ethos UK |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Source | http://etheses.bham.ac.uk//id/eprint/6089/ |
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