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Within the bosom of the bard :Shakespeare and social death (William Shakespeare, Mary Shelley, Jewelle Gomez)

Record Type:	Electronic resources : Monograph/item
Title/Author:	Within the bosom of the bard :
Reminder of title:	Shakespeare and social death (William Shakespeare, Mary Shelley, Jewelle Gomez)
Author:	Kidd, Jonathan Ivy.
Description:	162 p.
Notes:	Director: Joseph Roach.
Notes:	Source: Dissertation Abstracts International, Volume: 65-03, Section: A, page: 0943.
Contained By:	Dissertation Abstracts International65-03A.
Subject:	Literature, English.
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3125227
ISBN:	0496725173

Within the bosom of the bard :Shakespeare and social death (William Shakespeare, Mary Shelley, Jewelle Gomez)
Kidd, Jonathan Ivy.

Within the bosom of the bard :Shakespeare and social death (William Shakespeare, Mary Shelley, Jewelle Gomez) [electronic resource] - 162 p.

Director: Joseph Roach.

Thesis (Ph.D.)--Yale University, 2004.

Chapter One, "Shakespeare, the Invention of the Inhuman: An Introduction" engages Harold Bloom's Shakespeare: The Invention of the Human and articulates how the concept of social death is crucial to reading Shakespeare. I argue that the socially dead, whom I call heretics, stand as the secret sharers of Shakespeare's humanity. I suggest that reading social death into Shakespeare allows for productive readings of literature across time. Chapter Two, "The Liar's A Witch, Check Her Wardrobe: Hermaphroditic Heresy in Shakespeare's As You Like It, 1 Henry VI, and The Tempest," explores female transgressions of sexuality and gender and their relationship to power in the early modern period. I reveal that reading the "white witches" of Shakespeare's earlier work---Rosalind and Joan of Arc---provides insight into racially informed and gender based heresies that resurface in Sycorax, Caliban, and Prospero and offers a model for reading colonialism and slavery. Chapter Three, "Emancipated Heresies: The Minstrel and the Monster in Mary Shelley's Frankenstein," revises recent feminist criticism by positing a transgendered reading of the novel in which Victor Frankenstein aspires to become a woman. I contend that this gendered perplexity reflects greater social anxieties in the 19 th century as I unveil the hidden transcript of Shelley's text---that of the slave narrative. In conclusion, I read the heretic Creature in theatrical renditions of Frankenstein as responses to Shakespeare's Othello and Caliban. Chapter Four, "Contested Heresies: The Race of AIDS, Gender, and Sexuality in Jewelle Gomez's The Gilda Stories ," traces the creation of heresy in relation to the HIV/AIDS epidemic in the 1980s and 1990s and examines how Gomez's novel engages and rewrites stereotypical AIDS discourse that demonizes the poor, drug addicted, Haitians, and gays and lesbians. I end by comparing a staged version of The Gilda Stories to Macbeth and The Merchant of Venice and disclose how Gomez's vampires challenge and recast social death within Shakespeare.

ISBN: 0496725173Subjects--Topical Terms:

212435
Literature, English.

Within the bosom of the bard :Shakespeare and social death (William Shakespeare, Mary Shelley, Jewelle Gomez)
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520 # $a Chapter One, "Shakespeare, the Invention of the Inhuman: An Introduction" engages Harold Bloom's Shakespeare: The Invention of the Human and articulates how the concept of social death is crucial to reading Shakespeare. I argue that the socially dead, whom I call heretics, stand as the secret sharers of Shakespeare's humanity. I suggest that reading social death into Shakespeare allows for productive readings of literature across time. Chapter Two, "The Liar's A Witch, Check Her Wardrobe: Hermaphroditic Heresy in Shakespeare's As You Like It, 1 Henry VI, and The Tempest," explores female transgressions of sexuality and gender and their relationship to power in the early modern period. I reveal that reading the "white witches" of Shakespeare's earlier work---Rosalind and Joan of Arc---provides insight into racially informed and gender based heresies that resurface in Sycorax, Caliban, and Prospero and offers a model for reading colonialism and slavery. Chapter Three, "Emancipated Heresies: The Minstrel and the Monster in Mary Shelley's Frankenstein," revises recent feminist criticism by positing a transgendered reading of the novel in which Victor Frankenstein aspires to become a woman. I contend that this gendered perplexity reflects greater social anxieties in the 19 th century as I unveil the hidden transcript of Shelley's text---that of the slave narrative. In conclusion, I read the heretic Creature in theatrical renditions of Frankenstein as responses to Shakespeare's Othello and Caliban. Chapter Four, "Contested Heresies: The Race of AIDS, Gender, and Sexuality in Jewelle Gomez's The Gilda Stories ," traces the creation of heresy in relation to the HIV/AIDS epidemic in the 1980s and 1990s and examines how Gomez's novel engages and rewrites stereotypical AIDS discourse that demonizes the poor, drug addicted, Haitians, and gays and lesbians. I end by comparing a staged version of The Gilda Stories to Macbeth and The Merchant of Venice and disclose how Gomez's vampires challenge and recast social death within Shakespeare.
520 # $a My dissertation, "Within the Bosom of the Bard: Shakespeare and Social Death," argues that William Shakespeare "invented the human," but also "the inhuman" through social death.
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