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The Anxious Hero Updated THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Spanish By Anthony Javon Perry, M.S. Washington, DC November 7, 2018 Copyright 2018 by Anthony Perry All Rights Reserved ii THE ANXIOUS HERO: DISSECTING MASCULINITIES IN THIRTEENTH–CENTURY MEDIEVAL IBERIAN LITERATURE Anthony Javon Perry, M.S. Thesis Advisor: Emily C. Francomano, Ph.D. ABSTRACT My dissertation examines the varying and converging constructions of gender and genre in four thirteenth–century medieval Iberian texts: Poema de mio Cid, Libro de Alexandre, Libro de Apolonio and Alfonso X’s Estoria de Espanna. By contextualizing the texts historically and using the perspectives of feminist theory, gender theory and cultural studies, I examine the constructions of masculinities within these texts and the role that these constructions play in the text’s genre. I contend that these texts bear witness to the anxious relationship between masculinity and power in the thirteenth century and aim to shape the reader’s/listener’s image of kingship/leadership and, in turn, hegemonic masculinity. They serve as a mirror for and of male leaders, a speculum principis for their thirteenth–century audience. In each text, the male protagonist is a hero and, therefore, exemplary of what I term hegemonic masculinity. The self–fashioning of the hero’s masculinity, as manifest in the Fall/Redemption narrative structure, reveals itself to be anxious. I ground my argument in the medieval exegesis surrounding the Fall/Redemption trope and its ubiquity. In each chapter, I argue that this narrative structure serves as means of inculcating the ideals manifest in the anxious and exemplary hero. The heroes’ masculine bodies, manners and speech are culturally constructed entities coded by the discourse of these hero tales. Their masculinities, as both culturally constructed and political tools, are part and parcel of the patriarchal structures of authority. The texts I examine are testimonies, specula, and each male author and character a witness, testis, to a process in which the conventions and protocols of iii medieval masculinity are indoctrinated as normative behaviors. Additionally, they are a means by which masculine authority, domination and control are maintained and propagated. In the bodies of work I have examined, I conclude that each hero, in the performance of his gendered self, reinforces the superiority of masculinity, in general, and the specific iteration of masculinity that he himself exemplifies. The male hero in each of the works, through his words and actions, constructs a version of masculinity tied to power and a version of masculinity that is superior and/or divinely sanctioned. iv ACKNOWLEDGEMENTS This dissertation is dedicated to my mother, Mrs. Laverne S. Perry Johnson, my grandmother, Ms. Brenda G. Perry, and to those of my bloodline on whose shoulders I stand, many for whom this level of education was unimaginable. First and foremost, I extend my gratitude to my advisor, Dr. Emily C. Francomano. Without your support and guidance this dissertation would not have been possible. Additionally, many thanks to Dr. Bárbara Mujica, Dr. Aengus Ward and Dr. Joanne Rappaport for their invaluable feedback. I am additionally appreciative of Dr. Gwen Kirkpatrick, Dr. Verónica Salles– Reese, Dr. Cristina Sanz and Dr. Alejandro Yarza for their encouragement throughout the process. Many thanks to my Georgetown family: Drs. Maureen Russo, María José Navia, Ashley Caja, Ana María Ferreira, Mónica Simorangkir, and Mónica Vallín. Additional thanks to Kristen Hall and Ross Karlan. Many thanks to my Andover family: LaShawn Springer, Magdalena McHale Farnsworth, Emilyn Sosa, Megan Williams Paulson, Dr. Tasha Hawthorne, Dr. Marisela Ramos, and Dr. Laila Ballout. Your strength was my inspiration! To those that have been there from the beginning, Jo and Kristina, thanks! To my family: Ma, Grandma Brenda, my sister, LaQuesha, and my brothers, Jamil and Donté. I love y’all! And last, but not least, my husband, Joe. Bhabbek, ya habibi. v TABLE OF CONTENTS INTRODUCTION ................................................................................................................................ 1 THE CORPUS .................................................................................................................................. 2 SCHOLARLY DISCOURSE .......................................................................................................... 7 FRAMING GENRE .......................................................................................................................12 HISTORICAL CONTEXT ............................................................................................................17 CENTRALIZATION OF MONARCHICAL POWER ...............................................................21 UNIFICATION AND EXPANSIONISM.....................................................................................22 HERESY .........................................................................................................................................25 A RESPONSE TO HERESY: THE MENDICANT ORDERS ...................................................26 STRUCTURE .................................................................................................................................27 CHAPTER I: MASCULINITIES ......................................................................................................33 1.1: FRAMING GENDER .............................................................................................................33 1.2: MEDIEVAL GENDERS ........................................................................................................35 1.3: BODIES THAT MATTER: MASCULINITIES ...................................................................39 CHAPTER II: ENGENDERING SPEECH ACTS: LANGUAGE AND PERFORMANCE IN THE FALL AND REDEMPTION OF THE “BUEN VASSALLO” IN THE POEMA DE MIO CID.......................................................................................................................................................43 2.1: FRAMING THE POEMA DE MIO CID’S GENRE............................................................48 2.2: IN IRA REGIA: MAN’S FALL FROM GRACE .................................................................54 2.3: THE “BUEN VASSALLO” ...................................................................................................59 2.4: FEMININITIES .......................................................................................................................73 2.4.1: CARDEÑA .......................................................................................................................73 2.4.2: VALENCIA......................................................................................................................77 2.4.3: LA AFRENTA DE CORPES ..........................................................................................83 2.5: REDEMPTION .......................................................................................................................84 2.6: CONCLUSION .......................................................................................................................86 CHAPTER III: THE FIGURAL KINGS: THE RECONSTRUCTION OF CHRISTIAN MASCULINITIES IN LIBRO DE ALEXANDRE AND LIBRO DE APOLONIO .....................89 3.1: MESTER DE CLERECÍA ......................................................................................................94 3.2: GENRE THROUGH GENDER .............................................................................................97 3.3: SPECULUM PRINCIPIS: THE ANXIOUS PRINCE .........................................................99 3.3.1: THE PRINCE’S/KING’S BODY: UN “CUERPO TAN ACABADO” ................... 111 3.3.2: TREACHERY: THE KING’S TWO BODIES ........................................................... 126 vi 3.4: SOLOMONIC APOLLONIUS ........................................................................................... 129 3.4.1: INCEST RIDDLE ......................................................................................................... 133 3.4.2: THE SHIPWRECK ....................................................................................................... 143 3.4.3: LOSING LUCIANA ..................................................................................................... 150 3.4.4: TARSIANA ................................................................................................................... 153 3.5: CONCLUSION .................................................................................................................... 154 CHAPTER IV: THE “BUEN CRISTIANO”: THE LITERARY CONSTRUCTION OF THE POSTFIGURATIONAL HERO IN ALFONSO X’S ESTORIA DE ESPANNA ...................... 156 4.1: MASCULINE DOMINATION ........................................................................................... 159 4.2: ALFONSO X, AUCTOR ..................................................................................................... 161 4.3: ESTORIA DE ESPANNA, MAGISTRAE VITAE ........................................................... 163 4.4: THE LITERARY ESTORIA ..............................................................................................
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