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Enter the Man Aaron C Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 Enter the Man Aaron C. Thomas Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE & DANCE ENTER THE MAN By AARON C. THOMAS A Dissertation submitted to the School of Theatre in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Fall Semester, 2012 Aaron C. Thomas defended this dissertation on October 19, 2012. The members of the supervisory committee were: Mary Karen Dahl Professor Directing Dissertation Patricia Warren Hightower University Representative Elizabeth A. Osborne Committee Member Leigh H. Edwards Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii ACKNOWLEDGEMENTS I want, first of all, to thank my advisor, Mary Karen Dahl, for believing in this project from the first and as her graduate students always say among ourselves for always making my questions smarter. Many years ago as I was speaking to Dr. Dahl about this project when it was only an idea, she said to me: and isn’t it interesting that Aristotle placed the moment of the greatest release at the same moment as the greatest violence. If I hadnt been convinced that she would be the perfect advisor before that moment, then that sentence certainly confirmed her as the ideal director of this project. I would also like to thank my dissertation committee, Leigh Edwards, Patricia Warren Hightower, Lynn Hogan, and Elizabeth Osborne. Much of the early groundwork for this project was completed in courses I took in their fields of expertise, and I have learned a great deal from all of them. I am so fortunate to have had such a supportive, diverse, and rich group of scholars contributing to this work. The Lesbian, Gay, Bisexual, Transgender, and Queer Focus Group at the Association for Theatre in Higher Education has been an intellectual and community home for me for many years, and Id like to thank the wonderful group of scholars who have befriended me and mentored me during the time I was working on this project. Cassidy C. Browning, Frank Episale, Jason Fitzgerald, Glenn Kessler, Christopher J. Krejci, Patrick McKelvey, Derek Mudd, Brent Stansell, and Kalle Westerling have been extraordinarily supportive colleagues. Bud Coleman, Jon Fraser, Brian Eugenio Herrera, Frank Miller, Nicholas Salvato, Robert Schanke, and Jordan Schildcrout have been the most encouraging, warm, kind, and avuncular group of people I could have ever imagined. These men have been models of mentorship in academia, and while I have certainly appreciated their contributions to the field as scholars, I have also been grateful, even more, for their advice, availability, and generosity to me personally. iii I wish to thank, too, the people in my life who constantly sent me news items, plays, and other cultural references to male/male sexual violence over the years that I was working on this document, including Justin Abarca, Linda Bisesti, Carlos Cisco, Caleb Custer, Elizabeth Harbaugh, Meghan Hawkins, Mallory Hewell, Irma Mayorga, George McConnell, Ashley Opstad, Joshua Mikel, Bryan Schmidt, Anne Towns, and Joel Waage. I was always pleased to know that they were thinking about me when they came across something they thought I would find interesting. My parents Kim and Chris have not always understood my work, but they have always been very interested in it, always taken the time to read it, and always approached it with pride and encouragement. Their personal support during the writing of this document has been complete and generous, and I am very grateful to them. (They are also just great folks in general.) Finally, I want to thank the four people who have truly kept me sane during the writing of this dissertation. Each time I would finish a chapter, I would instantly send a copy of it to Catie Humphreys, David Kimple, Mark Lunsford, and Michael Stablein, Jr. This ritual became one that marked the milestones of completion, and each of these four gave me in-depth, sensitive feedback on the chapters, asking very difficult questions, and pushing me forward in productive, helpful ways. iv TABLE OF CONTENTS List of Figures ............................................................................................................................. vii Abstract....................................................................................................................................... viii 1. ENTER THE MAN ...............................................................................................................1 Rape and Its Rhetoric ...........................................................................................................3 At the Center: Why Male/Male Rape? ...............................................................................8 Violent Subjects, Violated Objects ....................................................................................10 On the Queerness and Normativity of Rape ..................................................................17 Our Fathers: Men, Maleness, Masculinity ......................................................................25 Better to Give .......................................................................................................................29 Bodies in Space ....................................................................................................................33 Criminality, Deviance, Delinquency ................................................................................37 Stigmatization and Performatives of Shame ..................................................................41 Laying Out Enter the Man .............................................................................................46 2. THE QUEENS CELL .........................................................................................................49 Fortune and Men’s Eyes: the New Prison Drama .............................................................53 Strange Bedfellows: Social Justice with a Camp Sensibility .........................................59 The Boys in the Band Get Busted .....................................................................................62 Perverting the Prison-Reform Play ..................................................................................69 Fortune’s Legacy as Rape-Drama ......................................................................................72 Homosexual Desire Causes Rape ...........................................................................73 Rape Is Separate from Society .................................................................................77 Rape Authenticates Representations of Prison .....................................................79 3. TROUBLE DEAF HEAVEN ..............................................................................................82 Jokes about Banjos ..............................................................................................................85 Its got me, I said. / Whats got you? / It. .............................................................90 Nature and Civilization .....................................................................................................93 Masculinity and the River .................................................................................................98 Ritual Violence and the Making of a Man ....................................................................103 Queer Pleasure in Deliverance .........................................................................................107 4. PIG LATIN .........................................................................................................................113 Joe ”ucks Nightmare: Midnight Cowboy .......................................................................118 Deliverance in the Language of the Movies ...................................................................125 v Pork Products: Apocrypha ..............................................................................................132 The Last Word ...................................................................................................................138 5. AFTER ROMANS .............................................................................................................142 Spoil, Ravage, Sack, Pillage, Ruin: Caesar Invades Britannia ....................................144 Gross Indecency ................................................................................................................150 That Which Is Unseemly: Male/Male Rape and Eroticism .........................................154 Viewing Positions: Identity and Victimage ..................................................................156 Keeping Our Distance ......................................................................................................160 6. THE WAY THINGS ARE ................................................................................................165 Generic Taxonomies: the 1990s on British Stages ........................................................168 On the Playground: Anthony Neilsons Penetrator ......................................................175 Its Nothing
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