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Gender, Geography, and Alterity in Shakespeare Elizabeth Valdez Acosta Wayne State University

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Gender, Geography, and Alterity in Shakespeare Elizabeth Valdez Acosta Wayne State University Wayne State University Wayne State University Dissertations 1-1-2018 Gender, Geography, And Alterity In Shakespeare Elizabeth Valdez Acosta Wayne State University, Follow this and additional works at: https://digitalcommons.wayne.edu/oa_dissertations Part of the English Language and Literature Commons Recommended Citation Acosta, Elizabeth Valdez, "Gender, Geography, And Alterity In Shakespeare" (2018). Wayne State University Dissertations. 2085. https://digitalcommons.wayne.edu/oa_dissertations/2085 This Open Access Dissertation is brought to you for free and open access by DigitalCommons@WayneState. It has been accepted for inclusion in Wayne State University Dissertations by an authorized administrator of DigitalCommons@WayneState. GENDER, GEOGRAPHY, AND ALTERITY IN SHAKESPEARE by ELIZABETH VALDEZ ACOSTA DISSERTATION Submitted to the Graduate School of Wayne State University, Detroit, Michigan in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY 2018 MAJOR: ENGLISH Approved By: _________________________________________ Advisor Date _________________________________________ _________________________________________ _________________________________________ DEDICATION Because and for my daughter Mackenzie. ii ACKNOWLEDGMENTS My entire graduate education would not have been possible without the support of my family and friends, most especially my daughter, Mackenzie. When she was 9-years-old, I packed her up and the two of us moved to Michigan from the southwest so that I can continue my studies in early modern literature. Without complaint, she endured the compromises I made to raise her and to complete my graduate degree. While studying for my comprehensive exams, for example, her “goodnight” stories were those from my reading list. Through her fortitude I was able to concentrate on my academic career and I will always be grateful for that. One of the reasons I applied to Wayne State University was to have the opportunity to work with Dr. Ken Jackson, an opportunity for which I am incredibly grateful. As my dissertation director, he guided me throughout my graduate studies and the dissertation process. Invaluable to me also are my other committee members: Simone Chess, Jaime Goodrich, and Anne Duggan. They patiently read through drafts of my dissertation and they encouraged me to have a stronger voice. Their advice and support has not only informed my dissertation but has shaped who I am in my professional career. Funding from the Kings-Chavez-Parks Fellowship and from Dr. Joseph Dunbar, advisor for the AGEP / KCP working group at Wayne, allowed me the opportunities to present my work at conferences, which provided feedback on drafts and valuable experience in the field. In addition to my mentors, I am especially grateful for my friends and student colleagues from Wayne who served as sounding boards for my ideas, provided feedback on several drafts, and just continually encouraged me throughout my graduate work—thank you, Dr. Laura Estill, Dr. Andie Silva, and Dr. Renuka Gusain. And I’m thankful to my parents—Henry and Dora Acosta and my sister, Beverly Acosta for their continued encouragement. iii TABLE OF CONTENTS Dedication………………………………………………………………………………………....ii Acknowledgments…………………………………………………………………………….….iii Introduction……………………………………………………………………….……................ 1 Chapter 1 – Open Doors, Secure Borders: The Paradoxical Immigration Policy of Belmont in The Merchant of Venice……………………………………………………………...6 Chapter 2 – “Here in the skirts of the forest, like fringe upon a petticoat”: Phoebe and Ecofeminism Along the Edge in As You Like It…………………………………... 34 Chapter 3 – ‘I play the man I am’: Gender, Geography, and Labor in Coriolanus……………...65 Chapter 4 – Violent Landscape: Exile, Gender, and the Rhetoric of Rape in Cymbeline……….87 References……………………………………………………………………………….….…. 121 Abstract……………………………………………………………………………….………...134 Autobiographical Statement…………………………………………………………….………136 iv 1 INTRODUCTION “The menace of repetition is nowhere else as well organized as in the theater” (Derrida 247). Often, when people, especially undergraduate students, hear Shakespeare, they tend to conjure an image of an old white guy writing in an incomprehensible language. “I have absolutely nothing in common with Shakespeare,” many believe. Guiding this project is the idea that we, in the 21st century, do, in fact, share commonalities with Shakespeare and with the early modern period, particularly with “the menace of repetition.” Identity and identity formation as they relate to gender and geography—borders, literal and figurative, are themes explored in the following chapters. As I will show with close readings of four of Shakespeare’s plays, repetition is fundamental in maintaining traditional ways of thinking. These normative ways of thinking about gender, for instance, are not “old ideas” as “Shakespeare is an old white guy;” they are contemporary issues that have been repeated throughout generations. The purpose of this project is to highlight overlooked characters or plays in Shakespeare, to show the commonalities between Shakespeare and contemporary audiences, and also to illustrate that current ideas of identity and gender are historically situated. Seeing these connections can help us to reconceive these constructs of being and behaving. SCHOLARSHIP AND METHODOLOGY While Shakespeare is a leading playwright from the early modern period with much, much scholarship focused on him and his works, some of his lesser-known plays and lesser-known characters are often overlooked in the critical tradition. This dissertation contributes to the wealth of scholarship in Shakespeare by focusing on some of those lesser-known plays and lesser-known or marginalized characters through a feminist lens. Who is ignored, why are they overlooked, and how are the responses to these questions relevant today? This project examines these questions by 2 offering a close reading of four of Shakespeare’s plays: The Merchant of Venice, As You Like It, Coriolanus, and Cymbeline. Through these close readings of the plays, this dissertation also adds to current scholarship in the field by using emerging methodological approaches in early modern studies. For example, I interrogate the ideas of metaphorical and literal geographic borders in all four chapters. Emily Detmer-Goebel says that, “while border metaphors are not new to Shakespeare Studies, they are not as common as they are in American Studies, especially Chicana / o writing, where border theory and border literature have become key ideas to engage issues of nation, culture, gender, and sexuality” (2). In their seminal and groundbreaking work, Engendering a Nation: A Feminist Account of Shakespeare’s Histories, Jean E. Howard and Phyllis Rackin investigate such ideas about geography and its relationship to gender. They claim, “As critics of nationalism have repeatedly shown, the fictive unity of a nation is often created by insisting on the utter difference between those who are designated as belonging to the nation and those, whether inside or outside the nation’s boundaries, who are seen as alien on the basis of religion, complexion, or customs” (13). Adding to their assessment, this project focuses on non-history plays that may not have the obvious borders that are found in the history plays. The two comedies, one romance, and one (Roman) tragedy examined in this dissertation all add to current scholarship on gender and geography because they are not the typical genres usually analyzed with theses emphases.1 In addition to investigating geographical spaces as they relate to gender and otherness, I also explore one of the comedies (As You Like It) through an eco-feminist lens. While eco-criticism has established itself as a lens of study in early modern texts, ecofeminism is a bit newer. Greta 1 While Howard and Racking focus on history plays, Linda McJannet adds, “With exception of The Tempests, the romances have not been seen as prime texts in which to examine Shakespeare’s handling of geography, history, or other markers of cultural otherness” (86). 3 Gaard’s and Patrick D. Murphy define ecofeminism this way: “Ecofeminism is a practical movement for social change arising out of the struggles of women to sustain themselves, their families, and their communities. These struggles are waged against the ‘maldevelopment’ and environmental degradation caused by patriarchal societies, multinational corporations, and global capitalism” (2). Noel Sturgeon adds, “Most simply put, ecofeminism is a movement that makes connections between environmentalisms and feminisms; more precisely, it articulates the theory that the ideologies that authorize injustices based on gender, race, and class are related to the ideologies that sanction the exploitation and degradation of the environment” (23). Ecofeminism lends itself perfectly to the geographical investigation of this dissertation. What this project shows is that gender, geography, and alterity are closely intertwined, for, as Linda McDowell says, “The specific aim of feminist geography is to investigate, make visible and challenge the relationships between gender divisions and spatial divisions to uncover their mutual constitution and problematize their apparent naturalness” (12). The close readings of the four plays in this dissertation problematizes social constructions of naturalness as they relate gender, identity, and place in both the early modern and contemporary time periods. CHAPTER OVERVIEW My first chapter is especially
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