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Queer visibility on the transatlantic modernist stage

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TitleInfo
Title
Queer visibility on the transatlantic modernist stage
Name (type = personal)
NamePart (type = family)
De Witte
NamePart (type = given)
Ben
NamePart (type = date)
1982-
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Ben De Witte
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RoleTerm (authority = RULIB)
author
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Diamond
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Ein
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Ein Diamond
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Advisory Committee
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chair
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Andrew
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Andrew Parker
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Advisory Committee
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internal member
Name (type = personal)
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Sifuentes-Jáuregui
NamePart (type = given)
Ben
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Ben Sifuentes-Jáuregui
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Advisory Committee
Role
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internal member
Name (type = corporate)
NamePart
Rutgers University
Role
RoleTerm (authority = RULIB)
degree grantor
Name (type = corporate)
NamePart
Graduate School - New Brunswick
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school
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Text
Genre (authority = marcgt)
theses
OriginInfo
DateCreated (qualifier = exact)
2016
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2016-10
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2016
Place
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xx
Language
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eng
Abstract (type = abstract)
My dissertation analyzes a selection of Argentinean, Spanish and U.S. modernist plays that dramatize the double movement of what I call “queer visibility.” That is, they make queer themes “visible” but also render the visible “queer” by extending our notions of modernist experimentation. Such experimentation, I argue, is intelligible only within a transatlantic history of, in Edward Said’s sense, “traveling” influences that have informed queer drama in the twentieth century. Each of the dissertation’s chapters offers a comparative angle on a playwright and their staging of queer materials, establishing surprising connections between various geographies and theatrical cultures. Chapter one analyzes the Argentinean José González Castillo’s naturalist play Los invertidos (1914), the first in its kind to plot the medical category “sexual inversion” as material for modern drama. González Castillo joins in the Argentinian vogue for realismo with its disjunctive relation to queer visibility, the latter a symptom of morbid degeneracy. Chapter two discusses the thoroughly anti-realist practices of queer staging in El público (1930), an unfinished, posthumously published play by Spanish poet-playwright Federico García Lorca, which imagines a paradoxical shape for queer visibility: “a theater beneath the sand” that draws on international vanguardist desires to offend rather than entertain audiences. The chapters on Los invertidos and El público present international models of queer visibility that cast new light on my two North American writers. Chapter three compares two works by the prominent U.S. playwright Tennessee Williams, the iconic Suddenly Last Summer (1957) and the little-known Kirche, Küche, Kinder (1979), that expose the mechanics of queer visibility as both perplexing and violent. Then I consider two understudied dramas of expatriate writer Djuna Barnes, the early one-act The Dove (1924) and the arcane verse drama The Antiphon (1957), which deploy a convoluted allegorical vision that projects an anti-modern strain in queer dramatic modernism. Combining formal analysis and historical research in each chapter, my comparative project aims, first, to theorize queer visibility as a recurrent theatrical problem grounded in material practices and, second, to contribute to a more nuanced and inclusive history of modern drama in conversation with transnational figurations of queer sexuality.
Subject (authority = RUETD)
Topic
Comparative Literature
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Title
Rutgers University Electronic Theses and Dissertations
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ETD_7580
PhysicalDescription
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electronic resource
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application/pdf
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text/xml
Extent
1 online resource (vi, 214 p.)
Note (type = degree)
Ph.D.
Note (type = bibliography)
Includes bibliographical references
Subject (authority = ETD-LCSH)
Topic
Modernism (Literature)
Subject (authority = ETD-LCSH)
Topic
Homosexuality
Note (type = statement of responsibility)
by Ben De Witte
RelatedItem (type = host)
TitleInfo
Title
Graduate School - New Brunswick Electronic Theses and Dissertations
Identifier (type = local)
rucore19991600001
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Identifier (type = doi)
doi:10.7282/T31R6SS3
Genre (authority = ExL-Esploro)
ETD doctoral
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Rights

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The author owns the copyright to this work.
RightsHolder (type = personal)
Name
FamilyName
De Witte
GivenName
Ben
Role
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RightsEvent
Type
Permission or license
DateTime (encoding = w3cdtf); (qualifier = exact); (point = start)
2016-09-16 21:33:21
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Name
Ben De Witte
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Affiliation
Rutgers University. Graduate School - New Brunswick
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Author Agreement License
Detail
I hereby grant to the Rutgers University Libraries and to my school the non-exclusive right to archive, reproduce and distribute my thesis or dissertation, in whole or in part, and/or my abstract, in whole or in part, in and from an electronic format, subject to the release date subsequently stipulated in this submittal form and approved by my school. I represent and stipulate that the thesis or dissertation and its abstract are my original work, that they do not infringe or violate any rights of others, and that I make these grants as the sole owner of the rights to my thesis or dissertation and its abstract. I represent that I have obtained written permissions, when necessary, from the owner(s) of each third party copyrighted matter to be included in my thesis or dissertation and will supply copies of such upon request by my school. I acknowledge that RU ETD and my school will not distribute my thesis or dissertation or its abstract if, in their reasonable judgment, they believe all such rights have not been secured. I acknowledge that I retain ownership rights to the copyright of my work. I also retain the right to use all or part of this thesis or dissertation in future works, such as articles or books.
RightsEvent
DateTime (encoding = w3cdtf); (qualifier = exact); (point = start)
2016-10-31
DateTime (encoding = w3cdtf); (qualifier = exact); (point = end)
2018-10-31
Type
Embargo
Detail
Access to this PDF has been restricted at the author's request. It will be publicly available after October 31st, 2018.
Copyright
Status
Copyright protected
Availability
Status
Open
Reason
Permission or license
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2016-09-21T11:36:19
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2016-09-21T11:36:19
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