... help parse the nuances of the distinctive narratives on which Juana rested her authority. In turn, contemporary terminology can aid in identifying certain subcategories within the celestial gender performances in Juana’s visions, such that analysis of trans, bigender, or genderqueer representations...

... the “virtue trouble” inherent to performative gender ideals, as well as the ethical importance of poetic responses to scripted femininities in premodern England. © 2013 by Duke University Press 2013 a “As false as Cressid...

... and spiritual work of the dream and to the devotional labor of the mission- ary, and to view these different and often passionately opposed efforts —  performed by very different and often passionately opposed peoples of Catholic France and the Eastern Woodlands of New France — through the lens of gender...

...Douglas Biow Beards, both real and fake, acquire a special status in Giordano Bruno's Candelaio as symbolically charged objects that reveal not only much about the characters and their functions within the play, but also much about social norms and expectations regarding the performance of male...

...Patricia Dailey Hadewijch of Brabant's seventh vision of union with the Eucharist has often been cited as exemplifying the embodied nature of medieval women's spirituality. This essay recontextualizes the way embodiment and gender are conceived of through an analysis of the figures and functions...

... meanings of gendered performances on late medieval and early modern English stages. Late medieval London’s civic and religious stages, like early modern pro- fessional theaters, were cultural and olfactory mixing grounds. Medieval “stinkards” and early modern “groundlings” mingled with nobles...

... at court, we may assume that, like other of Shakespeare’s plays, As You Like It was acted in both venues.44 The theater’s spatial malleability, underscored by the dramatic per- formance of gender on stage, powerfully speaks to Gillian Rose’s arguments about the performative construction...

... produced by and for men, of stories about such unexpected women. What purposes do these women serve? How do these stories construct “woman ”? 9 On the other hand, I draw on the metaphor of “performance, ” recently inu- ential in studies both of asceticism and of gender, to argue that monastic dis...

... of particular genders, social classes, and vocations.17 But these divergent interpretations are framed by, if not limited to, the institutional affiliations of a performance, the relationship between the play and the social geography in which it takes place.18 For both practical and ideological reasons...

...: Cambridge University Press, 2020), chap. 4, 104–46. I also address the question of the theater's changing mediality in chap. 1, 1–37. 3 This lens is kaleidoscopically deployed on the enactment of gender by Stephen Orgel, in Impersonations: The Performance of Gender in Shakespeare's England...

... to social interaction by emphasizing difference.12 However, in their performance they can never entirely be recreated. Thus social change is dynamic. Gender, as a performed identity, crosscuts and is crosscut by all the other possible factors that constitute an individual’s identity: ethnicity, age...

...Sara Petrosillo This essay examines representations of the womb across late medieval and early modern performance. The N-Town Mary plays and the Elizabethan tragedy Gorboduc are separated by less than a century but are rarely examined in light of one another. Using microhistorical methods...

... are fundamentally implicated in that which is concealed, hidden, effaced, or silenced. The essays in this special issue of JMEMS explore the operations of gender in the construction of social, intellectual, linguistic, sexual, and literary modes of inclusion...

... Joseph Roach, Cities of the Dead: Circum-Atlantic Performance (New York: Columbia University Press, 1996). 14 Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York: Routledge, 1990). Among the more helpful disambiguations of Butler's initial notion of “performativity...

... Pardoner performs a perverse divorce ritual between the Sowtar and his wife, eliciting misogynistic opinions about the wife before requiring both parties to kiss each other’s arses; the Priores refuses to lodge Chastitie in her convent because it would hurt her thriving business; and Spiritualitie...

... as cultural difference determines the construction of gender. The ideological work Bramimonde performs depends precisely on the “strategic deployment of sexual difference in . . . narratives of an East-West encounter.”47 Her brazenness disrupts, not all...

... With this new emphasis on transformation rather than translocation, Brown now Žnds “the issue of his male gender . . . that much more interesting,” “ for maybe holy men were not ‘men. ’” Figures like the angelic Symeon the Stylite, he suggests, “had transcended the categories of gender as normally de...

.... 36 Katherine Crawford, Perilous Performances: Gender and Regency in Early Modern France (Cambridge, Mass.: Harvard University Press, 2004), 59 – 97. 37 See Paris, Bibliothèque nationale de France (hereafter BN) MSS fr. 15644, fols. 12r –   18v; n.a.f. 7262, fols. 98r –   107r; n.a.f...

... and French national historian Pasquier, Catherine Des Roches was able strategically to produce authority within the relatively modest genre of mock encomium. Despite social, political, and, in this case, generic constraints due to her gender, she was a historical agent. The performance...

... or any specific gender. This performativity of dress had previously found visual expression in the “talking garments” fashioned for medieval court perfor- mances, tournaments, and festivals, in illuminated manuscripts, and in lyric poetry. Susan Crane argues that court clothing...