Examples include traditional rules and practices regulating blood feuds and the tendency of blood feuds to decrease in state-level so-cial organizations – where some overarching political entity brings into close and per-sistent contact, within state boundaries, multiple categories of individuals with differ-ing ancestry. However, the same records also reveal certain aspects of blood feuds for which kin selection alone cannot account. Conventional evolutionary explanations have seen them as examples of nepotism and kin solidarity explainable by kin selec-tion. Thus, adaptations of Shakespeare's text are necessarily involved in queering the queer(ed): a pomosexual process that ultimately leads to the breakdown of the normative signification system."Įvidence from ethnographic and historical records suggests that blood feuds have been a common aspect of human existence. 'Romeo and Juliet' is a historical text that has been adapted, and thus queered, numerous times Shakespeare's 'Romeo and Juliet' is itself an adaptation and therefore is always already a queer text. Adaptation, as a process of re-writing/disrupting a normative, 'originary,' historically situated text, is by definition a queer process. I argue that queering involves the non-normative and disruptive process(es) of reading texts. By engaging in new queer or pomosexual readings of Shakespeare's text, in relation to various adaptations, including 'Shakespeare in Love, Tromeo and Juliet ', and 'Get Real', this thesis challenges the traditional heteronormative reading of the play and argues that the play itself is queer. "This work investigates Shakespeare's 'Romeo and Juliet', one of the exemplary heteronormative love stories in Western culture.
0 Comments
Leave a Reply. |