The (Wo)Man in the Masque: Cross-Dressing as Disguise in Early Modern English Literature

Characters’ identities are integral to how audiences relate to them. But what happens when the character suddenly alters his or her outward appearance? Are they still the same person? This thesis seeks to argue that disguise does not alter a character’s true nature, as evidenced by Pyrocles in Sir Philip Sidney’s The Countess of Pembroke’s Arcadia and the Prince in Margaret Cavendish’s The Convent of Pleasure. Both Pyrocles’ suit of Philoclea and the Prince’s suit of Lady Happy are successful because, however subversive they appear at first, they ultimately adhere to societal norms of the time. The relationship between the cross-dressed prince and his love interest in both works only appears to subvert heteronormative expectations for the time, but ultimately adheres to these societal norms once the disguised character’s true identity is revealed to his chosen partner.

Jane Smiley's "A Thousand Acres": A Feminist Revision of "King Lear"

Jane Smiley retells the tale of “King Lear” through the perspective of one of the evil sisters, in her novel “A Thousand Acres”. While the literary canon places William Shakespeare and his plays at the top of the list, I disagree that the canon should denote what is considered “classic” and what would be disregarded. Jane Smiley's novel is not canonized, but why? Her feminist revision of “King Lear” answers why Goneril and Regan were so evil. I argue that “King Lear” (both the text and the play) does not provide the evidence of dysfunction that Smiley's novel exhibits. “A Thousand Acres” opens up questions about gender formation, issues that are misrepresented and occluded in Shakespeare's “King Lear”. By bringing the trauma of incest to the forefront of the novel, its reverse emotional structures allow the reader to obtain a new perspective to a complex four-century-old play.

The Joycean Sublime

The purpose of my thesis is to analyze notions of the sublime in James Joyce’s Ulysses and how the sublime is evoked and presented in Joyce’s work. The present work will examine concepts of the sublime from the Classical and Medieval period, through the Enlightenment, and into the Romantic era to develop my own definition. Placing the sublime in a historical perspective allows me to discover how the sublime is at work through Joyce’s creative use of complex narrative approaches. The beauty of aesthetic perfection was achieved by employing all of Joyce’s artistic faculties. My thesis investigates how Ulysses’ experimental writing technique, unique structuring, and difficult prose created a work of genius which evokes the sublime. By analyzing Joyce’s use of language, unconventional narrative, and ambiguity in Ulysses I will explore how the sublime is aroused.