By James W. Stone

In this publication, Stone results a go back to gender, after a long time of forget via Twenty-First-Century critics, through a technique of shut interpreting that foregrounds moments of sexual decentering and disequilibrium in the textual content and within the interstices of the discussion among Shakespeare and his critics. concerns addressed diversity from the pass dressing of Viola and Imogen to the pass gartering of Malvolio, the sound of "un" and the uncanny lyric narcissism of Richard II, Hamlet’s misogyny, androgyny, and the poison of marital/political "union," Othello’s fears of impotence, rumors of Antony’s emasculation as opposed to the militant but nurturing triumphalism of Cleopatra’s suicide, and Posthumus’s hysterical response to the "woman’s half" in himself and his compensatory fantasies of parthenogenesis. Stone unpacks ideologically strong yet unsustainable male claims to self-identity and sameness, set over opposed to man’s type-gendering of girls because the starting place of divisive sexual distinction, discord, and the dissolution of marriage. males who blame ladies for the variation that divides and weakens their feel of solidarity and sameness to oneself are subconscious that the uncanny female isn't outdoors the masculine, its reassuring canny contrary; it truly is contained in the masculine, its uncanny distinction from itself.

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