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Massinger's The Renegado and history of sexuality, racial formation,…
Massinger's The Renegado and history of sexuality, racial formation, and spectacle
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What does this look and feel like on stage? How does spectacle and stagecraft amplify and/or undercut British colonial, racist, and homophobic/gender anxious ways of understanding global contact zones?
In small groups, please find one moment that we might read for "spectacle" and stagecraft (props use, trap doors, ppointed soliloquys) that gives insight into how the stage shapes "turning Turk" anxieties
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Gimaldi gets "Gazet by the ears" (1.3.): shows the violence of turning turk; emphasizes the heated stage business; it's visualizing power dynamics; it allows/authorizes this violence based on the idea of hot climates and the setting
2.5: "Grimaldi dragged off, his head covered" (pg 279): this is about getting the audience involved in the spectacle and shifting power dynamics
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Framing Islam and femininity and sexuality as monstrous and corrupting; if we excise Islam, we save good, white Christian men: "Should the enjoying / Of loose desires find ever such conclusions, / All women would be vestals" (4.2.72-4) - if we take it as a joke, it's about sexual double standards of men doing no wrong. "I've never even heard of sex"
"Unkind Nature, To make weak women servants, proud men masters!" (Donusa's double-standards about sex and punishment) (4.2.126). It's also about Vitelli's Christian privilege? This lets us prop up a narrative about Christianity being more liberatory for women
see 1.2 as a frame for comparing white Britishness with Tunis and Islam: the idea of women as MOBILE and gets power over their husbands; it's an early modern ironic articulation of free world vs. bad oppressed; it limits the discourse of feminist critique
how do men in the audience fetishize women of color and women of faith in Tunisia? (the use of a reveal to fetishize hijabi women; a heteropatriarchal desire to see what is covered (pg 265 unveiling); making meaning and sexual availability based on veiling (yikes, that doesn't leave us); the fears of public reveals
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the ending reproduces the idea of white women saviors and leaving patriarchy "over there"; going to die alone with no partners "in my moan"
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