In Getting Medieval Carolyn Dinshaw examines communities-dissident and orthodox-in late-fourteenth and early-fifteenth-century England to create a new sense of queer history. Reaching beyond both medieval and queer studies, Dinshaw demonstrates in this challenging work how intellectual inquiry into pre-modern societies can contribute invaluably to current issues in cultural studies. In the process, she makes important connections between past and present cultures that until now have not been realized. In her pursuit of historical analyses that embrace the heterogeneity and indeterminacy of sex and sexuality, Dinshaw examines canonical Middle English texts such as the Canterbury Tales and TheBook of Margery Kempe. She examines polemics around the religious dissidents known as the Lollards as well as accounts of prostitutes in London to address questions of how particular sexual practices and identifications were normalized while others were proscribed. By exploring contemporary (mis)appropriations of medieval tropes in texts ranging from Quentin Tarantino's Pulp Fiction to recent Congressional debates on U.S. cultural production, Dinshaw demonstrates how such modern media can serve to reinforce constrictive heteronormative values and deny the multifarious nature of history. Finally, she works with and against the theories of Michel Foucault, Homi K. Bhabha, Roland Barthes, and John Boswell to show how deconstructionist impulses as well as historical perspectives can further an understanding of community in both pre- and postmodern societies. This long-anticipated volume will be indispensible to medieval and queer scholars and will be welcomed by a larger cultural studies audience.
Carolyn Dinshaw, a well known medieval scholar, carefully considers how the "queering" of history can create communities across time, and more particularly, what she terms, a "touching". She works with theorists Bhabba, Benedict Anderson, Barthes, and Foucalt, in their writings on history, nationalism, sexuality, and marginalized communities in her look at such disparate sources as Chaucer, a medieval court document, and the post-modern film classic, Pulp Fiction in order to untangle the multiplicity of history and sexuality. Her approachable writing voice and use of a variety of sources makes this accessible by those who may not even be as interested in all things medieval. I am not, but still found this book interesting, especially in the way it approaches how we look at history and literature. This book was recommended by a medieval literature teacher, so it is reputable, but does not deserve to be left only to medievalists.
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