By Dimple Godiwala
This e-book on gem stones has a thesis or a 'backbone' which elicits the name Queer Mythologies. Pam gemstones has written over 25 performs, and has now not had enough exact research of her performs up to now. She is a well-liked playwright produced frequently on the West finish and has a frequent charm by means of being at the pulse of cultural iconology. gemstones writes robust vital characters for either female and male actors, and infrequently writes nearly cinematically, with time shifts in a non-linear narrativization. Her characters are metaphors for modern men and women and he or she usually herstoricizes, therefore righting the stability of dramatic historical past by means of developing elements for ladies in British drama. Her dramaturgy brings to the mainstream theatre the identities and subcultures of sophistication, race, ethnicity, gender and sexuality making her performs queer mythologies.
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Additional info for Queer Mythologies: The Original Stageplays of Pam Gems (Intellect Books - European Communication Research and Educat)
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44). Yet she is also man’s muse: ‘We have been frozen in our place between two terrifying myths: between the Medusa and the abyss. […] All you have to do to see the Medusa is look her in the face: and she isn’t deadly. ’49 Yet she also exceeds the masculine space occupied by Arthur: her femininity is an effect of magic and power, and she overspills the space Arthur occupies as a male. Arthur in realising he needs Guinevere, accepting her as his equal, makes a space for her, in the personal realm as well as the political making Guinevere the victor as she is not merely equal but more.
With a weak succession it’ll be anybody’s game, we can’t have a woman. King: Make a man of her then. Axel: How? King: Training. […] I want her fit, educated, able to lead an army if necessary. qxd 32 12/12/05 8:36 pm Page 32 | QUEER MYTHOLOGIES: THE ORIGINAL STAGEPLAYS OF PAM GEMS incorporates a dramatic shock technique with humour, written to undercut the popular assumption of Christina as a pale shining beauty: ‘Enter a German prince waiting to be received as suitor’ to the now adult Queen Christina.
Does she indicate a cultural possibility in the kaleidoscope of citational choice? ‘If subversion is possible, it will be a subversion from within the terms of the law, through the possibilities that emerge when the law turns against itself and spawns unexpected permutations of itself. ’39 Butler’s Foucauldian-Lacanian explanation posits ‘the culturally contradictory enterprise of the mechanism of repression [as] prohibitive and generative at once’ 40 thus enabling two readings of Christina’s identity resolution.
