Queer(ed) Bodies: Subversive Sexualities and Gender Identities in Shakespeare’s As You Like It

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dc.contributor.authorKılıç, Volkan
dc.date.accessioned2024-09-19T16:25:12Z
dc.date.available2024-09-19T16:25:12Z
dc.date.issued2023
dc.departmentHatay Mustafa Kemal Üniversitesien_US
dc.description.abstractAs far as Shakespeare’s comedies are concerned, a recurring topic is the exploration of love via the portrayal of gender role transformations and the cross-dressing of female characters. This often involves the depiction of power dynamics between male and female characters, which may be seen as alluding to homoerotic relationships and transgressions of gender roles. Shakespeare, in his play As You Like It, reveals the reformulation and deconstruction of established and logocentric gender roles and sexuality, where female characters adopt trans-gendered bodies, queer identities, and homoeroticism through the concept of love and cross-dressing in many respects. Likewise, the play explores the issues of gender roles and sexuality, particularly via the portrayal of female characters who assume trans-gendered identities, engage in cross-dressing, and experience homoerotic love in various ways. It can also be stated that the identity of Shakespeare is never fixed but is constructed. The fluidity of identity, sexuality, and desire in the play indeed challenges and deconstructs any basic hetero/homo, masculine/feminine dichotomy. In this context, Shakespeare effectively challenges traditional gender roles and norms by subverting them through the portrayal of male and female characters. Specifically, the female characters deviate from their expected gender roles and boundaries, resulting in the depiction of a homoerotic love triangle involving Phebe, Orlando, and Rosalind/Ganymede. As in the play, the heterosexual love between Orlando and Rosalind is subverted to a homoerotic love between Orlando and Ganymede/Rosalind, and Phebe and Ganymede/Rosalind. As a result, it can be claimed that Shakespeare’s play features transgendered sexuality and a homoerotic love triangle between male and female characters. Hence, as it has been stated, Shakespeare suggests here that, as with the title of the play, one can construct his or her gender role as she or he likes or desires, even if this sex is different.en_US
dc.identifier.doi10.48139/aybukulliye.1355654
dc.identifier.endpage113en_US
dc.identifier.issn2717-7351
dc.identifier.issueTÜRKİYE CUMHURİYETİ'NİN 100. YILI ÖZEL SAYISIen_US
dc.identifier.startpage96en_US
dc.identifier.trdizinid1211881en_US
dc.identifier.urihttps://doi.org/10.48139/aybukulliye.1355654
dc.identifier.urihttps://search.trdizin.gov.tr/tr/yayin/detay/1211881
dc.identifier.urihttps://hdl.handle.net/20.500.12483/16283
dc.indekslendigikaynakTR-Dizinen_US
dc.language.isoenen_US
dc.relation.ispartofKülliyeen_US
dc.relation.publicationcategoryMakale - Ulusal Hakemli Dergi - Kurum Öğretim Elemanıen_US
dc.rightsinfo:eu-repo/semantics/openAccessen_US
dc.subjectWilliam Shakespeareen_US
dc.subjectAs You Like Iten_US
dc.subjectQueer Theoryen_US
dc.subjectGenderen_US
dc.titleQueer(ed) Bodies: Subversive Sexualities and Gender Identities in Shakespeare’s As You Like Iten_US
dc.typeArticleen_US

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