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Frontmatter -- Contents -- Acknowledgments -- Introduction Quem quaeritis? Queerness in Early English Drama -- PART ONE Queer Theories and Themes of Early English Drama -- Chapter One A Subjunctive Theory of Dramatic Queerness -- Chapter Two Themes of Friendship and Sodomy -- PART TWO Queer Readings of Early English Drama -- Chapter Three Performative Typology, Jewish Genders, and Jesus's Queer Romance in the York Corpus Christi Plays -- Chapter Four Excremental Desire, Queer Allegory, and the Disidentified Audience of Mankind -- Chapter Five Sodomy, Chastity, and Queer Historiography in John Bale's Interludes -- Chapter Six Camp and the Hermaphroditic Gaze in Sir David Lyndsay's Ane Satyre of the Thrie Estaitis -- Conclusion Terrence McNally's Corpus Christi and the Queer Legacy of Early English Drama -- Notes -- Bibliography -- Index Often viewed as theologically conservative, many theatrical works of late medieval and early Tudor England nevertheless exploited the performative nature of drama to flirt with unsanctioned expressions of desire, allowing queer identities and themes to emerge. Early plays faced vexing challenges in depicting sexuality, but modes of queerness, including queer scopophilia, queer dialogue, queer characters, and queer performances, fractured prevailing restraints. Many of these plays were produced within male homosocial environments, and thus homosociality served as a narrative precondition of their storylines. Building from these foundations, On the Queerness of Early English Drama investigates occluded depictions of sexuality in late medieval and early Tudor dramas. Tison Pugh explores a range of topics, including the unstable genders of the York Corpus Christi Plays, the morally instructive humour of excremental allegory in Mankind, the confused relationship of sodomy and chastity in John Bale's historical interludes, and the camp artifice and queer carnival of Sir David Lyndsay's Ane Satyre of the Thrie Estaitis. Pugh concludes with Terrence McNally's Corpus Christi, pondering the afterlife of medieval drama and its continued utility in probing cultural constructions of gender and sexuality
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