Gender/Genre Disruption in Bryony Lavery’s Her Aching Heart

Lorek-Jezińska, Edyta

dc.contributor.author	Lorek-Jezińska, Edyta
dc.contributor.editor	Kazik, Joanna
dc.contributor.editor	Mirowska, Paulina
dc.date.accessioned	2019-06-10T08:44:54Z
dc.date.available	2019-06-10T08:44:54Z
dc.date.issued	2013
dc.identifier.citation	Lorek-Jezińska E., Gender/Genre Disruption in Bryony Lavery’s Her Aching Heart, [w:] Studies in English Drama and Poetry vol. 3. Reading subversion and transgression, Kazik J., Mirowska P. (red.), Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2013, s. 137-147, doi: 10.18778/7525-994-0.12	pl_PL
dc.identifier.isbn	978-83-7525-994-0
dc.identifier.uri	http://hdl.handle.net/11089/28803
dc.description.abstract	The objective of the present paper is to examine the two contrastive yet interconnected processes activated in parody: conservative and revolutionary. The conservative drive is associated with the continuation and reinforcement of the parodied original while the revolutionary drive refers to the transgressive and critical potential of the parodic text, often realised in mockery, satire or deconstruction. Her Aching Heart by Bryony Lavery, a parody of a Gothic romance, displays both of these tendencies, which in their interplay and opposition lead to the point of the cultural disruption in an attempt at lesbian representation. The parody of the Gothic historical romance in Her Aching Heart is performed through exaggeration, replacement and experiment in gender roles distribution. With the Gothic romance’s heavy dependence on clear gender oppositions, Lavery’s exploration of the same-sex casting, multiple role-playing, and cross-dressing necessarily and subversively redefines the genre’s formula, leading to the point of its disintegration. In this respect, the play can be classified as selfparodic and self-referential. Its interest lies in questioning the possibility of representation of alternative forms of love within as well as without the convention of romance, and thus indirectly searching for the possibility of formulating alternative lesbian dramaturgy.	pl_PL
dc.description.sponsorship	Udostępnienie publikacji Wydawnictwa Uniwersytetu Łódzkiego finansowane w ramach projektu „Doskonałość naukowa kluczem do doskonałości kształcenia”. Projekt realizowany jest ze środków Europejskiego Funduszu Społecznego w ramach Programu Operacyjnego Wiedza Edukacja Rozwój; nr umowy: POWER.03.05.00-00-Z092/17-00.	pl_PL
dc.language.iso	en	pl_PL
dc.publisher	Wydawnictwo Uniwersytetu Łódzkiego	pl_PL
dc.relation.ispartof	Kazik J., Mirowska P. (red.), Studies in English Drama and Poetry vol. 3. Reading subversion and transgression, Wydawnictwo Uniwersytetu Łódzkiego, Łódź 2013;
dc.relation.ispartofseries	Studies in English Drama and Poetry;
dc.rights	Attribution-NonCommercial-NoDerivatives 4.0 Międzynarodowe	*
dc.rights.uri	http://creativecommons.org/licenses/by-nc-nd/4.0/	*
dc.subject	gender/genre disruption	pl_PL
dc.subject	Bryony Lavery	pl_PL
dc.subject	Her Aching Heart	pl_PL
dc.title	Gender/Genre Disruption in Bryony Lavery’s Her Aching Heart	pl_PL
dc.type	Book chapter	pl_PL
dc.page.number	137-147	pl_PL
dc.contributor.authorAffiliation	Nicolaus Copernicus University	pl_PL
dc.contributor.authorBiographicalnote	Edyta Lorek-Jezińska is a lecturer in the Department of English at Nicolaus Copernicus University in Toruń, Poland, where she teaches British cultural studies and literature, gender in British drama and political theatre. She has published articles on experimental theatre, site and environment in theatre as well as gender and intertextuality in British feminist drama. She has just completed her book about intertextual hauntings and revisions in British women’s drama.	pl_PL
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dc.identifier.doi	10.18778/7525-994-0.12
dc.relation.volume	3	pl_PL