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The Queer "Third Species": Tragicome...

Kurz, Lindsey.

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The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television./
Author:	Kurz, Lindsey.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	159 p.
Notes:	Source: Dissertations Abstracts International, Volume: 79-12, Section: A.
Contained By:	Dissertations Abstracts International79-12A.
Subject:	American studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10891725
ISBN:	9780438096905

The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television.
Kurz, Lindsey.

The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 159 p.

Source: Dissertations Abstracts International, Volume: 79-12, Section: A.

Thesis (Ph.D.)--University of Cincinnati, 2018.

This item must not be sold to any third party vendors.

This dissertation focuses on the recent popularity of the tragicomedy as a genre for representing queer lives in late-twentieth and twenty-first century America. I argue that the tragicomedy allows for a nuanced portrayal of queer identity because it recognizes the systemic and personal "tragedies" faced by LGBTQ people (discrimination, inadequate legal protection, familial exile, the AIDS epidemic, et cetera), but also acknowledges that even in struggle, in real life and in art, there is humor and comedy. I contend that the contemporary tragicomedy works to depart from the dominant late-nineteenth and twentieth-century trope of queer people as either tragic figures (sick, suicidal, self-loathing) or comedic relief characters by showing complex characters that experience both tragedy and comedy and are themselves both serious and humorous. Building off Verna A. Foster's 2004 book The Name and Nature of Tragicomedy , I argue that contemporary examples of the tragicomedy share generic characteristics with tragicomedies from previous eras (most notably the Renaissance and modern period), but have also evolved in important ways to work for queer authors. The contemporary tragicomedy, as used by queer authors, mixes comedy and tragedy throughout the text but ultimately ends in "comedy" (meaning the characters survive the tragedies in the text and are optimistic for the future). Through a close reading of Armistead Maupin's series Tales of the City (1978-2014), Alison Bechdel's Fun Home: A Family Tragicomic (2006), and Jill Soloway's television show Transparent, I demonstrate how these contemporary writers disrupt the tragic/comic binary in order to create a text that is closer to lived experience.

ISBN: 9780438096905Subjects--Topical Terms:

2122720
American studies.
Subjects--Index Terms:

Fun Home

The Queer "Third Species": Tragicomedy in Contemporary LGBTQ American Literature and Television.
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520 $a This dissertation focuses on the recent popularity of the tragicomedy as a genre for representing queer lives in late-twentieth and twenty-first century America. I argue that the tragicomedy allows for a nuanced portrayal of queer identity because it recognizes the systemic and personal "tragedies" faced by LGBTQ people (discrimination, inadequate legal protection, familial exile, the AIDS epidemic, et cetera), but also acknowledges that even in struggle, in real life and in art, there is humor and comedy. I contend that the contemporary tragicomedy works to depart from the dominant late-nineteenth and twentieth-century trope of queer people as either tragic figures (sick, suicidal, self-loathing) or comedic relief characters by showing complex characters that experience both tragedy and comedy and are themselves both serious and humorous. Building off Verna A. Foster's 2004 book The Name and Nature of Tragicomedy , I argue that contemporary examples of the tragicomedy share generic characteristics with tragicomedies from previous eras (most notably the Renaissance and modern period), but have also evolved in important ways to work for queer authors. The contemporary tragicomedy, as used by queer authors, mixes comedy and tragedy throughout the text but ultimately ends in "comedy" (meaning the characters survive the tragedies in the text and are optimistic for the future). Through a close reading of Armistead Maupin's series Tales of the City (1978-2014), Alison Bechdel's Fun Home: A Family Tragicomic (2006), and Jill Soloway's television show Transparent, I demonstrate how these contemporary writers disrupt the tragic/comic binary in order to create a text that is closer to lived experience.
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