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Framing the Christian defense of marital monogamy against Ephesians 5's suggestion that all believers are married in Christ, this book argues for the presence of competing marriage theologies in four Shakespeare plays: The Comedy of Errors, The Merchant of Venice, Othello, and The Winter's Tale.

Building on scholarship regarding both biblical and early modern sexualities, Members of His Body protests the Christian defense of marital monogamy. According to the Paul who authors 1 Corinthians, believers would do well to remain single and focus instead on the messiah's return. According to the Paul who authors Ephesians, plural marriage is the telos of Christian community. Turning to Shakespeare, Will Stockton shows how marriage functions in The Comedy of Errors, The Merchant of Venice, Othello, and The Winter's Tale as a contested vehicle of Christian embodiment. Juxtaposing the marital theologies of the different Pauls and their later interpreters, Stockton reveals how these plays explore the racial, religious, and gender criteria for marital membership in the body of Christ. These plays further suggest that marital jealousy and paranoia about adultery result in part from a Christian theology of shared embodiment: the communion of believers in Christ. In the wake of recent arguments that expanding marriage rights to gay people will open the door to the cultural acceptance and legalization of plural marriage, Members of His Body reminds us that much Christian theology already looks forward to this end.

Playing Dirty is full of dirty jokes. Arguing that the early modern excremental body is in many ways an erotic body, Will Stockton—with humor and dry wit—reads psychoanalytic theory through early modern comedies, claiming that it is helpful, rather than inimical, to the project of historicizing the body.

What is sex exactly? Does everyone agree on a definition? And does that definition hold when considering literary production in other times and places?Sex before Sexmakes clear that we cannot simply transfer our contemporary notions of what constitutes a sex act into the past and expect them to be true for the people who were then reading literature and watching plays. The contributors confront how our current critical assumptions about definitions of sex restrict our understanding of representations of sexuality in early modern England. Drawing attention to overlooked forms of sexual activity in early modern culture, from anilingus and interspecies sex to \"chin-chucking\" and convivial drinking,Sex before Sexoffers a multifaceted view of what sex looked like before the term entered history. Through incisive interpretations of a wide range of literary texts, includingRomeo and Juliet, The Comedy of Errors, Paradise Lost, the figure of Lucretia, and pornographic poetry, this collection queries what might constitute sex in the absence of a widely accepted definition and how a historicized concept of sex affects the kinds of arguments that can be made about early modern sexualities. Contributors: Holly Dugan, George Washington U; Will Fisher, CUNY-Lehman College; Stephen Guy-Bray, U of British Columbia; Melissa J. Jones, Eastern Michigan U; Thomas H. Luxon, Dartmouth College; Nicholas F. Radel, Furman U; Kathryn Schwarz, Vanderbilt U; Christine Varnado, U of Buffalo-SUNY.

This essay accounts for the adolescent popularity of The Fountainhead and Atlas Shrugged by arguing that both novels indirectly appropriate the mid-twentieth-century figure of the rebel. By denying their “prime movers” much of a childhood, however, both novels heroize rebels who never suffer the dilemma that defines the adolescent according to Erik H. Erikson: the struggle between identity and role confusion. Following Erikson and Julia Kristeva, this essay reads Rand's prime movers as figures of a post-Oedipal fantasy of self-reconciliation and career-oriented drive—figures who invite their reader into the fantasy of a life lived without adolescence's defining identity crisis.

This essay accounts for the adolescent popularity ofThe FountainheadandAtlas Shruggedby arguing that both novels indirectly appropriate the mid-twentieth-century figure of the rebel. By denying their “prime movers” much of a childhood, however, both novels heroize rebels who never suffer the dilemma that defines the adolescent according to Erik H. Erikson: the struggle between identity and role confusion. Following Erikson and Julia Kristeva, this essay reads Rand's prime movers as figures of a post-Oedipal fantasy of self-reconciliation and career-oriented drive—figures who invite their reader into the fantasy of a life lived without adolescence's defining identity crisis.

This essay accounts for the adolescent popularity of The Fountainhead and Atlas Shrugged by arguing that both novels indirectly appropriate the mid-twentieth-century figure of the rebel. By denying their 'prime movers' much of a childhood, however, both novels heroize rebels who never suffer the dilemma that defines the adolescent according to Erik H. Erikson: the struggle between identity and role confusion. Following Erikson and Julia Kristeva, this essay reads Rand's prime movers as figures of a post-Oedipal fantasy of self-reconciliation and career-oriented drive-figures who invite their reader into the fantasy of a life lived without adolescence's defining identity crisis. Reprinted by permission of The Journal of Ayn Rand Studies Foundation

Does the Lady in Milton’sComusfantasize about being raped? A qualified yet nonetheless affirmative answer to this question may help resolve the heated debate about the masque that took place between John Leonard and William Kerrigan in the early 1990s; but one would likely never know from reading most criticism onComus, before or after, that the Lady is doing anything of the sort. The debate began when Leonard objected to Kerrigan’s Freudian interpretation of the Lady’s resistance to Comus as a case in which meaning “exude[s] its own adversary” or where “no” means “yes.”¹ This interpretation had allowed