b'T3 Journal - Student Writing in Drama, University of Exeter 2019-20Exploring Asexuality in Shakespeares Measure for Measure and The Merry Wives of Windsor: To what extent does asexuality queer representations of sexuality in performance?Dissertation ExtractThomas Ryan GunningIn the following extract, asexuality refers to a sexualis only the impression of a coherent system (Przybylo 2011: orientation defined by a person who does not experience447) or the illusion of substance (Butler 2006: 39).sexual attraction (Cerankowski and Milks, 2014; Bogaert, 2015; Decker, 2015; AVEN, 2020), that is, they are notOne of the ways asexuals might resist sexusocietys impulse drawn to people sexually and do not desire to act uponto repeat sexually is their ability to reterritorialize their own attraction to others in a sexual way (AVEN, 2020). Itimmediate bodies (Przybylo 2011: 455). The first example looks at how asexuality has called for a re-examinationof this can be found in Isabellas first encounter with of the ways in which sexuality is represented on stage. Angelo in Measure for Measure. Looking at the text, Lucios lines are full of sexual suggestiveness: Kneel down before Przybylo, in her study of the potential transgressivehim, hang upon his gown;/You are too coldtouch him: nature of asexuality as a sexual identity, coins the termtheres the vein (Shakespeare 2008: 46-70). Interestingly, sexusociety (2011: 446). Przybylo uses this term insteadmost of the lines come in the form of imperatives, and are of the term sexual world in order to indicate the dilutedgenerally guiding Isabella to intimate acts. According to omnipresence of sexuality in our western contemporarySchmidt and Sarrazin, cold as Shakespeare used it in this present (2011: 446), which exercises similar controlscene describes Isabella as wanting zeal or passion, but it over the borders of sex as Butlers heterosexual matrixhas also been known for Shakespeare to use cold to refer (2006: 208). Although, Przybylo states unlike the sexualto chastity and modesty, another characteristic of Isabella world which is out there, sexusociety is everywhere,(1902: 213). Its opposite, heat as used by the Duke to it is within us, it is us (2011: 446). She works along thedescribe Angelos lust for Isabella later in the play, the heat paradox present in Butlers theory of performativityof blood (Shakespeare, 2008: 146) nicely echoing Lucios whereby the subject is simultaneously constituted withinimagery of the vein, is defined by the fire of passion, and compelled by a history of repetitive iterations andardour, excitement (1902: 526). Thus, it is possible to endowed with a certain agency within this system to interpret Lucios criticism of Isabella as a judgement on her repeat various iterations of the imperative utterancelack of sexual drive and passion in her bid to win [Angelo] (Butler, 2011: 139). Ultimately, Przybylo looks at the(Shakespeare, 2008: 47).subject as a subject compelled by the force of citation-ality following Butlers suggested reconceptualization ofIt would appear Cheek by Jowl, in their interpretation of the performativity (2011: 167). Thus, sexusociety is everywhereplay, embrace the sexual undertones of the text, and as will in that it is the external force of citationality that marksbecome clear later on, take this to its extreme (Shakespeare individuals, it is within us because our potential agency2015a). After a slow trudging dialogue between Anna within the performative system is both the individual andVardevanian (Isabella) and Andrei Kuzichev (Angelo), an internalized compulsion to repeat certain iterations,the scene soon concludes with Isabellas acceptance of her and it is us because as Przybylo succinctly paraphrasesbrothers fate. However, Vardevanian is instantly met by a Butler the doer is the body politic, and the deeds are thedisapproving Alexander Feklistov (Lucio). He drapes his individuals of the body politic and the institutions thatsatin top off his shoulder and rolls his shoulder forward they coordinate (2011: 447). This constant dependence ongracefully, as he instructs Isabella to Kneel before him, the individual to constitute the deeds or iterations and thehang upon his gown (Shakespeare, 2015a). Accompanied by deeds to constitute the individual mean that there is roomDeclan Donnellans interpretation of Lucio as a sex-worker for variation on these repetitions, and what we are left withor, at the very least, someone who is sexually inclined, the 12'