. As a result, ‘her
performance is a kind of transvestism’. 66
Here, in contrast to those critics who argue that Chaucer
intends us to sympathise with the Wife’s reflexive exposure of
clerical misogyny, I will argue that Chaucer himself satirises her
performance. Even though Alisoun relies on familiar clerical and
scholastic modes of argument, such as appealing to traditional
Fantasies of supersession and explosive questions in the York and Chester
Later Middle Ages , ed. by Isabel Davis, Miriam Müller and Sarah Rees Jones (Turnhout: Brepols, 2003), pp. 63–76 and Neil Cartlidge, Medieval Marriage: Literary Approaches, 1100–1300 (Cambridge: D.S. Brewer, 1997), pp. 1–32.
14 See Twycross, ‘“Transvestism” in the Mystery Plays’, 123–80; Peter Happé and others, ‘Thoughts on “Transvestism” by Divers Hands’, METh , 5.2 (1983) 110–22; Richard Rastall, ‘Female Roles in All-Male Casts’, METh , 7.1 (1985), 25–50; Robert L. A. Clark and Claire Sponsler, ‘Queer Play: The Cultural Work of Crossdressing in Medieval
Davidson, Gesture in Medieval Drama and Art (Kalamazoo, MI: Medieval Institute Publications, 2001) and Meg Twycross’ initiation of debates concerning cross-playing in her article ‘“Transvestism” in the Mystery Plays’, METh , 5.2 (1983), 123–80.
88 See Jody Enders on the transmission of biblical and social ‘truths’ through violence in medieval drama in Jody Enders, The Medieval Theater of Cruelty: Rhetoric, Memory, Violence (Ithaca, NY: Cornell University Press, 1999).
89 See Raphael Falco, ‘Medieval and Reformation Roots’, in A Companion to Renaissance