Canonical States, Canonical Stages: Oedipus, Othering, and Seventeenth-Century DramaU of Minnesota Press, 1994 - 218페이지 Canonical States, Canonical Stages was first published in 1994. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. In the crucible of seventeenth-century Europe, a new kind of subjectivity formed, private and interior. Perversely, the new private subject made its most spectacular appearance on the public stage-an appearance that, as Mitchell Greenberg amply demonstrates, also marked the emergence of absolutism in Europe. What these two phenomena had to do with one another, and how they were elaborated in the theater of the seventeenth century, is the subject of Greenberg's book, a masterful critical work that relates the dramatic construction of modern subjectivity and absolutist culture to the formation of the Western literary canon. In particular, Canonical States, Canonical Stages shows how the Oedipus myth, reinterpreted on various stages at the end of the Renaissance, served the purposes of the emerging culture by replaying the founding moment of absolute rule. Working with models of genealogical criticism, psychoanalysis, and a certain Continental feminism, Greenberg reads plays by Shakespeare, Lope de Vega, Calderón, Corneille, and Racine to show how, as symptomatic texts staged within the confines of familial scenarios, they combine a dynamics of politics with a conflicting "private" desire shown to be inimical to the dominant ideology. This analysis reveals how scenarios of sacrifice and transcendence are brought into play to normalize and naturalize inchoate and threatening forces of social change by appealing to preexisting cultural models such as the myth of Oedipus. A fascinating integration of texts from political theory, psychoanalysis, history, and literature, Canonical States, Canonical Stages offers a powerful interpretation of the interrelated representation of subjectivity and absolutism on the seventeenth-century stage.Winner of the 1995 MLA Aldo and Jeanne Scaglione Prize for Comparative Literary Studies Mitchell Greenberg is chair of the Department of French and Italian at Miami University in Ohio. He is the author of, among other books, Subjectivity and Subjugation in Seventeenth-Century Drama and Prose: The Family Romance of French Classicism (1992). |
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... conflicts called into question heteronomous social formations. The fatal splitting of the former religious unity gradually shifted onto the State the responsibility of representing for all members of society a reference point of stable ...
... conflict — of the patriarchal family living in and under the dictates of the father/ king? It must strike us as symptomatically telling that European literature of the medieval and Renaissance periods is singularly lacking in ...
... conflict with a "personal" desire that those demands paradoxically inform. In an earlier work I suggested that the theater of seventeenth-century France functions as a heavily charged apparatus combining state and family politics in ...
... conflicts, economic, social, and sexual conflicts that in reality are often impossible to discern with any clarity. The ambivalent space that is the theater is a particularly active site in the late sixteenth and seventeenth centuries ...
... conflict and change, seems particularly acute perhaps because, more than any other form of representation, the theater most actively engages individual myths — those narratives individuals construct and are constructed by, to explain ...