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"Let Wonder Seem Familiar": Objects ...

Farren, Roselyn Alice.

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"Let Wonder Seem Familiar": Objects of Affection as Other Minds in Shakespeare.

Record Type:	Electronic resources : Monograph/item
Title/Author:	"Let Wonder Seem Familiar": Objects of Affection as Other Minds in Shakespeare./
Author:	Farren, Roselyn Alice.
Description:	239 p.
Notes:	Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: 1300.
Contained By:	Dissertation Abstracts International72-04A.
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3439924
ISBN:	9781124459844

"Let Wonder Seem Familiar": Objects of Affection as Other Minds in Shakespeare.
Farren, Roselyn Alice.

"Let Wonder Seem Familiar": Objects of Affection as Other Minds in Shakespeare. - 239 p.

Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: 1300.

Thesis (Ph.D.)--Brandeis University, 2011.

This dissertation posits a literary history for the skepticism that Stanley Cavell identifies as ailing Shakespeare's jealous protagonists. Building on the work of feminist critics, who have demonstrated that the conventions of Petrarch's lyric and those of his English followers dismember the bodies and silence the voices of the very women they pretend to address, I argue that the logic of courtly love poetry lends itself to the very kinds of denials that Cavell discerns. The courtly lover focuses on the beauty of his cruel mistress, reading her body and disregarding her mind. In an equally reductive gesture, the jealous husband emphasizes the ambiguous virtue of chastity, which pretends an interest in feminine intentions, but insists that women's worth resides in the carnal. Cavell crucially notes that husbandly jealousy is never justified in Shakespeare, and he therefore views it as the dramatization of men denying what they know. But Shakespeare's plays do more than diagnose a general skeptical alienation, for these characters reject the specific knowledge that their loved ones are other minds.

ISBN: 9781124459844

LCCN: AAI3439924Subjects--Topical Terms:

516356
English literature.

"Let Wonder Seem Familiar": Objects of Affection as Other Minds in Shakespeare.
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100 1 $a Farren, Roselyn Alice. $3 2144910
245 1 0 $a "Let Wonder Seem Familiar": Objects of Affection as Other Minds in Shakespeare.
300 $a 239 p.
500 $a Source: Dissertation Abstracts International, Volume: 72-04, Section: A, page: 1300.
500 $a Adviser: William Flesch.
502 $a Thesis (Ph.D.)--Brandeis University, 2011.
520 $a This dissertation posits a literary history for the skepticism that Stanley Cavell identifies as ailing Shakespeare's jealous protagonists. Building on the work of feminist critics, who have demonstrated that the conventions of Petrarch's lyric and those of his English followers dismember the bodies and silence the voices of the very women they pretend to address, I argue that the logic of courtly love poetry lends itself to the very kinds of denials that Cavell discerns. The courtly lover focuses on the beauty of his cruel mistress, reading her body and disregarding her mind. In an equally reductive gesture, the jealous husband emphasizes the ambiguous virtue of chastity, which pretends an interest in feminine intentions, but insists that women's worth resides in the carnal. Cavell crucially notes that husbandly jealousy is never justified in Shakespeare, and he therefore views it as the dramatization of men denying what they know. But Shakespeare's plays do more than diagnose a general skeptical alienation, for these characters reject the specific knowledge that their loved ones are other minds.
520 $a In close readings of "The Rape of Lucrece," Much Ado about Nothing, Othello, and The Winter's Tale, I show that Shakespeare consistently locates the origins of male sexual jealousy--and its reductive focus on feminine chastity--in the habits of language and thought embraced by speakers of courtly love lyric. Shakespeare's works repudiate the courtly mode, realizing the jealous husband's courtly objectification by representing women's deaths--final in tragedy, feigned in comedy. Revealing and correcting masculine errors, these deaths force characters and audience to confront the fundamental question of whether they can be satisfied with a beloved's fully objectified body.
520 $a In addition to tracing the ties between these objectifying tropes, I explore the surprising instances of recognition and connection that the plays deliver. Accurately interpreting the body's honest signals, asking open-ended questions and attending to the answers, and even practicing subtle deception (such as the gulling of Benedick), depend upon and display the characters'attention to their kin, friends, and lovers as other minds.
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650 4 $a English literature. $3 516356
650 4 $a Theater history. $3 2144911
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710 2 $a Brandeis University. $b English and American Literature. $3 1267015
773 0 $t Dissertation Abstracts International $g 72-04A.
790 $a 0021
791 $a Ph.D.
792 $a 2011
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3439924