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Shakespeare and Freud : = Studies in narrative and genre.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Shakespeare and Freud :/
Reminder of title:	Studies in narrative and genre.
Author:	Lupton, Julia Reinhard.
Description:	1 online resource (279 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 51-09, Section: A.
Contained By:	Dissertations Abstracts International51-09A.
Subject:	Comparative literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9011372click for full text (PQDT)
ISBN:	9798644990429

Shakespeare and Freud : = Studies in narrative and genre.
Lupton, Julia Reinhard.

Shakespeare and Freud :Studies in narrative and genre. - 1 online resource (279 pages)

Source: Dissertations Abstracts International, Volume: 51-09, Section: A.

Thesis (Ph.D.)--Yale University, 1989.

Includes bibliographical references

Rather than applying psychoanalysis to literature, this dissertation analyzes productive relationships between Shakespeare and Freud. Genre and narrative function in my project across three interlocking registers: as thematic structures in the works of each author, as historically changing features linking the two oeuvres across periods, and as a body of submerged scenarios and motifs marking literary criticism itself as a story-making activity. Section I, "After Oedipus: Freud, Hamlet and Mourning," establishes the tension in Fred's work between an Oedipal and a melancholic Hamlet. I then restage this ambivalence in terms of Hamlet's interaction with Senecan drams, a post-classical and "post-Oedipal" tradition divided--like Freud's writings on Hamlet--between ghostly fathers and violent mothers in mourning. In Section II, "Afterlives of the Saints: Hagiography in Measure for Measure and Dora," I argue that the medieval saint's life appears in fragmented and redirected form in Shakespearean comedy and Freudian case-history. Furthermore, hagiographic scenes of persecution and judgment return to haunt both misogynist criticism of Isabella's "hysteria" and feminist defenses of Dora's "victimization." Section III, "Handing on Macbeth: Freud and the Romantic Shakespeare," argues that psychoanalytic criticism owes many of its themes and methods to the Romantic valorization of character over plot, a program in turn founded on a particular reading of Shakespeare's plays. Rather than limiting either psychoanalysis or Romantic criticism to its most formulaic self-expression, however, I show how Freud's literary analysis and Goethe's poetic imitation of Macbeth productively undermine the dominance of character in modern criticism. Here and throughout the dissertation, I insist on the intertextual life, or afterlife, of texts: their inheritance of received forms and their legacy to a posterity of criticism and imitation.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798644990429Subjects--Topical Terms:

570001
Comparative literature.
Index Terms--Genre/Form:

542853
Electronic books.

Shakespeare and Freud : = Studies in narrative and genre.
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245 1 0 $a Shakespeare and Freud : $b Studies in narrative and genre.
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504 $a Includes bibliographical references
520 $a Rather than applying psychoanalysis to literature, this dissertation analyzes productive relationships between Shakespeare and Freud. Genre and narrative function in my project across three interlocking registers: as thematic structures in the works of each author, as historically changing features linking the two oeuvres across periods, and as a body of submerged scenarios and motifs marking literary criticism itself as a story-making activity. Section I, "After Oedipus: Freud, Hamlet and Mourning," establishes the tension in Fred's work between an Oedipal and a melancholic Hamlet. I then restage this ambivalence in terms of Hamlet's interaction with Senecan drams, a post-classical and "post-Oedipal" tradition divided--like Freud's writings on Hamlet--between ghostly fathers and violent mothers in mourning. In Section II, "Afterlives of the Saints: Hagiography in Measure for Measure and Dora," I argue that the medieval saint's life appears in fragmented and redirected form in Shakespearean comedy and Freudian case-history. Furthermore, hagiographic scenes of persecution and judgment return to haunt both misogynist criticism of Isabella's "hysteria" and feminist defenses of Dora's "victimization." Section III, "Handing on Macbeth: Freud and the Romantic Shakespeare," argues that psychoanalytic criticism owes many of its themes and methods to the Romantic valorization of character over plot, a program in turn founded on a particular reading of Shakespeare's plays. Rather than limiting either psychoanalysis or Romantic criticism to its most formulaic self-expression, however, I show how Freud's literary analysis and Goethe's poetic imitation of Macbeth productively undermine the dominance of character in modern criticism. Here and throughout the dissertation, I insist on the intertextual life, or afterlife, of texts: their inheritance of received forms and their legacy to a posterity of criticism and imitation.
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