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Magical thinking in Shakespeare's tragedies.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Magical thinking in Shakespeare's tragedies./
Author:	Favila, Marina Christi.
Description:	1 online resource (308 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 57-04, Section: A.
Contained By:	Dissertations Abstracts International57-04A.
Subject:	British and Irish literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9541103click for full text (PQDT)
ISBN:	9798208762271

Magical thinking in Shakespeare's tragedies.
Favila, Marina Christi.

Magical thinking in Shakespeare's tragedies. - 1 online resource (308 pages)

Source: Dissertations Abstracts International, Volume: 57-04, Section: A.

Thesis (Ph.D.)--University of Massachusetts Amherst, 1995.

Includes bibliographical references

Put simply, magical thinking is the belief that one may affect reality by thought alone. Where Freud classifies such a concept as neurotic delusion, Winnicott embraces the idea as a memory from infancy and argues that "omnipotence of thoughts" is the origin of creativity. Both viewpoints are represented in Shakespeare's universe, their positions sometimes at war in the playing out of the hero's dilemma. This dissertation traces the idea of magical thinking through psychoanalysis, anthropology, and art, then explores the battle of thoughts in Shakespeare's tragedies. Freud's viewpoint is well-founded in Hamlet: for thoughts in Denmark are not tools with which to control reality, but a reality that cannot be controlled. The hero drowns in thoughts. He cannot escape them, particularly the thought of Gertrude's infidelity, which resurfaces in dagger words and pregnant metaphors, to the point that sometimes Hamlet forgets his revenge. His search to find a plan to kill the king thus parallels his search to find a way to kill his thoughts. Hamlet tries to bury them in the actor, who can control his thoughts long enough to "act." Both Othello and Macbeth likewise flounder in thoughts they can't control. Othello's thought echoes Hamlet's thought of a woman's infidelity. Othello cannot live with this thought, forget or disprove it. Indeed the thought is like virginity itself: once thought, he can never reclaim his ignorance or his wife's innocence. So he buries the thought in Desdemona's body--then kills it. The thoughts that plague Macbeth, however, are the result, not the cause, of his killing. He murders Duncan and Banquo only to be buried alive with "those thoughts that should indeed have died/With them they think on." Hamlet tries to escape thoughts. Othello's thoughts betray him. Macbeth defies them. Cleopatra embraces them--wholeheartedly, She is the mistress of magical thinking, Winnicott's "good-enough mother," nursing Antony on desire. Though the lovers' dream to be legends, god and goddess, may be delusional, their wish is transformed into a beautiful illusion for the audience as they birth death as Elysium, tragedy as romance, through the magic of poetry.

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

Mode of access: World Wide Web

ISBN: 9798208762271Subjects--Topical Terms:

3433225
British and Irish literature.
Subjects--Index Terms:

Shakespeare, WilliamIndex Terms--Genre/Form:

542853
Electronic books.

Magical thinking in Shakespeare's tragedies.
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504 $a Includes bibliographical references
520 $a Put simply, magical thinking is the belief that one may affect reality by thought alone. Where Freud classifies such a concept as neurotic delusion, Winnicott embraces the idea as a memory from infancy and argues that "omnipotence of thoughts" is the origin of creativity. Both viewpoints are represented in Shakespeare's universe, their positions sometimes at war in the playing out of the hero's dilemma. This dissertation traces the idea of magical thinking through psychoanalysis, anthropology, and art, then explores the battle of thoughts in Shakespeare's tragedies. Freud's viewpoint is well-founded in Hamlet: for thoughts in Denmark are not tools with which to control reality, but a reality that cannot be controlled. The hero drowns in thoughts. He cannot escape them, particularly the thought of Gertrude's infidelity, which resurfaces in dagger words and pregnant metaphors, to the point that sometimes Hamlet forgets his revenge. His search to find a plan to kill the king thus parallels his search to find a way to kill his thoughts. Hamlet tries to bury them in the actor, who can control his thoughts long enough to "act." Both Othello and Macbeth likewise flounder in thoughts they can't control. Othello's thought echoes Hamlet's thought of a woman's infidelity. Othello cannot live with this thought, forget or disprove it. Indeed the thought is like virginity itself: once thought, he can never reclaim his ignorance or his wife's innocence. So he buries the thought in Desdemona's body--then kills it. The thoughts that plague Macbeth, however, are the result, not the cause, of his killing. He murders Duncan and Banquo only to be buried alive with "those thoughts that should indeed have died/With them they think on." Hamlet tries to escape thoughts. Othello's thoughts betray him. Macbeth defies them. Cleopatra embraces them--wholeheartedly, She is the mistress of magical thinking, Winnicott's "good-enough mother," nursing Antony on desire. Though the lovers' dream to be legends, god and goddess, may be delusional, their wish is transformed into a beautiful illusion for the audience as they birth death as Elysium, tragedy as romance, through the magic of poetry.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
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650 4 $a British & Irish literature. $3 3284317
653 $a Shakespeare, William
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773 0 $t Dissertations Abstracts International $g 57-04A.
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