Description
This dissertation considers why several characters on the Early Modern Stage choose to remain silent when speech seems warranted. By examining the circumstances and effects of self-silencing on both the character and his/her community, I argue that silencing is an exercise of power that simultaneously subjectifies the silent one and compels the community (textual or theatrical) to ethical self-examination. This argument engages primarily with social philosophers Pierre Bourdieu, Alain Badiou, and Emmanual Levinas, considering their sometimes contradictory ideas about the ontology and representation of the subject and the construction of community. Set alongside the Early Modern plays of William Shakespeare, Ben Jonson and Thomas Kyd, these theories reveal a rich functionality of self-silencing in the contexts of gender relations, aberrant sociality, and ethical crisis. This multi-faceted functionality creates a singular subject, establishes a space for the simultaneous existence of the subject and his/her community, offers an opportunity for empathetic mirroring and/or insight, and thereby leads to social unification. Silence is, in its effects, creative: it engenders empathy and ethical self- and social-reflection.
Details
Title
- Self-silencing in the early modern theater
Contributors
- Krouse, Penelope (Author)
- Perry, Curtis (Thesis advisor)
- Thompson, Ayanna T (Thesis advisor)
- Fox, Cora V (Committee member)
- Arizona State University (Publisher)
Date Created
The date the item was original created (prior to any relationship with the ASU Digital Repositories.)
2011
Subjects
Resource Type
Collections this item is in
Note
- thesisPartial requirement for: Ph. D., Arizona State University, 2011
- bibliographyIncludes bibliographical references
- Field of study: English
Citation and reuse
Statement of Responsibility
by Penelope Krouse