عنوان

Apocalyptic Expectation and Recognition in Shakespeare's Early Jacobean Plays

شماره

TLpq2371195202

زبان متن نوشتاري يا گفتاري و مانند آن

انگلیسی

عنوان اصلي

Apocalyptic Expectation and Recognition in Shakespeare's Early Jacobean Plays

نام عام مواد

[Thesis]

نام نخستين پديدآور

Humphries, Mary Edith

نام ساير پديدآوران

Mack, Michael

نام ناشر، پخش کننده و غيره

The Catholic University of America

تاریخ نشرو بخش و غیره

2020

نام خاص و کميت اثر

215

جزئيات پايان نامه و نوع درجه آن

Ph.D.

کسي که مدرک را اعطا کرده

The Catholic University of America

امتياز متن

2020

متن يادداشت

Scholars have long noted the prevalence of references to the apocalypse in Shakespeare's plays from the early Jacobean period, but there are few sustained studies centered on the topic. In this work I will offer an extended treatment of Shakespeare's use of the apocalypse in Measure for Measure, King Lear, Macbeth, and Antony and Cleopatra. This work attends to the historical understanding of the apocalypse available to Shakespeare as I seek to gain a fuller appreciation of how the material functions thematically and formally within the plays. These apocalyptic elements give weight and form to the expectations that direct the audience's attention to the end to come, and then, undermine that expectation with an experience of recognition that mirrors the apocalyptic end. In Measure for Measure, the long, much-anticipated final scene upends judgment based merely on what is due, leading through the tribulating experience of self-knowledge to the challenge to extend and accept mercy, thereby making all things new. In Macbeth, the "vaulting ambition" that leads Macbeth to "jump the life to come" leaves him in a "restless ecstasy" that is hell on earth (1.7.27, 1.4.7, 3.2.24). In King Lear, patterns of "nothing" create an expectation of an apocalyptic unfolding of the ultimate abyss, or at least the "image of that horror" (5.3.262). Containing the most allusions to the Book of Revelation of any of his plays, Antony and Cleopatra translates the whole goal of the Aeneid, the future Golden Age of Rome, using only pre-Christian mythical elements, to portend the Golden Age of the Christian vision: "new heavens, new earth" (1.1.18). Allusions from the Book of Revelation cue the audience to recognize the beginnings of their own epoch prefigured in the seeking for more than Octavius' Rome can offer, an age that Shakespeare's audience knows did not last, as divinely foretold by Jupiter, sine fine dedi (Aeneid 1.279). In these plays, Shakespeare confronts the often complacent providentialism of his contemporaries with images of the true beauty and the horror of the Christian apocalypse, creating four of the most compelling artistic enactments of "the promised end" (King Lear 5.3.251).

موضوع مستند نشده

Antony and Cleopatra

موضوع مستند نشده

Apocalypse

موضوع مستند نشده

King Lear

موضوع مستند نشده

Macbeth

موضوع مستند نشده

Measure for Measure

موضوع مستند نشده

Shakespeare

مستند نام اشخاص تاييد نشده

Humphries, Mary Edith

مستند نام اشخاص تاييد نشده

Mack, Michael

نام الکترونيکي

فرمت انتشار

p

نوع ماده

[Thesis]

کد کاربرگه

276903

سطح دسترسي

a

تكميل شده

Y