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• catalog abstract "Anxious Pleasures argues for both a historical way of understanding the unconscious and for exploring how the unconscious is constructed as a threatening underside, or "other," of any discursive order. It arose from author Jonathan Hall's dissatisfaction with the separation of psychoanalytical and historical approaches to literature, as well as from a fascination with the continuing capacity of major Renaissance writers to produce both disturbance and pleasure. It also arose from the author's experience of teaching a multicultural history of comic drama to largely non-Western graduate students. Their probing questions make them the coauthors of this book. Taking its point of departure from Freud's theorization of the joke, Hall argues that laughter marks the moment when the subject's own commitments to rationality or any other order are dangerously exposed, even though this risk is immediately covered up to avoid the anxiety which full recognition of that exposure would entail. The book's opening chapter argues that the pleasure offered by comic discourse as a channel of libidinal release or de-repression is always doubled by the unconscious anxiety, or desire for restored order, which the comic discourse also constructs as its condition of possibility. The chapter later goes on to relate the forms of inwardly divided subjectivity required by the emergent nation-state to the strategies of Shakespearean comedy. The liberating, expansionist, and anarchic desacralization (or Deleuzian "decoding") of previously stable and authoritative discourse through a play with its signifiers, a desacralization that reveals both the arbitrariness and manipulative power of both verbal and visual signs, is characteristic of early capitalist expansion. And certainly Shakespearean wit, coupled with the psychic mobility of character, contributes greatly to this revolution in language. . The main body of the work offers closer and more concrete readings of the comedies in the light of this historical focus upon the production of an inherently schizoid discourse. The first section, which deals with the merchant plays, explores the relationship of mercantile "adventuring" desire to the state's need for both abstract law and territoriality and personal rule. The following sections deal with such themes as the relationship of wit to political and sexual anxiety, the connection of the mobility of signs to an elusive interiority of the subject, and the paradoxically threatening and redemptive mobility of women in relationship to patriarchal control. The final chapter argues that the psychic divisions set up by Shakespearean comedy are continually reproduced in the modern nation-state - a fact that largely accounts for their continuing playability and the psychic "truths" that both construct and address them.".
• catalog contributor b7959495.
• catalog created "c1995.".
• catalog date "1995".
• catalog date "c1995.".
• catalog dateCopyrighted "c1995.".
• catalog description ". The main body of the work offers closer and more concrete readings of the comedies in the light of this historical focus upon the production of an inherently schizoid discourse. The first section, which deals with the merchant plays, explores the relationship of mercantile "adventuring" desire to the state's need for both abstract law and territoriality and personal rule. The following sections deal with such themes as the relationship of wit to political and sexual anxiety, the connection of the mobility of signs to an elusive interiority of the subject, and the paradoxically threatening and redemptive mobility of women in relationship to patriarchal control. The final chapter argues that the psychic divisions set up by Shakespearean comedy are continually reproduced in the modern nation-state - a fact that largely accounts for their continuing playability and the psychic "truths" that both construct and address them.".
• catalog description "Anxious Pleasures argues for both a historical way of understanding the unconscious and for exploring how the unconscious is constructed as a threatening underside, or "other," of any discursive order. It arose from author Jonathan Hall's dissatisfaction with the separation of psychoanalytical and historical approaches to literature, as well as from a fascination with the continuing capacity of major Renaissance writers to produce both disturbance and pleasure. It also arose from the author's experience of teaching a multicultural history of comic drama to largely non-Western graduate students. Their probing questions make them the coauthors of this book.".
• catalog description "Includes bibliographical references (p. 282-286) and index.".
• catalog description "Taking its point of departure from Freud's theorization of the joke, Hall argues that laughter marks the moment when the subject's own commitments to rationality or any other order are dangerously exposed, even though this risk is immediately covered up to avoid the anxiety which full recognition of that exposure would entail. The book's opening chapter argues that the pleasure offered by comic discourse as a channel of libidinal release or de-repression is always doubled by the unconscious anxiety, or desire for restored order, which the comic discourse also constructs as its condition of possibility. The chapter later goes on to relate the forms of inwardly divided subjectivity required by the emergent nation-state to the strategies of Shakespearean comedy.".
• catalog description "The liberating, expansionist, and anarchic desacralization (or Deleuzian "decoding") of previously stable and authoritative discourse through a play with its signifiers, a desacralization that reveals both the arbitrariness and manipulative power of both verbal and visual signs, is characteristic of early capitalist expansion. And certainly Shakespearean wit, coupled with the psychic mobility of character, contributes greatly to this revolution in language.".
• catalog description "pt. 1. Theoretical Perspectives. 1. The Comic Text and National History -- pt. 2. Comedy and Mercantilism. 2. Mercantilism and Desire in The Comedy of Errors. 3. A Future for Capitalism in The Merchant of Venice. 4. Modernity and Archaism in Marlowe's Jew of Malta -- pt. 3. Pleasure and the Crisis of Patriarchy. 5. War, Wit, and Closure in Love's Labour's Lost. 6. Sexual Politics in A Midsummer Night's Dream. 7. Patriarchy Rescued in Two Gentlemen of Verona. 8. "Adoption Strives with Nature": The Slip of Patriarchal Signifiers in All's Well That Ends Well -- pt. 4. Sexual Combat and Dialogism. 9. Ideology and Resistance in The Taming of the Shrew. 10. From Double Words to Single Vision: Patriarchal Desire in Much Ado About Nothing and Othello -- pt. 5. Absolutist Theatricality. 11. Absolutism and the Construction of the Scopic Drive. 12. Carnival and Plot in Henry IV, Parts 1 & 2. 13. Measure for Measure and the Displacement of Carnival -- Afterword: From Shakespearean Comedy to Postmodernism: A Small Step for Theory.".
• catalog extent "291 p. ;".
• catalog hasFormat "Anxious pleasures.".
• catalog identifier "0838635695 (alk. paper)".
• catalog isFormatOf "Anxious pleasures.".
• catalog issued "1995".
• catalog issued "c1995.".
• catalog language "eng".
• catalog publisher "Madison [N.J.] : Fairleigh Dickinson University Press ; London ; Cranbury, NJ : Associated University Presses,".
• catalog relation "Anxious pleasures.".
• catalog spatial "Great Britain".
• catalog subject "822.3/3 20".
• catalog subject "Comedy.".
• catalog subject "Nationalism and literature Great Britain History 16th century.".
• catalog subject "PR2981 .H27 1995".
• catalog subject "Political plays, English History and criticism.".
• catalog subject "Politics and literature Great Britain History 16th century.".
• catalog subject "Shakespeare, William, 1564-1616 Comedies.".
• catalog subject "Shakespeare, William, 1564-1616 Political and social views.".
• catalog tableOfContents "pt. 1. Theoretical Perspectives. 1. The Comic Text and National History -- pt. 2. Comedy and Mercantilism. 2. Mercantilism and Desire in The Comedy of Errors. 3. A Future for Capitalism in The Merchant of Venice. 4. Modernity and Archaism in Marlowe's Jew of Malta -- pt. 3. Pleasure and the Crisis of Patriarchy. 5. War, Wit, and Closure in Love's Labour's Lost. 6. Sexual Politics in A Midsummer Night's Dream. 7. Patriarchy Rescued in Two Gentlemen of Verona. 8. "Adoption Strives with Nature": The Slip of Patriarchal Signifiers in All's Well That Ends Well -- pt. 4. Sexual Combat and Dialogism. 9. Ideology and Resistance in The Taming of the Shrew. 10. From Double Words to Single Vision: Patriarchal Desire in Much Ado About Nothing and Othello -- pt. 5. Absolutist Theatricality. 11. Absolutism and the Construction of the Scopic Drive. 12. Carnival and Plot in Henry IV, Parts 1 & 2. 13. Measure for Measure and the Displacement of Carnival -- Afterword: From Shakespearean Comedy to Postmodernism: A Small Step for Theory.".
• catalog title "Anxious pleasures : Shakespearean comedy and the nation-state / Jonathan Hall.".
• catalog type "Criticism, interpretation, etc. fast".
• catalog type "History. fast".
• catalog type "text".