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Configurations of trickery in Boccac...

Escher, Margaret.

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Configurations of trickery in Boccaccio's "Decameron", Marguerite de Navarre's "Heptameron", Masuccio's "Il Novellino" and Shakespeare's "Othello".

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Configurations of trickery in Boccaccio's "Decameron", Marguerite de Navarre's "Heptameron", Masuccio's "Il Novellino" and Shakespeare's "Othello"./
作者:	Escher, Margaret.
面頁冊數:	504 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-01, Section: A, page: 0180.
Contained By:	Dissertation Abstracts International68-01A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3247360

Configurations of trickery in Boccaccio's "Decameron", Marguerite de Navarre's "Heptameron", Masuccio's "Il Novellino" and Shakespeare's "Othello".
Escher, Margaret.

Configurations of trickery in Boccaccio's "Decameron", Marguerite de Navarre's "Heptameron", Masuccio's "Il Novellino" and Shakespeare's "Othello". - 504 p.

Source: Dissertation Abstracts International, Volume: 68-01, Section: A, page: 0180.

Thesis (Ph.D.)--New York University, 2007.

My dissertation argues that one can abstract an analytical device I call the trickster schema from the underlying structural components of trickery in literature. The trickster schema consists of the trickster, a character who possesses ingegno, a problem-solving power similar to the creative power of the artist; a victim whose limitation of perception or 'blind spot' makes him or her vulnerable to manipulation; and the 'switcheroo,' a device that the trickster's ingegno generates to deceive a victim by bestowing on an object person or idea a temporary false valuation. A 'singular' trickster desires to achieve one goal and uses one switcheroo; a 'circular' trickster story restores the social equilibrium present before the trick. My study explores two capacities of the trickster schema, the first being its capacity to identify a morphology of ingegno-driven agency in Days Three, Seven and Eight of the Decameron. Day Three tricksters use their ingegno to manipulate speech and silence in order to achieve temporal control. Day Seven Tricksters manipulate spatial boundaries to control what their victims perceive and imagine. Tricksters in Day Eight create switcheroos that exploit systems of exchange in order to create false bargains. In its second capacity, the schema fosters a comparative analysis of variant representations of trickery in Marguerite de Navarre's Heptameron, Masuccio's Il Novellino and Shakespeare's Othello. Whereas Boccaccio's trickster stories are dominated by the ingegno of a singular trickster and are characterized by a circular resolution, Marguerite's trickster stories are dominated by 'composite' switcheroos created by non-singular tricksters in order to achieve circular resolutions and Masuccio's non-circular trickster stories are dominated by criminal outsider tricksters and victims whose blind spots derive from their own unacknowledged forbidden desires. In Shakespeare's non-circular Othello the non-singular Iago is both victim and trickster who creates switcheroos which perpetuate the displacement of unacknowledged forbidden desire. Thus the artists of these texts by transforming the variables of the trickster schema explore the limits of human and artistic agency.Subjects--Topical Terms:

530051
Literature, Comparative.

Configurations of trickery in Boccaccio's "Decameron", Marguerite de Navarre's "Heptameron", Masuccio's "Il Novellino" and Shakespeare's "Othello".
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520 $a My dissertation argues that one can abstract an analytical device I call the trickster schema from the underlying structural components of trickery in literature. The trickster schema consists of the trickster, a character who possesses ingegno, a problem-solving power similar to the creative power of the artist; a victim whose limitation of perception or 'blind spot' makes him or her vulnerable to manipulation; and the 'switcheroo,' a device that the trickster's ingegno generates to deceive a victim by bestowing on an object person or idea a temporary false valuation. A 'singular' trickster desires to achieve one goal and uses one switcheroo; a 'circular' trickster story restores the social equilibrium present before the trick. My study explores two capacities of the trickster schema, the first being its capacity to identify a morphology of ingegno-driven agency in Days Three, Seven and Eight of the Decameron. Day Three tricksters use their ingegno to manipulate speech and silence in order to achieve temporal control. Day Seven Tricksters manipulate spatial boundaries to control what their victims perceive and imagine. Tricksters in Day Eight create switcheroos that exploit systems of exchange in order to create false bargains. In its second capacity, the schema fosters a comparative analysis of variant representations of trickery in Marguerite de Navarre's Heptameron, Masuccio's Il Novellino and Shakespeare's Othello. Whereas Boccaccio's trickster stories are dominated by the ingegno of a singular trickster and are characterized by a circular resolution, Marguerite's trickster stories are dominated by 'composite' switcheroos created by non-singular tricksters in order to achieve circular resolutions and Masuccio's non-circular trickster stories are dominated by criminal outsider tricksters and victims whose blind spots derive from their own unacknowledged forbidden desires. In Shakespeare's non-circular Othello the non-singular Iago is both victim and trickster who creates switcheroos which perpetuate the displacement of unacknowledged forbidden desire. Thus the artists of these texts by transforming the variables of the trickster schema explore the limits of human and artistic agency.
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