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Theater, deceit, and ideologies of o...

University of Michigan.

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Theater, deceit, and ideologies of objectivity in seventeenth century drama.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Theater, deceit, and ideologies of objectivity in seventeenth century drama./
作者:	Erb, Paul David.
面頁冊數:	378 p.
附註:	Chairman: L. Ross Chambers.
Contained By:	Dissertation Abstracts International52-09A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoeng/servlet/advanced?query=9135592

Theater, deceit, and ideologies of objectivity in seventeenth century drama.
Erb, Paul David.

Theater, deceit, and ideologies of objectivity in seventeenth century drama. - 378 p.

Chairman: L. Ross Chambers.

Thesis (Ph.D.)--University of Michigan, 1991.

The dissertation concludes that a theatrical knowledge of the Real (simulacrum) reproduces the function of semiotically grounded social ideology in space and time.Subjects--Topical Terms:

530051
Literature, Comparative.

Theater, deceit, and ideologies of objectivity in seventeenth century drama.
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035 $a (UMI)AAI9135592
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100 1 $a Erb, Paul David. $3 1033470
245 1 0 $a Theater, deceit, and ideologies of objectivity in seventeenth century drama.
300 $a 378 p.
500 $a Chairman: L. Ross Chambers.
500 $a Source: Dissertation Abstracts International, Volume: 52-09, Section: A, page: 3272.
502 $a Thesis (Ph.D.)--University of Michigan, 1991.
520 $a The dissertation concludes that a theatrical knowledge of the Real (simulacrum) reproduces the function of semiotically grounded social ideology in space and time.
520 $a In the 17th century in France and England, a considerable theatrical corpus sprang up in which deceits are undone to reveal the truth. In France, the disappearance of the theatrum mundi topos in the middle of the 17th century coincided with this emphasis on developing practices of producing knowledge of the true object.
520 $a In close readings and discursive theoretical analyses, this dissertation studies four plays in which a truth emerges by the end of the play. In each play it seeks to describe theatrical and textual devices that produce the objective truth. In so doing, it shows how the play's semiosis draws on social devices current in the time of the play's production, devices that purport to lie beyond the reach of the play's fiction, and so to establish grounds for unquestionable objectivity in social semiosis. In these plays, Le Veritable Saint-Genest (Rotrou, 1645), Le Menteur (P. Corneille, 1642), Le Tartuffe (Moliere, 1666), and The Way of the World (Congreve, 1700) the corrective deceits that result in the revelation of objective truth produce and reproduce contemporary aesthetic, religious, economic, political, and legal discourses. The re-production suggests the theatrical mode of reification, of the means to personal and political power, in the world of each audience. Moreover, it suggests that these specific plays hint at the modern mode of epistemology that twentieth-century theorists call simulacrum.
590 $a School code: 0127.
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, English. $3 1017709
650 4 $a Literature, Romance. $3 1019014
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710 2 $a University of Michigan. $3 777416
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790 1 0 $a Chambers, L. Ross, $e advisor
791 $a Ph.D.
792 $a 1991
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