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Brave new world grown old: Setting a...

Brevik, Frank W.

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Brave new world grown old: Setting and utopian politics in "The Tempest".

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Brave new world grown old: Setting and utopian politics in "The Tempest"./
作者:	Brevik, Frank W.
面頁冊數:	311 p.
附註:	Adviser: Jennifer Vaught.
Contained By:	Dissertation Abstracts International67-05A.
標題:	Literature, English. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3220059
ISBN:	9780542706363

Brave new world grown old: Setting and utopian politics in "The Tempest".
Brevik, Frank W.

Brave new world grown old: Setting and utopian politics in "The Tempest". - 311 p.

Adviser: Jennifer Vaught.

Thesis (Ph.D.)--University of Louisiana at Lafayette, 2006.

My dissertation is a project that assesses recent critical claims that The Tempest is set in the New World. By examining the most likely literal and discursive settings for the play, I find that the characters, atmosphere, tone, and in fact the entire dramatic effect of the play drastically change as a result of each "leap" in setting. For, like the flying island of Laputa in Swift's Gulliver's Travels, The Tempest has no fixed setting, but hovers discursively across countries and continents more or less loosely associated with Italy, Tunis, England, Europe, Africa, Arabia, Bermuda, Virginia, and South America.

ISBN: 9780542706363Subjects--Topical Terms:

1017709
Literature, English.

Brave new world grown old: Setting and utopian politics in "The Tempest".
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500 $a Source: Dissertation Abstracts International, Volume: 67-05, Section: A, page: 1739.
502 $a Thesis (Ph.D.)--University of Louisiana at Lafayette, 2006.
520 $a My dissertation is a project that assesses recent critical claims that The Tempest is set in the New World. By examining the most likely literal and discursive settings for the play, I find that the characters, atmosphere, tone, and in fact the entire dramatic effect of the play drastically change as a result of each "leap" in setting. For, like the flying island of Laputa in Swift's Gulliver's Travels, The Tempest has no fixed setting, but hovers discursively across countries and continents more or less loosely associated with Italy, Tunis, England, Europe, Africa, Arabia, Bermuda, Virginia, and South America.
520 $a Interpretations of Caliban are especially central to this perpetually changing setting, since, in the last fifty years, he has been taken to represent a Native American, black militant, African rebel, and South American freedom fighter, interpretations whose precondition is that The Tempest "must" be set in the New World, physically or discursively. In a seemingly "prophetic" way (to use Leo Marx's term), the play prefigures colonial and even post-colonial struggles between slaves and masters, and my dissertation analyzes both the textual and culturally discursive credibility of such readings, especially those readings that hinge on a New World setting and the axiomatic identification of Caliban as a Native American or black African.
520 $a This "Americanization" (Vaughan's term) of Caliban finds very little support in most historical documents and travel narratives about New World natives, and in light of the suspended sense of setting the play affords, Caliban comes across as a composite of European mythology, folklore, and fears, seldom if ever to be identified with the peoples of the New World. A detailed textual analysis suggests that Caliban is a wodewose or monster found in prior centuries of European and English literary works rather than Montaigne's noble cannibal or Rousseau's (later) noble savage.
520 $a Accordingly, as well as reassessing the political conclusions reached by previous criticism vis-a-vis slavery, racism, colonialism and imperialism, I examine the play's utopian content through an Old World-specific cultural prism that is nevertheless infused with a proto-American ethos that in turn impregnates the play's geography.
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