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The effect of address in four sevent...

Keevak, Michael Louis.

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The effect of address in four seventeenth century examples.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The effect of address in four seventeenth century examples./
作者:	Keevak, Michael Louis.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 1991,
面頁冊數:	269 p.
附註:	Source: Dissertations Abstracts International, Volume: 54-01, Section: A.
Contained By:	Dissertations Abstracts International54-01A.
標題:	Comparative literature. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9221341

The effect of address in four seventeenth century examples.
Keevak, Michael Louis.

The effect of address in four seventeenth century examples. - Ann Arbor : ProQuest Dissertations & Theses, 1991 - 269 p.

Source: Dissertations Abstracts International, Volume: 54-01, Section: A.

Thesis (Ph.D.)--Yale University, 1991.

This item must not be sold to any third party vendors.

The dissertation argues that four seventeenth-century texts--Johann Gorgias's Betrogener Frontalbo, Descartes's three dreams in the Olympica, Rembrandt's self-portraits, and Hobbes's Leviathan--embody a process or mechanism of address that has proven so powerful in the past three hundred years that they have been able to dictate the way we will respond to them. Texts are addressed insofar as they engage the reader, and the dissertation argues that although all texts are "written" artifacts sent out to us like letters, cut off from their authors and thus entirely subject to their own interpretability, they nonetheless "speak" to us in the form of an ineluctable dictation, providing directives for understanding them on their own terms, and compelling us to interpret them according to conditions that they themselves supply. Criticism, in this sense, uncontrollably repeats an essential demand or appeal contained in the text itself. The first chapter analyzes Gorgias's virulently misogynist novel, the didactic address of which is so forceful that merely to "read" it appears to entail that one will receive and thus perpetuate its anti-feminine stance in one's commentary--whatever one's judgment of such misogyny may be and, moreover, whether one likes it or not. Secondly, the dissertation argues that although both Descartes and his subsequent interpreters attempt to accommodate his dreams into a philosophical "method," the dreams themselves have only uncovered an essential noncorrespondence between the address of a dream and the "wakeful" concerns of philosophy. Thirdly, it is argued that although Rembrandt's self-portraits have always embodied a consummately successful address of autobiography, it appears to have been the artist's own marketing strategy to encourage others to impersonate him. Finally, the dissertation treats the address of fear--of superstition, of violent death, and of other human beings--in the Leviathan; Hobbesian fear, it is argued, is so powerful and affective that it has actually come to be synonymous with politics itself.Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Descartes, Rene

The effect of address in four seventeenth century examples.
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300 $a 269 p.
500 $a Source: Dissertations Abstracts International, Volume: 54-01, Section: A.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--Yale University, 1991.
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506 $a This item must not be added to any third party search indexes.
520 $a The dissertation argues that four seventeenth-century texts--Johann Gorgias's Betrogener Frontalbo, Descartes's three dreams in the Olympica, Rembrandt's self-portraits, and Hobbes's Leviathan--embody a process or mechanism of address that has proven so powerful in the past three hundred years that they have been able to dictate the way we will respond to them. Texts are addressed insofar as they engage the reader, and the dissertation argues that although all texts are "written" artifacts sent out to us like letters, cut off from their authors and thus entirely subject to their own interpretability, they nonetheless "speak" to us in the form of an ineluctable dictation, providing directives for understanding them on their own terms, and compelling us to interpret them according to conditions that they themselves supply. Criticism, in this sense, uncontrollably repeats an essential demand or appeal contained in the text itself. The first chapter analyzes Gorgias's virulently misogynist novel, the didactic address of which is so forceful that merely to "read" it appears to entail that one will receive and thus perpetuate its anti-feminine stance in one's commentary--whatever one's judgment of such misogyny may be and, moreover, whether one likes it or not. Secondly, the dissertation argues that although both Descartes and his subsequent interpreters attempt to accommodate his dreams into a philosophical "method," the dreams themselves have only uncovered an essential noncorrespondence between the address of a dream and the "wakeful" concerns of philosophy. Thirdly, it is argued that although Rembrandt's self-portraits have always embodied a consummately successful address of autobiography, it appears to have been the artist's own marketing strategy to encourage others to impersonate him. Finally, the dissertation treats the address of fear--of superstition, of violent death, and of other human beings--in the Leviathan; Hobbesian fear, it is argued, is so powerful and affective that it has actually come to be synonymous with politics itself.
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