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Early Modern Inoperativity: Shakespe...

Whalen, John.

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Early Modern Inoperativity: Shakespeare & Milton.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Early Modern Inoperativity: Shakespeare & Milton./
Author:	Whalen, John.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
Description:	250 p.
Notes:	Source: Dissertations Abstracts International, Volume: 81-12, Section: A.
Contained By:	Dissertations Abstracts International81-12A.
Subject:	British & Irish literature. -
Online resource:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=27957040
ISBN:	9798645498351

Early Modern Inoperativity: Shakespeare & Milton.
Whalen, John.

Early Modern Inoperativity: Shakespeare & Milton. - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 250 p.

Source: Dissertations Abstracts International, Volume: 81-12, Section: A.

Thesis (Ph.D.)--Tufts University, 2020.

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

When we think about being together we are tempted to conjure a form, an entity to which we, subjects, belong. This form is the antagonist of this dissertation. Using a framework taken from continental philosophy, and most specifically Jean-luc Nancy's work centering on desoeuvree, or "inoperativity," I re-read important works by Shakespeare and Milton by beginning with the contention that both plurality and inoperativity are ontological, fundamental to human experience. Chapters 1 and 2 engage with what I'd assert are elements of inoperativity- time and language- as they manifest themselves in Shakespeare's Henriad. I read the plays of the Henriad as engaging in an elliptical process in which the communities are unable to begin. I then examine language in the Henriad and the problems that are initiated by a static and operative idiom. My reading of language in the Henriad contrasts the political language of the lie with the dynamic language of the Boar's Head Tavern, an environment dominated by the pun.In Chapters 3 and 4, I turn my attention to John Milton. While the Chapters on Shakespeare attempt to amplify inoperative elements embedded in social constructions of community, in my Chapters on Milton I work to articulate what I perceive to be Milton's inoperative stance through readings of his major poetry. Ultimately, I will argue that For Milton, creation itself is inoperative, in fact must be inoperative in order to preserve both God's omnipotence and human freedom, and that there is no room for faith in an ostensibly operative community. My hope is that my reader is spurred to both think differently about the texts under consideration, as well as about fundamental aspects of human commonality.

ISBN: 9798645498351Subjects--Topical Terms:

3284317
British & Irish literature.
Subjects--Index Terms:

Nancy, Jean-luc

Early Modern Inoperativity: Shakespeare & Milton.
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500 $a Source: Dissertations Abstracts International, Volume: 81-12, Section: A.
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520 $a When we think about being together we are tempted to conjure a form, an entity to which we, subjects, belong. This form is the antagonist of this dissertation. Using a framework taken from continental philosophy, and most specifically Jean-luc Nancy's work centering on desoeuvree, or "inoperativity," I re-read important works by Shakespeare and Milton by beginning with the contention that both plurality and inoperativity are ontological, fundamental to human experience. Chapters 1 and 2 engage with what I'd assert are elements of inoperativity- time and language- as they manifest themselves in Shakespeare's Henriad. I read the plays of the Henriad as engaging in an elliptical process in which the communities are unable to begin. I then examine language in the Henriad and the problems that are initiated by a static and operative idiom. My reading of language in the Henriad contrasts the political language of the lie with the dynamic language of the Boar's Head Tavern, an environment dominated by the pun.In Chapters 3 and 4, I turn my attention to John Milton. While the Chapters on Shakespeare attempt to amplify inoperative elements embedded in social constructions of community, in my Chapters on Milton I work to articulate what I perceive to be Milton's inoperative stance through readings of his major poetry. Ultimately, I will argue that For Milton, creation itself is inoperative, in fact must be inoperative in order to preserve both God's omnipotence and human freedom, and that there is no room for faith in an ostensibly operative community. My hope is that my reader is spurred to both think differently about the texts under consideration, as well as about fundamental aspects of human commonality.
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