By P. Armstrong
ISBN-10: 0333779355
ISBN-13: 9780333779354
Can postmodern debts of the gaze--deriving from the psychoanalytic theories of Freud, Lacan, Fanon, and Riviere—tell us whatever approximately these buildings of imaginative and prescient sooner than, and repressed via, modernity? Shakespeare's visible Regime examines the tragedies, histories, and Roman performs for an emergent early smooth spectatorial topic, thereby finding Shakespearean theater inside these discourses most vital to the modern exposition and disruption of regimes of imaginative and prescient: viewpoint portray, cartography, optics, geometry, Puritan anti-theatrical polemic, and the occult.
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Additional resources for Shakespeare's visual regime: tragedy, psychoanalysis, and the gaze
Example text
The representation, as supplement, appears as a secondary addition or surplus to that which is represented, but comes to function as a replacement, threatening to efface the ‘thing itself’. In doing so, the supplement becomes an ‘uncanny harbinger’, foreboding the death of the ‘original’. 3 The supplementary function ‘adds only to replace. It intervenes or insinuates itself in-the-place-of; if it fills, it is as if one fills a void. If it represents and makes an image, it is by the anterior default of a presence’ (Derrida 1976, 145).
Com - licensed to Universitetsbiblioteket i Tromso - PalgraveConnect - 2011-04-19 Hamlet: The Stage Mirror 19 Shakespeare’s Visual Regime may be located only negatively, by means of reference to the compulsive attempts made to represent it within the signifying network. Within the optical field of drama, the ‘real’ enables the identification of yet another type of gaze. An imaginary vision founds and maintains itself according to the exclusive duality and illusory mastery of the mirror relation.
The concept of the nation in Shakespeare’s plays can be approached in the same way, as a loose bundle of desires, constructed and maintained through contradictory identifications of an illusory dominance. 16 Recent developments in postcolonial theory also contribute to this decomposition of nationality. In relation to Shakespeare, the postcolonial perspective emphatically situates the plays within the context of an accelerating European (and British) imperialism. In relation to Lacan, it should be observed that the Cartesian ego also emerged at a time when Europe was constructing itself as the egocentre of a world which, with the recently discovered Americas and the yet-to-be discovered Australasia, was proving to be both larger and yet more accessible than had been previously imagined.
Shakespeare's visual regime: tragedy, psychoanalysis, and the gaze by P. Armstrong
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