Rogues Gallery: Liminality and the Politics of Power in Early Modern Texts

盗贼画廊：早期现代文本中的界限和权力政治

• 批准号: 1947000
• 金额: --
• 依托单位: Nottingham Trent University
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2017
• 资助国家: 英国
• 起止时间: 2017 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-1947000
• 关键词: Rogues; Gallery; Liminality; Politics; Power

This research focuses on the marginal or uncontainable space occupied by the early modern stage and how this effected and responded to conventional power structures. In doing so, it will consider seemingly peripheral and minor figures such as fairies, fools, rogues, bawds, actors, witches, ghosts, and magicians, and the manner in which these liminal figures were given authority on the stage. This thesis discusses the case for radical power politics within early modern theatre in the way it gives voice to marginalised figures. Subversive elements of early modern theatre have been the focus of extensive research since the 1980s and the emergence of cultural materialist and new historicist ideas of power. Dollimore, Sinfield, Montrose, and Laroque are just some of the scholars who have contributed to the body of work on the performative elements of transgressive theatre and the theoretical debate surrounding containment and subversion of power from political and ideological perspectives. However, there is surprisingly little attention given to the voice of the liminal character and the potential of these marginal figures to play with the parameters and balances of power. Up until now there have been studies that have approached certain marginal characters either taxonomically or discursively. The purpose of this study will be to fill the gap in current research by addressing these marginal figures in the context of their effect on the balance of power maintained within their texts. This study will expand on the complexity of narrative perspectives inherent in plays and present a 'multivocal' and 'interactive' reading of power structures (Williams, 1994). What will make this research both new and important is that it will offer an interpretation of authority and influence in the exploitation of political, cultural, and ideological forces that considers the interaction of place, performance, and critically, character stocks, that until now have only been addressed cursively and individually. So too will it impact the area of debate surrounding containment and subversion - notably, the argument that a place within a hierarchy of power, even one on the edge has the potential to upset, destabilise, and challenge the social order.Much of the work that has been produced on the liminality of the stage has been directly in relation to Shakespeare's plays. Whilst some of these plays will be considered there is the need for a work that is not a single-author entity. Hence, my study will encompass works contemporaneous to, and including Shakespeare. Jonson, Greene, Middleton, Beaumont, and Marlowe each utilized the unique space of the stage, and the stock of liminal characters within their works. Their inclusion will produce a holistic vision of power play on the stage. Particular attention will be paid to the inversions and dichotomies of authority a contemporary audience would witness, as well as the different readings and production potentialities they enabled.

本研究的重点是早期现代阶段所占据的边缘或不可遏制的空间，以及这对传统权力结构的影响和回应。在这样做的过程中，它将考虑看似边缘和次要的人物，如仙女、傻瓜、流氓、妓女、演员、巫婆、鬼和魔术师，以及这些最重要的人物在舞台上被赋予权力的方式。这篇论文讨论了早期现代戏剧中激进的强权政治的情况，因为它给边缘化的人物发出了声音。自20世纪80年代以来，随着文化唯物主义和新历史主义权力思想的出现，早期现代戏剧的颠覆性因素一直是广泛研究的焦点。多利莫尔、辛菲尔德、蒙特罗斯和拉洛克只是其中一些学者，他们从政治和意识形态的角度对越轨戏剧的表演元素以及围绕遏制和颠覆权力的理论辩论做出了贡献。然而，令人惊讶的是，很少有人关注边缘人物的声音，以及这些边缘人物玩弄权力参数和平衡的潜力。到目前为止，已经有研究对某些边缘性状进行了分类或论述。这项研究的目的将是通过在这些边缘数字对其文本中维持的力量平衡的影响的背景下处理这些边缘数字来填补当前研究的空白。这项研究将对戏剧中固有的叙事视角的复杂性进行扩展，并呈现对权力结构的“多义”和“互动”解读(Williams，1994)。使这项研究既新又重要的是，它将对政治、文化和意识形态力量的利用中的权威和影响提供一种解释，考虑地点、表演和关键的角色储备之间的相互作用，到目前为止，这些角色储备只被粗略地和单独地解决。它也将影响围绕遏制和颠覆的辩论领域--特别是，有一种观点认为，权力等级中的一个位置，即使是处于边缘的位置，也有可能扰乱、破坏和挑战社会秩序。在舞台的极限上产生的大部分作品都与莎士比亚的戏剧直接相关。虽然其中一些剧本将被考虑，但需要一部不是单一作者实体的作品。因此，我的研究将涵盖与莎士比亚同时代的作品，包括莎士比亚。琼森、格林、米德尔顿、博蒙特和马洛都利用了舞台的独特空间，并在他们的作品中利用了有限的人物。他们的加入将产生舞台上权力发挥的整体愿景。将特别关注当代观众将目睹的权威的倒置和二分法，以及它们带来的不同解读和制作潜力。