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The Invention of Suspicion: Forensic Realism in Renaissance Drama

怀疑的发明：文艺复兴戏剧中的法医现实主义

基本信息

批准号：
AH/D500923/1
负责人：
Lorna Margaret Hutson
金额：
$ 4.08万
依托单位：
University of St Andrews
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2006
资助国家：
英国
起止时间：
2006 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FD500923%2F1
关键词：
Invention Suspicion Forensic Realism Renaissance

项目摘要

AIMS AND OBJECTIVES: 'The Invention of Suspicion: Forensic Realism in Renaissance Drama' is a book about the mimetic realism of English Renaissance drama. Questions of mimetic realism- of the extent to which we are prepared to believe in the motives and actions of characters in a story -have been largely abandoned in recent criticism of Shakespeare and the English Renaissance, except where certain specific issues of staging, spectacle and gender (the boy player as a realistic heroine, for example) are involved. Yet we still go on talking about and engaging with the characters in Shakespeare's plays as if they were real people. My book approaches 'mimesis', or the fictional imitation of reality, as largely an effect of plot or em-plotment- the ordering of the action of a story- and it goes on to find that the strategies of plotting learned by Renaissance dramatists from classical poetics (the treatises of Cicero and Quintilian, and from the analysis of classical comedy) are explicitly forensic, or legal. Cicero's and Quintilian's treatises, though they are treated as treatises on rhetoric generally, were originally designed to help advocates produce convincing accounts of probable motive in courtroom cases, while Latin New Comedy- specifically, the comedies of Plautus and Terence taught in school- was saturated with forensic scenarios and with characters' investigations of one another's motives. At the same time as English dramatists were transforming their native chronicle and penitential drama by using these classical resources, English officers of justice- coroners, justices of the peace- were adapting exactly the same legal/rhetorical treatises to meet the new statutory needs of pretrial examination; that is, gathering evidence to bring cases to trial. For the English Reformation not only made England Protestant; it abolished the modes of penance and punishment for sins/crimes associated with annual lay confession and severely restricted ecclesiastical jurisdiction with regard to property. As a result, the civil and criminal justice systems had to become more probing of intention, and more evidential- and, as these were participatory systems, requiring ordinary men and women to bring their suspicions to the justice, and to serve as jurors- this new concern with suspicion, probability and evidence suffused the culture at every level.POTENTIAL APPLICATION AND BENEFITS: My research finds that examining the conjunction between the increasingly evidential culture of the criminal and civil justice systems and the increasingly sophisticated em-plotments of action in plays from the late sixteenth century to the Caroline period illuminates features of English Renaissance drama that are crucial to our experience of it, and that cannot otherwise be analysed or articulated according to current critical paradigms.RESEARCH CONTEXT: The last two decades have seen an eschewing of formal questions in favour of questions of the political and cultural 'fiction of the literary, but my because my research focuses on what the procedures of the law and the formal poetics of drama have in common, I am able to rethink the political and cultural impact of the drama. I argue that realism is itself an effect of dramatists' engagement with problems of evidence, and (consequently) that dramatists contribute to the identification of justice with the evaluation of evidence by the people, an identification which subsequently underwrites important developments in both Anglo American common taw and Western political and media culture generally

目的和目标：《怀疑的发明：文艺复兴时期戏剧中的法医现实主义》是一本关于英国文艺复兴时期戏剧的模仿现实主义的书。模仿现实主义的问题--我们在多大程度上愿意相信故事中人物的动机和行为--在最近对莎士比亚和英国文艺复兴的批评中基本上被抛弃了，除非涉及某些特定的问题，如舞台、场景和性别(例如，男孩演员作为现实女主角)。然而，我们仍然继续谈论莎士比亚戏剧中的人物，就像他们是真人一样。我的书把对现实的虚构模仿，很大程度上归结为情节或情节--故事情节的顺序--的效果，并继续发现，文艺复兴时期的剧作家从古典诗学(西塞罗和昆蒂安的论文，以及从古典喜剧的分析中学到的)的情节策略显然是法医的，或者说是合法的。西塞罗和昆蒂利安的论文虽然通常被视为修辞学论文，但最初是为了帮助倡导者对法庭案件中的可能动机做出令人信服的描述，而拉丁新喜剧-特别是在学校教授的普劳图斯和特伦斯的喜剧-充斥着法医场景和人物对彼此动机的调查。就在英国剧作家通过使用这些经典资源来改变他们的本土编年史和忏悔剧的同时，英国的司法官员--验尸官、治安官--正在改编完全相同的法律/修辞论文，以满足审前审查的新的法定需求；即收集证据将案件提交审判。因为英国宗教改革不仅使英格兰成为新教徒，它还废除了与每年一度的平信徒忏悔有关的赎罪和惩罚罪过/罪行的模式，并严格限制了对财产的教会管辖权。因此，民事和刑事司法系统必须更多地探究意图，更有证据--而且，由于这些是参与式系统，要求普通男性和女性将他们的怀疑公之于众，并担任陪审员--这种对怀疑、可能性和证据的新关注弥漫在各个层面的文化中。潜在的应用和好处：我的研究发现，考察从16世纪末到卡罗琳时期越来越复杂的戏剧情节与刑事和民事司法系统日益明显的证据文化之间的联系，阐明了英国文艺复兴戏剧的特征，这些特征对我们的体验至关重要，研究背景：在过去的二十年里，人们回避正式问题，转而关注文学的政治和文化虚构问题，但由于我的研究重点是法律的程序和戏剧的形式诗学有什么共同之处，我能够重新思考戏剧的政治和文化影响。我认为现实主义本身就是戏剧家处理证据问题的结果，因此，戏剧家们有助于通过人民对证据的评价来确定正义，这种确定随后成为英美共同原则以及西方政治和媒体文化总体上的重要发展的基础。