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the Storm at Sea: Political Aesthetics Time of Shakespeare
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the Storm at Sea: Political Aesthetics Time of Shakespeare
Current price: $95.00
Barnes and Noble
the Storm at Sea: Political Aesthetics Time of Shakespeare
Current price: $95.00
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Size: Hardcover
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The Storm at Sea: Political Aesthetics in the Time of Shakespeare
counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the
mise-en-forme
of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity.
Pye establishes the significance of a "creationist" political aesthetic-at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting-and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere.
The Storm at Sea
moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on
Hamlet, Othello
,
A Winter's Tale
, and
The Tempest
, as well as sustained readings of
As You Like It, King Lear
, Thomas Kyd's
Spanish Tragedy
, and Christopher Marlowe's
Doctor Faustus
. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito,
will be of interest to political theorists as well as to students of literary and visual theory.
counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the
mise-en-forme
of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity.
Pye establishes the significance of a "creationist" political aesthetic-at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting-and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere.
The Storm at Sea
moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on
Hamlet, Othello
,
A Winter's Tale
, and
The Tempest
, as well as sustained readings of
As You Like It, King Lear
, Thomas Kyd's
Spanish Tragedy
, and Christopher Marlowe's
Doctor Faustus
. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito,
will be of interest to political theorists as well as to students of literary and visual theory.
The Storm at Sea: Political Aesthetics in the Time of Shakespeare
counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the
mise-en-forme
of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity.
Pye establishes the significance of a "creationist" political aesthetic-at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting-and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere.
The Storm at Sea
moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on
Hamlet, Othello
,
A Winter's Tale
, and
The Tempest
, as well as sustained readings of
As You Like It, King Lear
, Thomas Kyd's
Spanish Tragedy
, and Christopher Marlowe's
Doctor Faustus
. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito,
will be of interest to political theorists as well as to students of literary and visual theory.
counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the
mise-en-forme
of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity.
Pye establishes the significance of a "creationist" political aesthetic-at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting-and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere.
The Storm at Sea
moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on
Hamlet, Othello
,
A Winter's Tale
, and
The Tempest
, as well as sustained readings of
As You Like It, King Lear
, Thomas Kyd's
Spanish Tragedy
, and Christopher Marlowe's
Doctor Faustus
. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito,
will be of interest to political theorists as well as to students of literary and visual theory.
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