Checking IDs in The Tempest
This essay explores the problem of identification in Shakespeare’s The Tempest in terms of the pressures on identifying oneself in an increasing global world. It suggests that foreign policy in the age of Shakespeare raises with some insistence the issue of establishing who one is and who one’s inte...
Kaydedildi:
| Yayımlandı: | URI:https://journals.openedition.org/ranam, |
|---|---|
| Yazar: | |
| Materyal Türü: | Article ou chapitre numérique |
| Dil: | Anglais |
| Baskı/Yayın Bilgisi: |
Recherches anglaises et nord-américaines
2024
|
| Konular: | |
| Online Erişim: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Özet: | This essay explores the problem of identification in Shakespeare’s The Tempest in terms of the pressures on identifying oneself in an increasing global world. It suggests that foreign policy in the age of Shakespeare raises with some insistence the issue of establishing who one is and who one’s interlocutors are, and thus brings under scrutiny the myriad ways—images, actions, signs, clothing, names, corporeal marks, seals—that early modern selves sought to authenticate themselves. The pressure on identification in a play centrally concerned with the transgression and policing of boundaries—be they sexual, cultural, social, or proto-national—is itself a stamp of an historical period in which diplomacy was emerging, in Joanna Craigwood’s phrase, as “a representative art.” Against this ideal, though, I stress instead the instability of the foreign encounter, showing how it unsettles the rhetorical, poetic and dramatic ideals behind early modern diplomatic theory. |
|---|