The Spectacle of Sovereignty: The Abject Multitude in Marlowe’s The Massacre at Paris and Shakespeare’s 1 Henry IV.
Surprisingly, mere religious difference is not the only source of fear in Marlowe’s The Massacre at Paris despite the play’s focus on the religious violence of the St. Bartholomew Day Massacre. Instead, like Shakespeare’s 1 Henry IV, representation of mimetic desire perpetuates the threat of interne...
সংরক্ষণ করুন:
| প্রকাশিত: | URI:https://journals.openedition.org/shakespeare, |
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| প্রধান লেখক: | |
| বিন্যাস: | Article ou chapitre numérique |
| প্রকাশিত: |
Actes des congrès de la Société française Shakespeare
2018
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| বিষয়গুলি: | |
| অনলাইন ব্যবহার করুন: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| সংক্ষিপ্ত: | Surprisingly, mere religious difference is not the only source of fear in Marlowe’s The Massacre at Paris despite the play’s focus on the religious violence of the St. Bartholomew Day Massacre. Instead, like Shakespeare’s 1 Henry IV, representation of mimetic desire perpetuates the threat of internecine violence that haunts the play. Indeed, Marlowe’s Massacre and Shakespeare’s 1 Henry IV both illuminate the way in which a gendered interpretation of the agentic, or self-determining subject, incites and reinforces an uncanny “zone of indistinction . . . at which techniques of individualization and totalizing procedures converge.”1 This troubled intersection is evident in Marlowe and Shakespeare’s representations of the sovereign and subjects’ struggle to establish and maintain power. In fact, the plays suggest how this gendered discourse shapes representations of the subject’s desire for power, or even recognition, and in the same instance the sovereign’s dependence on popular appeal. Most significantly, however, the plays trace the roles the discourse of gender and desire play in the changing political order from feudalism to an emergent merchant capitalism and the stirrings of liberal democracy. |
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