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Home :: Archive :: 2002 :: February ::
Re: Place of Performance
The Shakespeare Conference: SHK 13.0473  Tuesday, 19 February 2002

[1]     From:   R. A. Cantrell <
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        Date:   Monday, 18 Feb 2002 09:44:12 -0600
        Subj:   Re: SHK 13.0457 Re: Place of Performance

[2]     From:   Karen Peterson <
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        Date:   Monday, 18 Feb 2002 07:54:29 -0800 (PST)
        Subj:   Re: SHK 13.0457 Re: Place of Performance

[3]     From:   Stuart Taylor <
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        Date:   Monday, 18 Feb 2002 22:30:02 -0500 (EST)
        Subj:   Re: SHK 13.0457 Re: Place of Performance


[1]-----------------------------------------------------------------
From:           R. A. Cantrell <
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Date:           Monday, 18 Feb 2002 09:44:12 -0600
Subject: 13.0457 Re: Place of Performance
Comment:        Re: SHK 13.0457 Re: Place of Performance

> Lear himself expresses his " darker purpose" by asking for a huge map
> that exposes all of Britain and lays it bare before his daughters'
> astonished eyes (and the eyes of two husbands), the map itself being
> divided into three private parts, one for each of them if they love him
> enough.

Has anyone found the admonitory passages in Cicero's SENECTUTE relevant
to Lear's mistake in attempting to retire?

All the best,
R.A. Cantrell
<
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[2]-------------------------------------------------------------
From:           Karen Peterson <
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Date:           Monday, 18 Feb 2002 07:54:29 -0800 (PST)
Subject: 13.0457 Re: Place of Performance
Comment:        Re: SHK 13.0457 Re: Place of Performance

John Knapp considers my last post on this thread to be structured by
"the Freudian paradigm"?

May I plead not guilty?

I did quote, and discuss, an essay by Greenblatt that contained the word
"anxiety" in its title.  "Anxiety" is not the exclusive property of
Freudian/Lacanian literary analysis.  One may discuss anxiety in a
cultural or social context -- which is what Greenblatt does.  One may
discuss anxiety in terms of power and authority -- specifically in terms
of the fear (perhaps justified, perhaps not) of losing power and
authority.  Neither practice is -- necessarily --
Freudian.  Psychological?  Maybe.  But it could just as easily be seen
as sociological or anthropological.

I then went on to discuss some political/cultural factors.  At least
that was what I was trying to do.

At the end, I asked a parenthetical question about a specific
performance.  The directors of that performance of Lear *may* have been
operating from a Freudian paradigm.  My asking about it does not,
nevertheless, constitute me as a Freudian.

Geralyn Horton is very capable of speaking (most eloquently) for
herself.  I will say, however, that at least in my opinion, her comment
on sexual abuse of children by people in a position of authority (father
figures, clergy, etc.) seemed more based on evidence that it does indeed
happen than it did from Freudian theory.  If anything, her insights seem
closer to your own stated interest in the roles of power and authority
in such matters.

Just wanted to make things a bit more clear.

Cheers,
Karen

[3]-------------------------------------------------------------
From:           Stuart Taylor <
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Date:           Monday, 18 Feb 2002 22:30:02 -0500 (EST)
Subject: 13.0457 Re: Place of Performance
Comment:        Re: SHK 13.0457 Re: Place of Performance

John V. Knapp writes,

"Quite interestingly, when sexuality -- as the major element in Freudian
and neo-Freudian theory -- is replaced by, for example, issues of power,
authority, and what the Italian psychologist, Mara Selvini Palazzoli
calls "wars of succession," in the family, then Lear's opening moves can
be seen in a rather different light.  The problem in
psychologically-oriented literary criticism has been a lack of
alternative ways of seeing family matters in fictional characters --
other than through Freudian/Lacanian lens."

Since when are sexuality and power not related, and since when are Freud
and Lacan uninterested in the latter?

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