DOCSLIB.ORG

Theorizing Exile Through Milton, Shelley and Byron

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Theorizing Exile Through Milton, Shelley and Byron Binghamton University The Open Repository @ Binghamton (The ORB) Graduate Dissertations and Theses Dissertations, Theses and Capstones 5-8-2018 Enemy Life: Theorizing Exile Through Milton, Shelley and Byron Robert L. Berger Binghamton University--SUNY, [email protected] Follow this and additional works at: https://orb.binghamton.edu/dissertation_and_theses Part of the English Language and Literature Commons Recommended Citation Berger, Robert L., "Enemy Life: Theorizing Exile Through Milton, Shelley and Byron" (2018). Graduate Dissertations and Theses. 61. https://orb.binghamton.edu/dissertation_and_theses/61 This Dissertation is brought to you for free and open access by the Dissertations, Theses and Capstones at The Open Repository @ Binghamton (The ORB). It has been accepted for inclusion in Graduate Dissertations and Theses by an authorized administrator of The Open Repository @ Binghamton (The ORB). For more information, please contact [email protected]. ENEMY LIFE: THEORIZING EXILE THROUGH MILTON, SHELLEY AND BYRON BY ROBERT L. BERGER BA Alfred University 2006 MA Binghamton University 2014 DISSERTATION Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature in the Graduate School of Binghamton University State University of New York 2018 ©Copyright by Robert Lester Berger 2018 All Rights Reserved iii Accepted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in English Literature in the Graduate School of Binghamton University State University of New York 2018 May 8th, 2018 Jean-Pierre Mileur, Chair Department of English, Binghamton University David Bartine, Member Department of English, Binghamton University John Havard, Member Department of English, Binghamton University Richard Lee, Outside Examiner Department of Sociology, Binghamton University iv Abstract This dissertation investigates the contemporary discourse and conceptions of exile as it is presented by Milton Shelley and Byron. Utilizing biopolitical theory as a lens, it posits that the Satanic iteration or narrative of exile embodies the reality of worldly exile. As such the dissertation explores the complex framing and subsequent deconstruction of Satanic and human subjectivities found in Paradise Lost, Prometheus Unbound, Manfred and Don Juan. The dissertation examines Paradise Lost for its competing narratives of exile, Adam and Satan, and explores notions of home, transgression, the purification rituals which are the origin of sovereign Power and the parody that Satan’s exilic body presents. The dissertation examines Prometheus Unbound against the grain of many traditional reading, focusing on the agonistic-audial subjectivity it produces for its exilic subject and its stance in rehabilitating the exile as an integral member of society for their very apartness. Finally, the dissertation examines Manfred and Don Juan for its Ironic, decentered representation of exile as a fundamentally human, transgressive condition. v Dedication To Marina vi Acknowledgements This work could not have been completed without the support of my family: my soon-to- be wife, Marina Malli and my mom and dad Allison and Louis Berger. I would also like to thank Jean-Pierre Mileur for his guidance and support throughout the dissertation process as well as David Bartine and John Havard for their revisionary notes and editorial patience. A special thanks to Colleen Bailey, Donna Berg and Rosaria Mcnierney and the entire English department staff and faculty here at Binghamton for all their contributions to getting me here. Finally, thanks to all my fellow English grad students who have struggled beside me during this taxing process. vii Table of Contents Introduction ................................................................................................................................................. 1 Chapter I Adamic Exile ........................................................................................................................... 34 Chapter 2 Satanic Exile ........................................................................................................................... 83 Chapter 3 Shelley and Exile ................................................................................................................... 145 Chapter 4 Byron and Exile .................................................................................................................... 205 Works Cited ............................................................................................................................................ 276 1 Introduction This work brings together a nexus of areas of academic interest: Paradise Lost, the Satanic School of British Romantic poetry, and contemporary theories of the exilic figure. I bring these areas into contact to address the discourse of the exile. This is a task that, in our divided and emotional political moment, has grown in urgency. We live in a time in which Power uses the rhetoric of “the Enemy”, promise walls, perform banishments, incite panic and dread all in the name of security. At the same time, beings-in-exile continue to appear in every region of the world, in every aspect of our lives. We believe we see and know the forms and bodies of the “Mexican Immigrant” and the “Syrian Refugee” (to frame a few examples). We “see” them everywhere. Yet our thinking is caught by the necessity of finding a way to give greater recognition to these displaced persons. One could say the worldly exile is central in the gaze of Western thought, yet still remains unseen. It was in observing this ironic motion, this movement of the exile in both its literary and worldly form, from the unseen center to the unobserved periphery and back again that I began to think contemporary theories of exile and the Satanic School involved with each other. In thinking this, my work represents a de-structuring of the ways the West regulates itself, its citizens and its exiles, not just by its form of thinking, but also by frame of its stories. This is my reading of Paradise Lost. After this first movement, my work pivots to address the exile in the works of the Satanic School. I posit Shelley and Byron are thinking the exile in ways which are contemporary to the work theorists like Judith Butler, Giorgio Agamben, and Jean-Luc Nancy are performing now. Thus, this work is designed to bridge the narrow spaces between biopolitical theory, Paradise Lost and the Satanic School of literature. 2 The impasse to this work is the narrative, the framework of the exile that exists in the West today. This rather static form is found in the stories of exile in the news and entertainment media and in public political discourse. They function as what Foucault calls a mechanism of control or the micro-physics of power. Everyday fictions and frames of power mediate our knowledge and understanding of ourselves and our world precisely because they occur with an unobserved daily regularity. Such mediation means that when the Western subject receives an image or story of the exile, understanding is and has always been conditioned into a specific form by a long-perfected discourse of Power. Discourse and its fictions determine what individuals see before they see it. It is pre-figurative form of control and one cannot underestimate the influence of this consistent, pervasive re-framing. Examining the popular narratives of exile, the way in which Power show us the exile invokes the depiction of Satan, the adversary to God and Man in John Milton’s 17th Century epic poem Paradise Lost. The likeness is uncanny. Satanic imagery and descriptors cross the boundary of “the Enemy” into use for the bodies and beings of exiles. Framed for us in this way, these figures of exile become “Enemy Life” (a term which I will define later) in the most righteous, vehement, fundamental sense, rather than as human beings. This is the root structure of the discourse of exile in our time. This is the reason that the problem of the exile becomes so difficult to address. Almost every aspect of the exile is perceived to be an embodiment of the Enemy as formulated by a long standing narrative tradition in the West. And, as Paradise Lost demonstrates in detail, there are established punishments and corrections that must be brought to bear upon the Enemy. 3 Perceiving this distorted representation of exile, the de-structuring intellectual response and the necessary political disruption should naturally be akin to the poetic response of Percy Shelley and Lord George Byron. These radical figures, who were as much outside the tradition in their time as they embody the tradition in ours, composed their works in the early 19th Century, in the shadow of the French Revolution and perhaps the dawn of modern Empire. They were the principle members of what was called at the time the Satanic School of English Poetry. Both Shelley and Byron found Satan to be Milton’s most human character and the being most in need of compensatory justice. The Enemy presented the human to them and they represented it in their work. This is precisely the same effort that current theorists are putting forth in their own scholarly works when they move toward including the exile, such as Judith Butler in her works, Frames of War and Notes Toward a Performative Theory of Assembly. The two schools seem to be working the same goal, and thus one might able to think through the questions posed by theory through poetical means. Literary and theoretical
Load more

Recommended publications
  • Don Juan : Ladykiller of Seville
    Two Christmas Play Officium Stellae & The Second Shepherds' Play Don Juan : Ladykiller of November 25th - December Seville 5th, 2004 A New Translation by Michael Kidd THU-FRI-SAT. Nov. 25-27 at 7:30 p.m. SAT-SUN. Nov. 27-28 at 2 p.m. Directed by Julie Florio THU-FRI-SAT. Dec. 2-4 at 7:30 p.m. SAT-SUN. Dec 4-5 at 2 p.m. GALA PERFORMANCE: Friday November 26th Emmanuel Chapel, Room 319 & Emmanuel Hall, Room 119, Emmanuel College, 75 Queen's Park East Friar Bacon and Friar Bungay March 11th - March 27th, 2005 FRI-SAT. Mar. 11-12 at 8 p.m SAT-SUN. Mar. 12-13 at 2 p.m. THU-FRI-SAT. Mar. 17-19 at 8 p.m SAT-SUN. Mar. 19-20 at 2 p.m. THU-FRI-SAT. Mar. 24-26 at 8 p.m SAT-SUN. Mar. 26-27 at 2 p.m GALA PERFORMANCE: Friday March 11 Emmanuel Hall, Room 119, Emmanuel College, 75 Queen's Park East, mention that his sense of entitlement is unequal to none. It would mean I'd have to mentally go someplace I didn't want to... We forget. We forget than there are Don Juans everywhere. We forget how exactly we can be swayed into things we Don Juan Jordan Stewart haven't necessarily thought clearly about. Don Juan's goal is sexual dominance, Isabella Claire Rice but it could just as easily be money, kingdoms, cars or votes. The impulses and King of Naples / Don Gonzalo de Erik Buchanan (appearing by fears within this play are stored within us all.
    [Show full text]
  • Un Aspecto De La Técnica Dramática De Calderón: La Geografía Y Toponimia En El Tuzaní De Las Alpujarras
    Un aspecto de la técnica dramática de Calderón: la geografía y toponimia en El Tuzaní de las Alpujarras Por Brent W. De Vos Existen varios estudios sobre cómo Calderón de la Barca adaptaba libremente los hechos históricos —según figuraban en las crónicas de su época— para que cumplieran con sus propios fines dramáticos y poéticos (véase Blue; Fox; Parker; Ruano de la Haza “Introducción”; Wilson e Yndurain). Pero apenas se ha explorado la cuestión de si Calderón hacía lo mismo con la geografía y la toponimia. Que yo sepa el único crítico moderno que ha tratado el tema en la Comedia es José Ruano de la Haza, quien comenta el efecto dramático de la ubicación de Jerusalem en la costa mediterránea en El mayor monstruo del mundo de Calderón (231 nota 14). En el presente estudio investigaremos el uso de la geografía a El Tuzaní de las Alpujarras; comedia de base histórica sobre la última rebelión morisca en la región de Granada entre 1567 y 1571. Aunque la rebelión histórica se extendió por gran parte de la provincia de Granada, en El Tuzaní de las Alpujarras Calderón restringe la acción principal de la rebelión a la sierra de las Alpujarras. En la comedia se describe la región de las Alpujarras como fragosa y difícil de transitar a causa de sus muchos riscos y peñones (El Tuzaní vv. 940-8); como un laberinto rocoso “donde el sol / aun se pierde por momentos / con andarlos cada día” (vv. 1735-7). Se señala que, a pesar de su aspereza, había en las valles de la sierra muchas villas y aldeas moriscas.
    [Show full text]
  • Gadaleto Michael Their Solitary Way Marital Reconciliation in The
    “Their Solitary Way”: Marital Reconciliation in the Conversion Scene of Paradise Lost by Michael Gadaleto A thesis presented for the B. A. degree with Honors in The Department of English University of Michigan Spring 2008 Copyright © 2008 by Michael Gadaleto To Drew, Jim, Becky, and Mike The world was all before them, where to choose Their place of rest, and Providence their guide. ACKNOWLEDGMENTS There are many hundreds of people all over the greater Ann Arbor area who deserve my thanks, be it for servicing my ever stronger caffeine addiction or for patiently listening while I pontificated about unification, upward mobility or humiliation, words so deadly dull that they strike fear into all hearts but that of the Miltonist. I will limit myself, however, to acknowledging those few people without whom this thesis would not exist. First and foremost I would like to thank Professor Ralph Williams. The only thing more thrilling than his agreement to become my advisor was the discovery of his boundless generosity and kindness. His enthusiasm for Milton and for learning has been infectious, and I deeply regret that our weekly meetings will be coming to an end. Yet I cannot help but feel, as almost anyone who comes into contact with him must, that I have gained a lifetime friend and mentor, and for this alone I am blessed in this process. I would also like to thank Professor Doug Trevor, whose assistance was indispensable and whose office was always open to me. My mother, Teri Mikan Gadaleto, read early drafts of this thesis and managed as she always does to walk the razor’s edge between praise and remarkably insightful criticism.
    [Show full text]
  • The Don Juan Myth in Iberian Galician Literature
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 13 (2011) Issue 5 Article 8 The Don Juan Myth in Iberian Galician Literature Carmen Becerra Suárez University of Vigo Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Becerra Suárez, Carmen. "The Don Juan Myth in Iberian Galician Literature." CLCWeb: Comparative Literature and Culture 13.5 (2011): <https://doi.org/10.7771/1481-4374.1906> This text has been double-blind peer reviewed by 2+1 experts in the field. The above text, published by Purdue University Press ©Purdue University, has been downloaded 1222 times as of 11/ 07/19.
    [Show full text]
  • Don Juan Study Guide
    Don Juan Study Guide © 2017 eNotes.com, Inc. or its Licensors. ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. Summary Don Juan is a unique approach to the already popular legend of the philandering womanizer immortalized in literary and operatic works. Byron’s Don Juan, the name comically anglicized to rhyme with “new one” and “true one,” is a passive character, in many ways a victim of predatory women, and more of a picaresque hero in his unwitting roguishness. Not only is he not the seductive, ruthless Don Juan of legend, he is also not a Byronic hero. That role falls more to the narrator of the comic epic, the two characters being more clearly distinguished than in Byron’s Childe Harold’s Pilgrimage. In Beppo: A Venetian Story, Byron discovered the appropriateness of ottava rima to his own particular style and literary needs. This Italian stanzaic form had been exploited in the burlesque tales of Luigi Pulci, Francesco Berni, and Giovanni Battista Casti, but it was John Hookham Frere’s (1817-1818) that revealed to Byron the seriocomic potential for this flexible form in the satirical piece he was planning. The colloquial, conversational style of ottava rima worked well with both the narrative line of Byron’s mock epic and the serious digressions in which Byron rails against tyranny, hypocrisy, cant, sexual repression, and literary mercenaries.
    [Show full text]
  • Dark Mirrors: Azazel and Satanael in Early Jewish Demonology
    Orlov Dark Mirrors RELIGIOUS STUDIES Azazel and Satanael in Early Jewish Demonology Dark Mirrors is a wide-ranging study of two central figures in early Jewish demonology—the fallen angels Azazel and Satanael. Andrei A. Orlov explores the mediating role of these paradigmatic celestial rebels in the development of Jewish demonological traditions from Second Temple apocalypticism to later Jewish mysticism, such as that of the Hekhalot and Shi ur Qomah materials. Throughout, Orlov makes use of Jewish pseudepigraphical materials in Slavonic that are not widely known. Dark Mirrors Orlov traces the origins of Azazel and Satanael to different and competing mythologies of evil, one to the Fall in the Garden of Eden, the other to the revolt of angels in the antediluvian period. Although Azazel and Satanael are initially representatives of rival etiologies of corruption, in later Jewish and Christian demonological lore each is able to enter the other’s stories in new conceptual capacities. Dark Mirrors also examines the symmetrical patterns of early Jewish demonology that are often manifested in these fallen angels’ imitation of the attributes of various heavenly beings, including principal angels and even God himself. Andrei A. Orlov is Associate Professor of Theology at Marquette University. He is the author of several books, including Selected Studies in the Slavonic Pseudepigrapha. State University of New York Press www.sunypress.edu Andrei A. Orlov Dark Mirrors Azazel and Satanael in Early Jewish Demonology Andrei A. Orlov Published by State University of New York Press, Albany © 2011 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission.
    [Show full text]
  • Don Giovanni at the Crossroads of Pleasure and Virtue
    Don Giovanni at the Crossroads of Pleasure and Virtue Lydia Goehr and Daniel Herwitz, eds. 2006. The Don Giovanni Moment: Essays on the Legacy of an Opera. Columbia Themes in Philosophy, Social Criticism, and the Arts. New York: Columbia University Press. Reviewed by Edmund J. Goehring In a project, like The Don Giovanni Moment, that deals with the reception history of a canonical work, several kinds of questions can vie for attention. The volume's subtitle highlights a general interest in a historical question: the "legacy" it chooses to explore is largely one presented in nineteenth­ century imaginative and, to a lesser extent, philosophical works. (The main exception is Ingrid Rowland's discussion of religious ritual and the Don Juan legend before Mozart, "Don Giovanni: 'And what communion hath light with darkness?"') For some essays, the topic of history yields to one of criticism. Despite the introduction's contention that it attends less to Don Giovanni itself than to "the works written in the opera's shadow" (xvii), many contributors keep at least one eye fixed on the object casting that shadow. Finally, parts of the volume pose more abstract questions, where the issue becomes "how far this opera as a work of embodied myth redefines the relationship between art and morality" (xvii). This kind of question, not quite historiographical or analytical, seeks out "main themes;' which in this case comprise "power, seduction, [and] judgment" (xvii). An inclination to philosophize (or to interpret philosophy as that discipline involved with abstract themes) informs the collection at various levels. The first half of its title, for example, pays homage to Kierkegaard's famous interpretation, advanced in Either/Or ([ 1843] 1987), that describes Mozart's libertine not as an ethical being but as the musical embodiment of the sensuous; Don Giovanni's choice (or impulse) to follow the path of pleasure instead of virtue is reflected in an existence made up of a series of discrete moments.
    [Show full text]
  • DON JUAN Canto 7 Written: Pisa, June 1822 Fair-Copied by Mary
    DON JUAN Canto 7 Written: Pisa, June 1822 Fair-copied by Mary Shelley, Pisa 1822 Published by John Hunt, with Cantos 6 and 8, July 15th 1823 Manuscripts: Rough draft: British Library, Ashley 5163 Fair copy by Mary Shelley: National Library of Scotland Acc.12604 / 04056 DON JUAN CANTO SEVENTH 1 edited by Peter Cochran 1. Oh Love! O Glory! What are ye! who fly Around us ever, rarely to alight? There’s not a Meteor in the polar Sky 2 Of such transcendent or more fleeting flight; Chill and chained to cold earth, we lift on high 5 Our eyes, in search of either lovely light; A thousand and a thousand colours they Assume, then leave us on our freezing way. 1: SOURCES FOR BYRON’S ACCOUNT OF RUSSIA: B. assures us, in the Preface to Cantos VI VII and VIII, that he has taken the military details for the poem from Castelnau’s Essai sur l’Histoire Ancienne et Moderne de la Nouvelle Russie (Paris 1820); but it is possible to infer other sources: (i) William Coxe, Travels into Poland, Russia, Sweden and Denmark (London 1792); (ii) Frederick Anthing, History of the Campaigns of Count Alexander Suworow Rymnikski (translated from the German, London 1799: for John Wright); (iii) sympathetic review of the above, incorporating all of its biographical introduction, Anti- Jacobin (October 1799, pp.133-8); (iv) William Tooke, Life of Catherine II (London 1800); (v) William Tooke, History of Russia (London ????); (vi) C.F.P.Masson, Mémoires Secrets sur la Russie, translated as Secret Memoirs of the Court of Petersburg (London 1800); (vii) “Jeanne-Louise Antoinette Polier, dite ordinnairement dame de Cérenville”, Vie du Prince Potemkin, Feld-Maréchal (Paris 1809); (viii) L.M.P.
    [Show full text]
  • Title Format Released Abyssinians, the Satta Dub CD 1998 Acklin
    Title Format Released Abyssinians, The Satta Dub CD 1998 Acklin, Barbara The Brunswick Anthology (Disc 2) CD 2002 The Brunswick Anthology (Disc 1) CD 2002 Adams Johnny Johnny Adams Sings Doc Pomus: The Real Me CD 1991 Adams, Johnny I Won't Cry CD 1991 Walking On A Tightrope - The Songs Of Percy Mayfield CD 1989 Good Morning Heartache CD 1993 Ade & His African Beats, King Sunny Juju Music CD 1982 Ade, King Sunny Odu CD 1998 Alabama Feels So Right CD 1981 Alexander, Arthur Lonely Just Like Me CD 1993 Allison, DeAnn Tumbleweed CD 2000 Allman Brothers Band, The Beginnings CD 1971 American Song-poem Anthology, The Do You Know The Difference Between Big Wood And Brush CD 2003 Animals, The Animals - Greatest Hits CD 1983 The E.P. Collection CD 1964 Aorta Aorta CD 1968 Astronauts, The Down The Line/ Travelin' Man CD 1997 Competition Coupe/Astronauts Orbit Kampus CD 1997 Rarities CD 1991 Go Go Go /For You From Us CD 1997 Surfin' With The Astronauts/Everything Is A-OK! CD 1997 Austin Lounge Lizards Paint Me on Velvet CD 1993 Average White Band Face To Face - Live CD 1997 Page 1 of 45 Title Format Released Badalamenti, Angelo Blue Velvet CD 1986 Twin Peaks - Fire Walk With Me CD 1992 Badfinger Day After Day [Live] CD 1990 The Very Best Of Badfinger CD 2000 Baker, Lavern Sings Bessie Smith CD 1988 Ball, Angela Strehli & Lou Ann Barton, Marcia Dreams Come True CD 1990 Ballard, Hank Sexy Ways: The Best of Hank Ballard & The Midnighters CD 1993 Band, The The Night They Drove Old Dixie Down: The Best Of The Band [Live] CD 1992 Rock Of Ages [Disc 1] CD 1990 Music From Big Pink CD 1968 The Band CD 1969 The Last Waltz [Disc 2] CD 1978 The Last Waltz [Disc 1] CD 1978 Rock Of Ages [Disc 2] CD 1990 Barker, Danny Save The Bones CD 1988 Barton, Lou Ann Read My Lips CD 1989 Baugh, Phil 64/65 Live Wire! CD 1965 Beach Boys, The Today! / Summer Days (And Summer Nights!!) CD 1990 Concert/Live In London [Bonus Track] [Live] CD 1990 Pet Sounds [Bonus Tracks] CD 1990 Merry Christmas From The Beach Boys CD 2000 Beatles, The Past Masters, Vol.
    [Show full text]
  • Calderón's Ambiguity with Respect to the Moriscos In
    DeVos 26/3/09 12:07 Página 111 CALDERÓN’S AMBIGUITY WITH RESPECT TO THE MORISCOS IN EL TUZANÍ DE LA ALPUJARRA Brent W. Devos The University of Lethbridge [Anuario calderoniano (ISSN: 1888-8046), 2, 2009, pp. 111-127] El Tuzaní de la Alpujarra by Pedro Calderón de la Barca is a tragic l ove story set against the backdrop of a civil wa r, specifically the Morisco rebellion that took place in the province of Granada between 1568 and 1571. The uprising was touched off, among other things, by the enactment in 1567 of a proclamation by Phillip II that pro- hibited all expressions of Morisco culture. The rebellion saw three years of bloodshed and was finally brutally put down by Phillip II’s half brother, don Juan de Austria. It should come as no surprise, then, that there is an abundance violence in this play. In addition to the standard skirmish violence of war, there is wholesale massacre, indi- vidual murder, blood vengeance, regicide and, of course —no Cal- derón play would be complete without them— duels of honor. But the violence I will focus on here did not, in theory at least, involve bloodshed, although it contributed, both in Calderón’s play and historically, to the rebellion. I am referring to the campaign of ethnocide, of mandatory assimilation carried out against the Moriscos, RECEPCIÓN: 20 SEPTIEMBRE 2008 ACEPTACIÓN DEFINITIVA: 10 NOVIEMBRE 2008 DeVos 26/3/09 12:07 Página 112 112 CALDERÓN’S AMBIGUITY IN EL TUZANÍ beginning with the forced conversions of 1502 and culminating in the edicts of Phillip II.This project failed utterly, and the Morisco re- bellion served to underline for old Christians what they had already believed to be true: that the Moriscos were unassimilatable, duplici- tous, conspiratorial and false Christians.
    [Show full text]
  • THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS in VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton)
    THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI (Under the Direction of Nelson Hilton) ABSTRACT This dissertation presents a study of Lord Byron’s historical dramas (Marino Faliero, The Two Foscari, Sardanapalus, and Werner) alongside the performative aesthetics of Don Juan, and it uses performance theory as a hermeneutic for examining this relationship. It provides a literary analysis of some neglected works and important issues in Byron’s writings, it explores the legacy of Byron in the nineteenth-century theater, and it tests the limits of current scholarship on Romantic drama. The dissertation brings together a large amount of scholarship and provides a new perspective on Byron, Romantic drama, and the Victorian theater. INDEX WORDS: Lord Byron, Romanticism, Romantic drama, nineteenth-century theater, Don Juan, Marino Faliero, Sardanapalus, The Two Foscari, Werner, Childe Harold’s Pilgrimage, Beppo, Manfred, performance, Percy Shelley, William Charles Macready, Helen Faucit, Charles Kean, Samuel Phelps. THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI BA, Augustana College, 2002 MA, University of Chicago, 2003 A Dissertation Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree DOCTOR OF PHILOSOPHY ATHENS, GEORGIA 2011 © 2011 Lirim Neziroski All Rights Reserved THE PERFORMATIVE BYRON: THEATRICAL PRODUCTIONS IN VICTORIAN ENGLAND by LIRIM NEZIROSKI Major Professor: Nelson Hilton Committee: Roxanne Eberle Richard Menke Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia May 2011 ACKNOWLEDGEMENTS I would like to thank some of the many people that have provided academic, financial, and moral support during my time as a graduate student.
    [Show full text]
  • Don Giovanni Mozart’S Italian Masterpiece Thomas Archer
    Document généré le 27 sept. 2021 10:54 Vie des arts Don Giovanni Mozart’s Italian Masterpiece Thomas Archer Numéro 7, été 1957 URI : https://id.erudit.org/iderudit/55318ac Aller au sommaire du numéro Éditeur(s) La Société des Arts ISSN 0042-5435 (imprimé) 1923-3183 (numérique) Découvrir la revue Citer cet article Archer, T. (1957). Don Giovanni: Mozart’s Italian Masterpiece. Vie des arts, (7), 26–29. Tous droits réservés © La Société des Arts, 1957 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ OOW CÎIOVAMMI MOMRFS ITALIAN MASTERPIECE by Thomas ARCHF.R BOUT midway through the nine years of his The Goethe quotation has a profounder signifi­ A Conversations with Goethe, fortunate Johann cance in relation to Don Giovanni which is being Peter Eckermann asked the great man a daring ques­ given one of its comparatively rare North American tion : productions during the 1957 Montreal Music and "Is there a composer who could write fitting Drama Festival. It is one of the three definitive inter­ music to your "Faust ?" pretations of three legendary figures which lay at the very base of literary thought and philosophy during The 80 year-old Goethe's answer was emphatic : the amazing century following the decline of the "It is quite impossible.
    [Show full text]