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The Shattering of the Self: Violence, Subjectivity, and Early Modern Texts, by Cynthia Marshall
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In The Shattering of the Self: Violence, Subjectivity, and Early Modern Texts, Cynthia Marshall reconceptualizes the place and function of violence in Renaissance literature. During the Renaissance an emerging concept of the autonomous self within art, politics, religion, commerce, and other areas existed in tandem with an established, popular sense of the self as fluid, unstable, and volatile. Marshall examines an early modern fascination with erotically charged violence to show how texts of various kinds allowed temporary release from an individualism that was constraining. Scenes such as Gloucester's blinding and Cordelia's death in King Lear or the dismemberment and sexual violence depicted in Titus Andronicus allowed audience members not only a release but a "shattering"―as opposed to an affirmation―of the self.
Marshall draws upon close readings of Shakespearean plays, Petrarchan sonnets, John Foxe's Acts and Monuments of the Christian Martyrs, and John Ford's The Broken Heart to successfully address questions of subjectivity, psychoanalytic theory, and identity via a cultural response to art. Timely in its offering of an account that is both historically and psychoanalytically informed, The Shattering of the Self argues for a renewed attention to the place of fantasy in this literature and will be of interest to scholars working in Renaissance and early modern studies, literary theory, gender studies, and film theory.
- Sales Rank: #3581001 in Books
- Published on: 2002-05-17
- Ingredients: Example Ingredients
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .86" w x 6.00" l, 1.07 pounds
- Binding: Hardcover
- 232 pages
Review
Marshall effectively brings to our attention the variety of ways in which late-sixteenth- and early-seventeenth-century texts successfully exploited means to debunk the emergent concept of selfhood... An original and stimulating contribution to the field of Renaissance studies, offering insights that go far beyond the boundaries of a specific discipline.
(Antonella Dalla Torre Renaissance Quarterly)In this interesting study of violence in early modern English drama, Marshall sets out to demonstrate how these texts offer their audiences an experience of psychic fracture that results from conflicting yet coexistent perceptions of subjectivity.
(Choice)Brilliantly employing the insights of Freudian, Lacanian and post-Lacanian psychoanalysis in a series of close textual readings, Marshall demonstrates the early modern self's desire for self-dissolution in the rough textual pleasures of jouissance and connects that desire with contemporary interest in the ethics of pornography and other violent forms of spectatorship. This is a study of major importance to which I will turn again and again.
(Gail Kern Paster, George Washington University, Editor, Shakespeare Quarterly)Cynthia Marshall's brilliant and challenging book investigates the perverse pleasure catered by some of the most violent texts of the early modern period. At once deploying and strongly taking issue with mainstream New Historicism, Marshall provokes wide-ranging reconsideration of the dynamics of early modern literary production and audience-response.
(Jonathan V. Crewe, Dartmouth College)Scholarly, wonderfully wise, detailed and painful.
(Bob J. Barker)Marshall leaves her own readers with a rich sense of what it may have meant, and may still mean, to lose oneself in the violent pleasures of Renaissance textuality.
(Patricia A. Cahill Modern Philology)Elegant book... the book's reach goes beyond studies of the early modern period.
(Tzachi Zamir Partial Answers) From the Publisher
"Brilliantly employing the insights of Freudian, Lacanian and post-Lacanian psychoanalysis in a series of close textual readings, Marshall demonstrates the early modern self's desire for self-dissolution in the rough textual pleasures of jouissance and connects that desire with contemporary interest in the ethics of pornography and other violent forms of spectatorship. This is a study of major importance to which I will turn again and again."—Gail Kern Paster, George Washington University, Editor, Shakespeare Quarterly
"Cynthia Marshall's brilliant and challenging book investigates the perverse pleasure catered by some of the most violent texts of the early modern period. At once deploying and strongly taking issue with mainstream New Historicism, Marshall provokes wide-ranging reconsideration of the dynamics of early modern literary production and audience-response."—Jonathan V. Crewe, Dartmouth College
About the Author
Cynthia Marshall is a professor of English at Rhodes College in Memphis, Tennessee.
Most helpful customer reviews
2 of 3 people found the following review helpful.
Terror & Jouissance
By Bob J. Baker
Terror & Jouissance
The Shattering of the Self
by Cynthia Marshall
One can approach this book hoping for a part of the answer to "understanding terrorism" and "why do they hate us?" Using a post-Freudian toolkit of literary, gender and film theory on Shakespeare's Titus Andronicus, a play of torture, rape and dismemberment popular in his day and revived in our own, as well as on other popular and ghastly works of that time, the author explains them, to greatly simplify, as a reaction to the emerging individuality in the Renaissance. This new sense of "self" could not satisfy all the passion and depth of the total personality, and so was a hindrance to the expression of more complete and natural human feelings--which are much more than our con-scious understanding, ethics, mores or religion.
In the audience's pleasurable participation in the "shattering" of all that someone called "the seven deadly virtues" there was joy and release for the moment--all within the irresponsible safety of the collective group. This shattering allowed the eventually reassembled "self" ("ego" in Jungian terms) to take into account, become conscious of, some of the previously missing or supplanted complexity.
Today, with our "only superpower" ego-formation, we are missing a lot of realities, not only in our individual and national unconscious, but also in the greater world beyond our borders. We don't have to depend on Shakespeare revivals to supply us with corrective violence--we have our own movie/TV monstrosities: Swarznegger/Stallone/StevenKings, etc.. We also have the terrorists on the world stage eager to shatter our self-image, because it's an image that has been supplanting or impinging on the once relatively stable collective selves of the resentful citizens of other places. Think of the defeated South's actor/assassin Booth, drawn to the stage at Ford's Theater; of the stage-struck terrorists from suppressed Chechnya that made their entrance at a Moscow theater.
Terrible things happen when man's supposed goodness is overplayed and his dark side denied. We think we're good, the terrorists think they're good. Where does the evil go? It's sometimes played out in local crime, national theaters, on the world stage. We are shattered.
Professor Marshall's book is a scholarly, wonderfully wise, detailed and painful examination of how it worked in various media in Shakespeare's time, and more than a hint of what we face today. We were the audience/participants watching re-runs of 9/11 as our sense of invulnerability, our egos, temporarily crumbled. Those we bomb get the same "audience participation." Our reforming sense of self, hopefully, will minimize the future "need" for shattering. It doesn't seem to be going that way, yet.
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