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Passion play : = Theaters of romantic emotion.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	Passion play :/
Reminder of title:	Theaters of romantic emotion.
Author:	Forbes, Aileen Gene.
Description:	1 online resource (222 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 66-08, Section: A.
Contained By:	Dissertations Abstracts International66-08A.
Subject:	British and Irish literature. -
Online resource:	click for full text (PQDT)
ISBN:	9780496105540

Passion play : = Theaters of romantic emotion.
Forbes, Aileen Gene.

Passion play :Theaters of romantic emotion. - 1 online resource (222 pages)

Source: Dissertations Abstracts International, Volume: 66-08, Section: A.

Thesis (Ph.D.)--Princeton University, 2004.

Includes bibliographical references

Passion play: Theaters of Romantic Emotion traces the conceptualization of human emotion from Romanticism to modernity through the metaphor and idiom of theater. Although the passions are traditionally denigrated as a threat to the mind, eighteenth-century philosophers rehabilitate their status as a central component of the human condition. Under the rubric of "sympathy," the passions in the eighteenth century acquire value as a mode of social cohesion as well as of knowing. Theorists including Hume, Adam Smith, and Diderot moreover turn to theater as the prevalent model for their conception of sympathy, providing a springboard for this dissertation. Showing that structures of spectatorship underlie acts of sympathy, eighteenth-century philosophers inquire, how do we know the feelings of others? Internalizing the theatrics of sympathy in a theater of the mind, Romantic theorists of the sublime, including Kant and Shelley, ask instead, how do we know our own feelings? As post-Romantic thinkers, like Kierkegaard and Artaud, critique transcendence, firmly recognizing the limitations of consciousness, their question about human emotion becomes an ethical one: how do we respond to what we cannot fully know? Theaters of emotion form the literal and figurative sites of investigation in this study, organized around readings of the dramas of Joanna Baillie, William Wordsworth, Felicia Hemans, Percy Bysshe Shelley, and Antonin Artaud. These playwrights engage Romantic emotion precisely as constituting passion, as emotion at situations of extremity. While the medieval passion plays receive no explicit examination here, the spectacle of Christ's Passion underscores the primary definition of "passion" as pain or suffering. Negotiating between melodrama and lyric, the dramatists here employ theater to exhibit passion as the suffering of the soul that is, at once, more profound than both affect and subjectivity. As they thus comprise an inherent tension between theatricality and antitheatricality, Romantic "passion plays" expose the paradox of passion as the play of human interiority and exteriority, authenticity and performativity, singularity and community. By analyzing this paradox in four exemplary theaters of emotion-"sympathetic curiosity," sublimity, sacrifice, and trauma-this dissertation contributes to the burgeoning literature of both Romantic theater and interdisciplinary theories of emotion.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9780496105540Subjects--Topical Terms:

1466643
British and Irish literature.
Subjects--Index Terms:

Passion playIndex Terms--Genre/Form:

554714
Electronic books.

Passion play : = Theaters of romantic emotion.
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520 $a Passion play: Theaters of Romantic Emotion traces the conceptualization of human emotion from Romanticism to modernity through the metaphor and idiom of theater. Although the passions are traditionally denigrated as a threat to the mind, eighteenth-century philosophers rehabilitate their status as a central component of the human condition. Under the rubric of "sympathy," the passions in the eighteenth century acquire value as a mode of social cohesion as well as of knowing. Theorists including Hume, Adam Smith, and Diderot moreover turn to theater as the prevalent model for their conception of sympathy, providing a springboard for this dissertation. Showing that structures of spectatorship underlie acts of sympathy, eighteenth-century philosophers inquire, how do we know the feelings of others? Internalizing the theatrics of sympathy in a theater of the mind, Romantic theorists of the sublime, including Kant and Shelley, ask instead, how do we know our own feelings? As post-Romantic thinkers, like Kierkegaard and Artaud, critique transcendence, firmly recognizing the limitations of consciousness, their question about human emotion becomes an ethical one: how do we respond to what we cannot fully know? Theaters of emotion form the literal and figurative sites of investigation in this study, organized around readings of the dramas of Joanna Baillie, William Wordsworth, Felicia Hemans, Percy Bysshe Shelley, and Antonin Artaud. These playwrights engage Romantic emotion precisely as constituting passion, as emotion at situations of extremity. While the medieval passion plays receive no explicit examination here, the spectacle of Christ's Passion underscores the primary definition of "passion" as pain or suffering. Negotiating between melodrama and lyric, the dramatists here employ theater to exhibit passion as the suffering of the soul that is, at once, more profound than both affect and subjectivity. As they thus comprise an inherent tension between theatricality and antitheatricality, Romantic "passion plays" expose the paradox of passion as the play of human interiority and exteriority, authenticity and performativity, singularity and community. By analyzing this paradox in four exemplary theaters of emotion-"sympathetic curiosity," sublimity, sacrifice, and trauma-this dissertation contributes to the burgeoning literature of both Romantic theater and interdisciplinary theories of emotion.
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