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Adulterers, idolaters, and emperors: The politics of iconoclasm in English Renaissance drama.

机译：通奸者，偶像崇拜者和皇帝：英国文艺复兴时期戏剧中的偶像崇拜政治。

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This dissertation argues that the biblical analogy between adultery and idolatry generates a rich history of sexual, religious, and political principles---operating through literary motifs, figures, and plots---in Judeo-Christian texts and the secular Renaissance literature that branched from them. This study gives particular attention to the volatile moment when pagan culture, revived in the Renaissance liberal arts, confronted Judeo-Christian iconoclasm, revived in the Protestant Reformation. My argument goes beyond iconoclasm's recognized function as religiously-motivated breaking of images to address its potential as a political force, as a theology that defines political spaces and directs political relations. The biblical analogies of marriage/monotheism and adultery/idolatry put the religious subject in a love triangle, vacillating between the violent exhilaration of polymorphous and unconstrained desires, on the one hand, and the stable rewards of law and contract, on the other. In the religious texts I examine, including the Hebrew prophets, Paul, and John Foxe, these analogies always include a political dimension. By embodying all Israel as the "bride of God," the marriage/monotheism analogy incorporates monotheistic subjects into a coherent national body which is settled and domesticated. The adultery/idolatry analogy conceives a threat to the integrity of this body politic in the form of the unsettled foreigner, who can lure the subject away from God's household or attack the political body itself in the pursuit of empire. I examine idolatry and iconoclasm as political performances in three Renaissance tragedies. Tamburlaine's quest for apotheosis as world emperor is sealed and finally destroyed by his idolatrous devotion to a foreign bride; Othello's bid for membership in Christendom through military service and marriage is undermined by his lapses into both idolatrous love and iconoclastic wrath; Samson ironically achieves his act of heroic iconoclasm and redeems his nation from imperial subjugation through intermarriage and intermixture with his idolatrous Philistine enemies. Viewed as a political ideology, iconoclasm helps illuminate the complex web of Greco-Roman, Judeo-Christian, and contemporary secular matter that constitutes English Renaissance drama.

机译：本论文认为，通奸和偶像崇拜之间的圣经比喻产生了丰富的性，宗教和政治原则的历史-通过文学图案，人物和情节进行操作-在犹太基督教文本和分支的世俗文艺复兴文学中从他们。这项研究特别关注在文艺复兴时期的文艺复兴中异教文化与犹太教-基督教的偶像统治在新教改革中复兴时所处的动荡时刻。我的论点超越了偶像崇拜的公认功能，即出于宗教动机而破坏图像，以发挥其作为政治力量的潜力，作为一种定义政治空间并指导政治关系的神学。圣经中婚姻/一神教和通奸/偶像崇拜的类比使宗教主体陷入了三角恋，一方面在多形式的欲望和不受约束的欲望的暴力兴起之间，另一方面在法律和契约的稳定回报之间摇摆不定。在我研究的宗教文献中，包括希伯来先知，保罗和约翰·福克斯（John Foxe），这些类比总是包含政治方面的内容。通过将所有以色列人都体现为“上帝的新娘”，婚姻/一神教的类比将一神教的主体纳入了一个定居并被驯化的统一民族组织中。通奸/偶像崇拜比喻以未解决的外国人的形式威胁到这个政治机构的完整性，外国人可以引诱这个话题离开上帝的家，或者为了追求帝国而攻击政治机构本身。我将偶像崇拜和偶像崇拜视为文艺复兴三大悲剧中的政治表现。坦伯莱恩（Tanburlaine）作为世界皇帝的神化追求被封印，并最终因他对异国新娘的崇拜而被摧毁。奥赛罗通过服兵役和结婚而成为基督教世界的会员，但由于他陷入了偶像崇拜和反传统愤怒之中而受到破坏。参孙具有讽刺意味的是，他实现了英勇的圣战，并通过与他的偶像崇拜的非利士人的敌人通婚和融合，从帝国的统治下夺回了自己的国家。被视为政治意识形态的偶像破坏有助于阐明希腊罗马，犹太基督教和当代世俗物质的复杂网络，构成英国文艺复兴时期的戏剧。

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作者
Winiarski, Catherine Eileen.;
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University of California, Irvine.;

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授予单位 University of California, Irvine.;
学科 Comparative literature.;English literature.
学位 Ph.D.
年度 2007
页码 202 p.
总页数 202
原文格式 PDF
正文语种 eng
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Adulterers, idolaters, and emperors: The politics of iconoclasm in English Renaissance drama.

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