Synopses & Reviews
The Storm at Sea: Political Aesthetics in the Time of Shakespeare counters a tradition of cultural analysis that judges considerations of aesthetic autonomy in the early modern context to be either anachronistic or an index of political disengagement. Pye argues that for a post-theocratic era in which the
mise-en-forme of the social domain itself was for the first time at stake, the problem of the aesthetic lay at the very core of the political; it is precisely through its engagement with the question of aesthetic autonomy that early modern works most profoundly explore their relation to matters of law, state, sovereignty, and political subjectivity.
Pye establishes the significance of a "creationist" political aesthetic-at once a discrete historical category and a phenomenon that troubles our familiar forms of historical accounting-and suggests that the fate of such an aesthetic is intimately bound up with the emergence of modern conceptions of the political sphere.
The Storm at Sea moves historically from Leonardo da Vinci to Thomas Hobbes; it focuses on Shakespeare and English drama, with chapters on Hamlet, Othello, A Winter's Tale, and The Tempest, as well as sustained readings of As You Like It, King Lear, Thomas Kyd's Spanish Tragedy, and Christopher Marlowe's Doctor Faustus. Engaging political thinkers such as Carl Schmitt, Giorgio Agamben, Claude Lefort, and Roberto Esposito, The Storm at Sea will be of interest to political theorists as well as to students of literary and visual theory.
Review
"In a forceful reconsideration of 'the aesthetic' as itself a site of political thought, Pye is throwing down the gauntlet against the prevailing climate of historicist work in early modern literary criticism, which has placed the Renaissance before the arrival of 'the aesthetic' as a category."-Andrew Daniel, Johns Hopkins University
Review
"A learned, ambitious, sharply argued, and consequential book.In a forceful reconsideration of the aesthetic as itself a site of political thought, Pye is throwing down the gauntlet against the prevailing climate of historicist work in early modern literary criticism, which has placed the Renaissance before the arrival of the aesthetic as a category." -Andrew Daniel, Johns Hopkins University
"Drawing on a rich and wide-ranging selection of important works from Leonardo da Vinci to Thomas Hobbes s Leviathan, through the plays of Thomas Kyd, Christopher Marlowe, and Shakespeare, Christopher Pye makes a powerful case for the existence of an autonomous early modern aesthetic prior to Kant, through readings that are highly attentive to textual detail and theoretically informed by thinkers from philosophy, political theory, and psychoanalysis."--Philip Lorenz, Cornell University
About the Author
Christopher Pye is Class of 1924 Professor of English at Williams College. He is the author of
The Regal Phantasm: Shakespeare and the Politics of Spectacle and
The Vanishing: Shakespeare, the Subject, and Early Modern Culture.
Table of Contents
Contents
List of Figures
Acknowledgments
Preface
Chapter 1: Introduction: Early Modern Political Aesthetics
Chapter 2: Leonardo's Hand: Mimesis, Sexuality, and the Polis
Chapter 3: Shakespeare Distracted: Aesthetics and Political Foundations from
Spanish Tragedy to Hamlet
Chapter 4: "To throw out our eyes for brave Othello"
Chapter 5: Aesthetics and Absolutism in The Winter's Tale
Chapter 6: The Beating Mind: The Tempest, Aesthetics and History
Chapter 7: Hobbes and the Hydrophobes: The Fate of the Aesthetic in the Time of
the State
Notes
Bibliography
Index