Use this URL to cite or link to this record in EThOS: https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.792462
Title: The body and the senses in Racine's theatre
Author: Rosen, Carolyn
ISNI:       0000 0004 8498 8107
Awarding Body: Royal Holloway, University of London
Current Institution: Royal Holloway, University of London
Date of Award: 2016
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Abstract:
Until now, critics have not made full use of the perceptual awareness with which Racine endows his characters. This particular consciousness lends itself to a study inspired by phenomenology. Racine's characters are fascinating because their language and action speak to the dramatist's sophisticated portrayal of embodied sense experience. I show that Racine uses the senses in an innovative way, and prefiguring modern articulations of the body, sense experience and the world. My first chapter looks at what Racine's characters see and how they experience love, especially the coup de foudre. This 'love at first sight' experience is profoundly destabilising, and significantly impacts upon the entire body. In my second chapter I examine vision which, for various reasons, has gone wrong through hallucination, deception, premonition, and divine vision. By treating these more unusual forms of vision, I show how Racine plays with and reworks understanding of the senses. In the third chapter I focus on the sense of touch in the lives of the characters. While one might presume that the stage conventions of Racine's time proved severely restrictive and therefore made sight the most important of the senses, such is not the case. The undeniable influence of these conventions means that the characters feel their own experiences even more powerfully and use tactile language to describe sensations which do not necessarily stem from a literal, physical interaction. The fourth chapter examines hearing and listening. I address language in the plays, and how verbal communication between characters-as well as the anticipation or absence of that communication- involves their bodies and senses. The presence of the divine in Esther and Athalie corresponds to a major emphasis on hearing and listening, and this chapter also examines the music of these last two plays.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.792462  DOI: Not available
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