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The modern thinking of the human soul evinces a fascination with two archaic myths: the myth of Oedipus, and to a lesser extent, the myth of Narcissus. Yet the thinking of the intricacies of the soul and their formations, the psychoanalysis in action that is Renaissance poetics and philosophy of language, the two saturated with a rhetoric inseparable from an erotics pays hardly any attention to Oedipality. Instead, Renaissance poetics as psychoanalysis in action entices us to think and unfold the conceptual, structural, rhetorical, anagrammatical and phonic and/as psychic components of two myths repressed (but hence fortunately preserved) as modes of exploring the psyche: the interrelated myths of Orpheus and Philomel. Unlike the Oedipus myth, these two myths do not engage the question of paternal prohibition. Unlike the Oedipus myth, their structure is more dyadic than triadic. Renaissance poetic and musical texts are saturated with echoes of journeys to and returns from the underworld, with references to the poet who sings so beautifully he tames stones and beasts, but who is reborn from hell to sing no longer of his heterosexual love for his spouse, but of the love of boys, and with allusions to the myth of an erotic sorority whose metamorphic symptom is the enchanting song of the nightingale. What might we learn from the intricate Renaissance poetizations of Orpheus and Philomel about fundamental mental structures occluded by the focus on the Oedipal family romance? How might the aesthetic formations of these Renaissance texts help us rethink the formations of the unconscious beyond Oedipality? What might they teach us about the centrality of the oral, of song(e), to more archaic, elemental, unchartered territories of the psyche? What might they teach us about the structures of a variety of forms of desire and sexuality, their structure, and their interrelations with one another? We will explore these and other questions through a close analytic listening, rooted, as is all psychoanalysis, in affect and the unconscious, to Philomelic and Orphic texts of the Renaissance. We will, throughout, compare our analytic findings with the thinking of the formations of sexuality and the unconscious in the work of thinkers such as Freud, Lacan, Dennis Vasse, and Montrelay, with a view to taking them further. Requirements: short reports in the course of the semester; term paper. Primary texts will include Richard Barnfield’s Orpheus his Journey into Hell (1595); George Puttenham’s Arte of Englishe Poesie (1588); the anonymous narrative poem “Orpheus and Eurydice”; Thomas Campion’s Orpheus masques, Arthus Golding’s translation of book 10 of Ovid’s Metamorphoses, Robert Greene’s Orpharion (1588), and texts on the orpharion as musical instrument, John Dickenson’s “Ten Sonnets: To Philomel;” Richard Barnfield’s Affectioante Shepheard and Cynthia and Dickenson’s Cupid’s Journey into Hell (1594). Music: Songes and Aires by Campion, Purcell, Byrd, Blow, Robert Jones | |
| îåòãé äáçéðåú: | |
| îåòã à' ùì ñîñèø á' éú÷ééí áéåí 11/07/2004 áùòä 12:30 | |
| îåòã á' ùì ñîñèø á' éú÷ééí áéåí 12/08/2004 áùòä 9:00 | |