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dc.contributor.advisorPrest, Julia
dc.contributor.authorTownshend, Sarah Elizabeth
dc.coverage.spatial220en_US
dc.date.accessioned2015-06-12T09:37:11Z
dc.date.available2015-06-12T09:37:11Z
dc.date.issued2015-06-25
dc.identifier.urihttp://hdl.handle.net/10023/6812
dc.description.abstractThis thesis re-examines the role of marriage in the golden age of seventeenth-century French comedy. It reconsiders received wisdom on the subject to challenge acceptance of the final promise of marriage as a dénouement complet to comedy. Through an analysis of the themes of discontent, cuckoldry, fertility, non-heteronormative desire and widowhood, it offers an alternative view of what comedy can encompass. Close reading of works by Molière, Quinault, (Thomas) Corneille, (Françoise) Pascal, Ulrich and de Visé establishes that comedy can be both enjoyable and satisfying while incorporating elements that conflict with the marriage ideal. This thesis does not attempt to provide a full socio-historical reading of seventeenth-century attitudes to marriage, although an understanding of contemporary attitudes provides a starting point for close textual analysis. Critical theories, notably gender theory, are used where appropriate to further clarify the role of marriage in comedy. Chapter One presents and problematizes the framework of marriage as the structuring principle of comedy, drawing on themes of compatibility, discontent and desire. The second chapter focuses on anxiety regarding cuckoldry in comedy, relating it to the promise of marriage. An analysis of the desires of older characters in projected comedic marriages, particularly as these desires relate to fertility, is the guiding principle of Chapter Three, which also sets out essential terms of reference for the fourth chapter on widowhood and queer desire. The thesis demonstrates that rather than constituting a satisfying and happy ending, a constant challenge is posed to the promise of marriage by on-stage marriages, fears of cuckoldry, widowhood, and ‘inappropriate’ or queer desires. I propose a more nuanced reading, showing that comedy can be fully satisfying and structurally complete without a final promise of marriage, and that, rather, comedy can incorporate significant elements that appear antithetical to the ideal of marriage typically associated with the genre.en_US
dc.language.isoenen_US
dc.subjectSeventeenth centuryen_US
dc.subjectFrenchen_US
dc.subjectComedyen_US
dc.subjectMolièreen_US
dc.subjectCorneilleen_US
dc.subjectPascalen_US
dc.subjectQuinaulten_US
dc.subjectUlrichen_US
dc.subjectde Viséen_US
dc.subjectDesireen_US
dc.subjectWidowhooden_US
dc.subjectCuckoldryen_US
dc.subjectMarriageen_US
dc.subjectQueeren_US
dc.subject.lccPQ528.T7
dc.subject.lcshFrench literature--17th century--History and criticismen_US
dc.subject.lcshMarriage in literatureen_US
dc.subject.lcshFrench drama (Comedy)--History and criticismen_US
dc.subject.lcshSex role in literatureen_US
dc.subject.lcshDesire in literatureen_US
dc.titleMarriage and desire in seventeenth-century French comedyen_US
dc.typeThesisen_US
dc.contributor.sponsorGapper Charitable Trusten_US
dc.type.qualificationlevelDoctoralen_US
dc.type.qualificationnamePhD Doctor of Philosophyen_US
dc.publisher.institutionThe University of St Andrewsen_US
dc.rights.embargodate2020-05-22en_US
dc.rights.embargoreasonThesis restricted in accordance with University regulations. Print and electronic copy restricted until 22nd May 2020en_US


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