University of Warwick
Starling, Roger. "Review of Richard Hillman, Self-Speaking in Medieval and Early Modern English Drama." Early Modern Literary Studies 7.1/Special Issue 8 (May, 2001): 16.1-8 <URL: http://purl.oclc.org/emls/07-1/revstarl.htm>.
 See Catherine Belsey, The Subject of Tragedy: Identity and Difference in Renaissance Drama (London: Methuen, 1985), Jonathan Dollimore, Radical Tragedy: Religion, Ideology and Power in the Drama of Shakespeare and his Contemporaries (Harvester: Hemel Hempstead, 1984), and Stephen Greenblatt, Renaissance Self-Fashioning: From More to Shakespeare (Chicago: U of Chicago P, 1980). Interestingly, while Hillman undoubtedly refers to more recent (and often refreshingly heterogeneous) scholarship, he significantly plays down or omits some of the more overtly deconstructive or textually focused studies of the same period. Among these are Francis Barker, The Tremulous Private Body: Essays on Subjection (London: Methuen, 1984), Joel Fineman, Shakespeare’s Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets (Berkeley: U of California P, 1986), and Jonathan Goldberg, Voice Terminal Echo: Postmodernism and English Renaissance Texts (London: Methuen, 1986).
 Richard Hillman, Intertextuality and Romance in Renaissance Drama: The Staging of Nostalgia (Basingstoke, Hampshire: Macmillan; New York: St. Martin’s, 1992). On "aphanisis" and the "mirror-stage, " see Jacques Lacan, The Four Fundamental Concepts of Psychoanalysis, trans. Alan Sheridan (London: Penguin, 1994), 216-29, and "The mirror stage as formative of the function of the I as revealed in psychoanalytic experience," Écrits: A Selection, trans. Alan Sheridan (New York: Norton, 1977), 1-7.
 Kaja Silverman, The Subject of Semiotics (New York: Oxford, 1983), 196-7; cited by Hillman, 43.
 Marie-Luc Demont, Les voix du signe: Nature et origine du language à la Renaissance (1480-1580) (Bibliothèque Littéraire de la Renaissance, Series 3, Vol. 29. Paris: Champion; Geneva: Skatkine, 1992), 274; cited by Hillman, 44.
 Michel Foucault, "La Prose d’Actéon," La nouvelle revue française 23 (1964): 444-59, 444; cited by Hillman, 37.
 Mikkel Borch-Jacobsen, Lacan: The Absolute Master, trans. Douglas Brick (Stanford: Stanford UP, 1991), esp. pp.43-71. As Borch-Jacobsen maintains, for Lacan in general (and despite his interest in linguistics) "no type of relation with the world or the other—except the specular, spectacular, or scopic one, as it defines the subject of representation through and through, is ever taken into account. The Lacanian ego is the ego as it theorizes itself, never as it feels ‘itself’ or experiences ‘itself’" (57).
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© 2001-, Lisa Hopkins (Editor, EMLS)