By Debora Shuger
Political Theologies in Shakespeare's England deals a defining reinterpretation of English political idea within the aftermath of the Reformation. Debora Kuller Shuger focuses now not at the stress among Crown and Parliament yet at the relation of the sacred to the kingdom. The ebook examines degree for degree, for the problems on the middle of this play additionally form the deep constitution of English politics within the aftermath of the Reformation.
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2). 5). The Rebel Codpiece and the State 23 This enthusiasm for the discipline of work has no classical counterpart; in Plato, citizens do not have jobs. But the Laws provides the framework for Bucer’s system of moral and religious surveillence (albeit Reformation theology supplies the foundation). 57). 32 As before, Bucer’s argument hinges on the implicit identification of private space with self-seeking, predatory appetite, and disregard for the common good; the whole point of surveillance is to bring these dark corners under the ordering and purifying discipline of law – something like bulldozing a red light district in order to build lovely parks and community centers (protected by street lamps, hidden security cameras, and foot patrols).
In particular, the closely intertwined Aristotelian, constitutionalist, and republican strands, which supply the dominant language of early modern political theory, are essentially secular; they focus on how a community governs itself (or is governed); which is to say, they focus on power – on its distribution, transfer, acquisition, administration, and loss. 4 For Aristotle, questions of power – who has it? under what conditions? 5 Aristotelian political theory deals with how power should be allocated and managed in order to achieve these, wholly secular, ethical goods.
21). 30), and the plot ratifies his sense that sexual licence leads to social injustice: to the victimization of the weak and oppression of the innocent, to Lucio’s child abandonment and Angelo’s sexual extortion. While Measure for Measure vividly registers Angelo’s interior decay and fall, the psychological portraiture bears centrally on the work’s political argument: in particular, the antiMachiavellian topos, articulated in one form or another throughout the play, that a good ruler must be a good man.