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The Ethics of Allegory in /Paradise Lost/

dc.contributor.advisorGrossman, Marshallen_US
dc.contributor.advisorLeinwand, Theodoreen_US
dc.contributor.authorVasileiou, Margaret Riceen_US
dc.date.accessioned2011-07-07T05:31:30Z
dc.date.available2011-07-07T05:31:30Z
dc.date.issued2011en_US
dc.identifier.urihttp://hdl.handle.net/1903/11623
dc.description.abstractThis dissertation reframes the debate about whether Paradise Lost is an allegorical poem by focusing on Milton's assertion that all language is allegorical because it reflects the difference-from-Himself that God has inscribed into language and built into human ontology. Milton emphasizes this allegorical difference in two ways in Paradise Lost. First, he points out the difference between the logic of language and the landscape by which we try to describe and apprehend it, even ascribing the fall to Eve's decision to ignore this difference and to embrace the logic of language as if it captured truth. Second, he forces the allegorical figures of Sin and Death to contend with and participate in Christian history, thereby destabilizing their figurations as representations of abstract ideas, and displaying the impossibility of fusing word and thing (i.e., of collapsing allegorical difference) in the historical context of pre-apocalyptic time. This dissertation argues that Milton uses both of these strategies to oppose the universal language ideology of the late seventeenth century, whose proponents promised to speak the world exactly as it is, to fuse word and thing. From Milton's perspective, these proponents threatened to write over God's truth with a language that reflected their desire for intellectual domination of the world more than it reflected the natural world they supposedly sought to describe. Thus, Paradise Lost reminds us that word and thing cannot be fused, that other-speaking not only reflects human ontology--that is, humankind's suspension in a state of difference from and similarity to God--but also represents the only kind of speaking that refers to God. Language that does not admit its difference from truth, in contrast, writes over the sublime truth with a verbal idol that purports to embody what it can only allegorically represent.en_US
dc.titleThe Ethics of Allegory in /Paradise Lost/en_US
dc.typeDissertationen_US
dc.contributor.publisherDigital Repository at the University of Marylanden_US
dc.contributor.publisherUniversity of Maryland (College Park, Md.)en_US
dc.contributor.departmentEnglish Language and Literatureen_US
dc.subject.pqcontrolledLiteratureen_US
dc.subject.pqcontrolledLanguage Artsen_US
dc.subject.pquncontrolledAllegoryen_US
dc.subject.pquncontrolledEthicsen_US
dc.subject.pquncontrolledIconoclasmen_US
dc.subject.pquncontrolledLanguageen_US
dc.subject.pquncontrolledMiltonen_US
dc.subject.pquncontrolledJohnen_US
dc.subject.pquncontrolledParadise Losten_US


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