El artículo se aproxima al estatuto de Shakespeare en el pensamiento de Nietzsche a partir de tres calas en su obra. En primer lugar, se ofrecen algunas claves sobre la interpretación dionisíaca de Hamlet en _El nacimiento de la tragedia_ desde su contraste con la recepción previa de Shakespeare y el príncipe danés en el espacio cultural alemán. En segundo lugar, se abordará el tránsito nietzscheano de madurez hacia otras temáticas y motivos del universo shakespeariano, desembocando tanto en (...) la figura de Bruto en _Julio César_ como en la del propio personaje llamado “Shakespeare”. Por último, a modo de epílogo, se problematizará el encuentro final de estos espectros shakespearianos, tal como se escenificará en _Ecce homo_. (shrink)

En la obra de William Shakespeare, es posible identificar, según Terry Eagleton, al menos dos visiones del comunismo. Por un lado, como un mundo de abundancia absoluta, tal como es descripto por Gonzalo en La tempestad; y por otro, como un sistema donde cada quien recibe sólo lo suficiente, en un escenario de recursos escasos, según se desprende de El rey Lear. La concepción del comunismo de la abundancia coincide con la interpretación elaborada por Gerald A. Cohen, quien compara (...) al comunismo marxiano con una banda de jazz en la cual —dada una plena abundancia material— cada individuo persigue sus fines auto-referentes y sin obligación de asistir a los demás. Esta interpretación va a contracorriente de las escuetas anticipaciones marxianas sobre el comunismo, ya que dibuja un mundo social dominado por afanes individuales y no por la presencia de lazos comunitarios. En este artículo, analizaremos las dos visiones shakespearianas para luego establecer algunas relaciones con la posición de Cohen. Argumentaremos que la perspectiva más deseable y acaso posible —y más ajustada a la visión marxiana— es aquella que se sitúa en un punto medio entre la indolente plenitud sin normas de la utopía de Gonzalo y el comunismo inexorable que se vislumbra en El rey Lear. En segundo término, examinaremos los límites de la metáfora jazzística, enfatizando que la indiferencia mutua y el individualismo —con un trasfondo de plenitud material ilimitada— no son rasgos congruentes con el espíritu del comunismo marxiano. Tras los pasos de Cohen, sostendremos, por último, que el comunismo requiere comunidad —o clemencia shakespeariana— para templar los bordes más filosos de la justicia igualitaria de las instituciones. (shrink)

Nietzsche foi um dos pensadores que mais intensamente dedicou-se ao estudo e interpretação da tragédia, considerada não somente como gênero artístico mas como uma visão-de-mundo. Em uma época de seu percurso intelectual marcada pelos estudos filológicos e pela profunda influência de Schopenhauer e Wagner, busca compreender a tragédia de Sófocles e Ésquilo como uma aliança entre Apolo e Dionísio, divindades gregas da arte. Nietzsche especula também sobre a ascensão de Sócrates e do platonismo, fenômeno tido como precursor do cristianismo e (...) de uma perspectiva existencial nas antípodas do trágico. A obra de Shakespeare, comentada por Nietzsche em alguns aforismos esparsos, oferece-nos uma oportunidade fecunda de refletir sobre o trágico sob uma perspectiva nietzschiana, o que realizamos com o auxílio de autores como Harold Bloom, Jan Kott, Leon Chestov e Rüdiger Safranski, dentre outros. Nosso objetivo é delinear algumas das formulações nietzschianas a respeito da tragédia e aclarar com exemplos retirados das obras de Shakespeare as razões que levaram o filósofo alemão a sustentar que o bardo inglês possui uma sabedoria ética superior àquela que caracteriza o socratismo. (shrink)

Resumo: É conhecida a importância fundamental de Shakespeare para as artes e para o debate estético alemão nos séculos XVIII e XIX. O drama de Shakespeare foi apontado entre os alemães como uma verdadeira revolução cultural, o exemplo do gênio original em que deviam se mirar caso quisessem se desvencilhar das amarras do classicismo francês e desvendar sua própria originalidade. Este artigo pretende mostrar como Nietzsche dá continuidade a essa leitura ao apontar o drama shakespeariano também como um (...) acontecimento que tinha a importância de uma revolução cultural entre os alemães. Shakespeare era o “Sócrates musicante”, o sinal do despertar do gênio trágico em solo alemão.: Shakespeare's fundamental importance to the arts and to the German aesthetic debate in the 18th and 19th centuries is well known. The Shakespearean drama was pointed out among the Germans as a veritable cultural revolution, the example of the original genius in which they should follow if they wanted to break free from the bonds of French classicism and to unveil their own originality. This article aims to show how Nietzsche continues this tradition by pointing out Shakespearean drama as an event that had the importance of a cultural revolution among Germans. Shakespeare was the “musician Socrates”, the sign of the awakening of tragic genius on German soil. (shrink)

In this paper, I explore the experience of shame and its connections to recognition and love as manifested in Shakespeare's King Lear. My main focus in this paper is the ethical relevance of shame. I start from Sartre's account of shame in Being and Nothingness, and I consider Webber's attempt to reformulate it in terms of bad faith. I reject this and propose a way to rethink shame through a study of the workings of recognition in King Lear, following (...) Stanley Cavell's reading of this tragedy. I claim that the experience of shame has a relational structure, which makes it a crucial part of our ethical sensibility. My analysis of King Lear brings out this structure and underlines the ethical significance of shame at this structural level, by highlighting its connection to recognition and love. (shrink)

Shakespeare n'est pas philosophe. Et nombre de ses pointes ironiques à l'égard des philosophes témoignent de la défiance qu'ils lui inspiraient. Mais outre qu'il aura été influencé par diverses traditions philosophiques, provenant de l'Antiquité comme de la Renaissance, son oeuvre, depuis le XVIIIe siècle jusqu'à nos jours, n'a cessé d'inspirer celles des philosophes. Aussi, interroger Shakespeare au risque de la philosophie n'est pas l'aborder avec la volonté de soumettre son théâtre au règne du concept dans l'espoir secret de (...) le démythifier. C'est à l'inverse le prendre au sérieux, sans complaisance et jusque dans ses provocations, afin de faire entendre son propos et ses questions. Fruit d'une collaboration originale entre anglicistes et philosophes, cet ouvrage constitue un apport inédit aux études shakespeariennes de langue française."--Page 4 of cover. (shrink)

The work is composed of two mutually structuring moments. First, it briefly and critically reconstructs the broader spectrum of the health crisis surrounding Covid-19 that came to light in 2019 and which, in a distant or more recent period, received unique attention in the literary work of Shakespeare and Camus. Second, it provides an account of an experience in which the author, once a victim of the pandemic, retains memories that still have a therapeutic impact on the post-hospital period. (...) Broadly speaking, by looking at this double and mutual record, the text advocates the thesis that such memories are an invitation to permanent reflection without, however, losing sight of another way of life as a possible utopia, whether as a diagnosis or as an antidote to the crisis. From this perspective, Merleau-Ponty’s mature work becomes, in particular, an indispensable guide as a backdrop in this scenario by bringing to light the symptomatically dazzling aspect of the human condition and its ills. The ongoing project of a nouvelle ontologie, in the philosopher’s final itinerary, emblematically circumscribed as “ontological rehabilitation of the sensible,” embraces, in turn, this task and commitment. It is, in short, a philosophy thought from the deepest dimension of our carnality, an experience of thought archaeologically rooted as intertwined with life and, therefore, not indifferent to pain and suffering. It is to this extent that the reflection contains, as a final proposition, the premise that the marks left, in flesh and blood, in the light of the revived experience of the body, greatly prospect a horizon of meaning to be better understood and reconstructed. (shrink)

Dieser Aufsatz liest das während des Ersten Weltkriegs begonnene Lustspiel-Fragment Timon der Redner als einen Versuch Hofmannsthals, ausgehend von der Geldthematik und Figurentypik bei Shakespeare zu einer kritischen Inszenierung des modernen Massenstaates und dessen Sozialdynamiken zu gelangen. Hierbei stützte er sich auf sozialpsychologische Studien Sigmund Freuds und Gustave Le Bons sowie auf Max Webers Herrschaftssoziologie. Als Wirkungsabsicht hinter dieser Ironisierung des allegorisierten Masse-Führermodells zeichnet sich die Re-Etablierung von legitimen Autoritätsstrukturen im Faszinosum der Dichtung ab, welche das Politische authentisch gestaltet.

This article illuminates Henry Irving’s production of Shakespeare’s Cymbeline (1896) as a major contribution to fin-de-siècle Gothic culture. Cymbeline (1896) was one of the most popular Victorian Shakespeare productions, running to wild acclaim for more than seventy-two performances. In Cymbeline’s sexually-charged bedroom scene, Imogen, played by beloved Victorian actress Ellen Terry, was preyed upon by Henry Irving’s villainous Iachimo. Terry and Irving were at the zenith of a twenty-year partnership at London’s Lyceum theatre, and Victorian Britain’s greatest star (...) actors. Ellen Terry’s Imogen became an ideally desirable heroine for both audiences and critics of Victorian Shakespeare. Simultaneously, Cymbeline, and the acclaimed performances of Terry and Irving, became a source for literature’s most famous Gothic vampire novel: Dracula, published by Bram Stoker in 1897. Bram Stoker was Henry Irving’s business manager, and intimately involved with Irving and Terry’s professional lives at the Lyceum theatre. This article reveals the relationship between Shakespeare and Dracula, especially Ellen Terry’s Imogen as an inspiration for Lucy Westenra. Textual evidence includes Terry’s correspondence and unpublished promptbooks, as well as Stoker’s biography of Henry Irving, and facsimile notes on Dracula. Examining Cymbeline (1896) and Dracula (1897) offers a new reading of Dracula, given Cymbeline’s obsession with liminal states and female vulnerability. Moreover, Victorian responses to Ellen Terry’s Imogen in the bedchamber scene highlight fin-de-siècle eroticisations of the sleeping woman, and Victorian fantasies of sexual access to the actress. Examining Terry’s reception illuminates the disjunction between performed female passivity as Imogen, and the professional, creative activity that underlined Terry’s stage practice and agency as a Victorian actress. (shrink)

What is it for poetry to be serious and to be taken seriously? What is it to be open to poetry, exposed to its force, attuned to what it says and alive to what it does? These are important questions that call equally on poetry and philosophy. But poetry and philosophy, notoriously, have an ancient quarrel. Maximilian de Gaynesford sets out to understand and convert their mutual antipathy into something mutually enhancing, so that we can begin to answer these and (...) other questions. The key to attuning poetry and philosophy lies in the fact that poetic utterances are best appreciated as doing things. For it is as doing things that the speech act approach in analytic philosophy of language tries to understand all utterances. Taking such an approach, this book offers ways to enhance our appreciation of poetry and to develop our understanding of philosophy. It explores work by a range of poets from Chaucer to Geoffrey Hill and J. H. Prynne, and culminates in an extended study of Shakespeare's Sonnets. What work does poetry set itself, and how does this determine the way it is to be judged? What do poets commit themselves to, and what they may be held responsible for? What role does a poet have, or their audience, or their context, in determining the meaning of a poem, what work it is able to achieve? These are the questions that an attuned approach is able to ask and answer. (shrink)

In his sixth seminar, Desire and Its Interpretation (1956–1957), Lacan patiently elaborates his theory of the ‘phantasm’ ($◊a), in which the object of desire (object small a) is ascribed a constitutive role in the architecture of the libidinal subject. In that seminar, Lacan shows his fascination for an aphorism of the twentieth century Christian mystic Simone Weil in her assertion: “to ascertain exactly what the miser whose treasure was stolen lost: thus we would learn much.” This is why, in his (...) theory, Lacan conceptualizes the object of desire as the unconsumed treasure—and, in that sense, the “nothing”—on which the miser’s desire is focused. But the more Lacan develops his new object theory, the more he realizes how close it is to Christian mysticism in locating the ultimate object of desire in God, in a sevenfold “nothing” (to quote the famous last step in the ascent of the Mount Carmel as described by John of the Cross). An analysis of Shakespeare’s Hamlet allows Lacan to escape the Christian logic and to rearticulate the object of desire in an ‘unchristian’ tragic grammar. When he replaces the miser by the lover as paradigm of the subject’s relation to its object of desire, he substitutes a strictly Greek kind of love—eros, not agape—for the miser’s relationship to his treasure. Even when, in the late Lacan, “love” becomes a proper concept, its structure remains deeply “tragic.”. (shrink)

Das Buch stellt den ersten Teil eines mehrbändigen Sammelwerkes dar, in dem von Philosophen sowie klassischen und modernen Philologen Beiträge zur ethischen Ökonomie und ihrer Geschichte zusammengeführt sind. Es gliedert sich in zwei Teile. Der erste Teil – „Philosophische Quellen“ – enthält Studien zur ökonomischen Dimension im Denken Heraklits, Platons, der Stoa, Thomas von Aquins, Ockhams, Kants, Nietzsches, Thoreaus, Simone Weils; der zweite Teil – „Dichterische Quellen“ – versammelt entsprechende Untersuchungen zu Aischylos, zur Augusteischen Dichtung, zu Shakespeare, Ramuz, Pound (...) und Cummings. (shrink)

ResumoVersa-se sobre o agenciamento de criadores de pensamento realizado por Deleuze como elemento fundamental de sua filosofia. Coloca-se em foco o processo de minoração da tragédia Ricardo III, de Shakespeare, realizado por Bene via a composição de uma nova peça. Intenta-se evidenciar o caminho percorrido por Bene à luz da perspectiva deleuziana. Para tanto, apresenta-se a importância de se agenciar pensamentos entre a filosofia e outras áreas do conhecimento; realiza-se uma breve análise do núcleo dramático da tragédia shakespeariana; e (...) estuda-se o Ricardo III de Bene e o ensaio de Deleuze, Um manifesto de menos. Como resultado, salienta-se que o processo de agenciamento se trata de um potente método de criação de conceitos.Palavras-chave: Impersonagens. Linhas de variação. Devir minoritário. AbstractIt deals with the agency of thought creators carried out by Deleuze as a fundamental element of his philosophy. The process of lessening Shakespeare's tragedy Ricardo III, carried out by Bene through the composition of a new play, is brought into focus. The aim is to highlight the path taken by Bene in the light of the Deleuzian perspective. To this end, the importance of agencing thoughts between philosophy and other fields of knowledge is presented; a brief analysis of the dramatic core of the Shakespearean tragedy is carried out; and we study Ricardo III, by Bene, and the essay by Deleuze, Um manifesto de menos. As a result, it is emphasized that the agency process is a powerful method of creating concepts.Keywords: Impersonagens. Variation lines. Becoming a minority. (shrink)

Il s’agit ici d’aborder comparativement Nietzsche et Shakespeare sous le rapport de la « folie ». Après avoir résumé Le Roi Lear, de Shakespeare, l’article s’attache à définir le personnage du Fol (ou bouffon) comme porteur d’une vérité cynique et porteur du thème de l’inversion des valeurs propre au paradigme carnavalesque de la fête (Saturnales antiques), auquel Nietzsche, autant que Shakespeare, a pu puiser. On montre ensuite, dans une perspective foucaldienne, que la folie dans la pièce de (...) Shakespeare garde un caractère d’ambiguïté, la vérité semblant circuler entre les différents types de folie (feinte, oraculaire, poétique) que démontrent les différents personnages de la pièce. On rappelle enfin la cohérence entre le rapport philosophique et le rapport existentiel de Nietzsche à la maladie. La notion d’Amor Fati, qui imprègne également la pièce de Shakespeare, synthétise cette attitude à la fois tragique et dionysienne. (shrink)

Resenha do livro de McGinn, Colin. Shakespeare ’s Philosophy : Discovering the meaning Behind the Plays [A filosofia de Shakespeare : descobrindo o significado atrás das peças]. New York: Harper, 2008. 230 páginas.

En este artículo se propone un acercamiento al universo dramático de William Shakespeare en un sentido filosófico más allá de las interpretaciones históricas, sociales y estéticas habituales en las teorías críticas más recientes. No se trata de resaltar sólo las intuiciones filosóficas contenidas en la obra shakesperiana, sino de intentar mostrar la irreductible condición filosófica de su imaginación literaria. Aun evitando los excesos bardólatras, se hace preciso revisar las relaciones paradójicas que mantiene el modelo trágico de Shakespeare con (...) las categorías —y no las reglas— de la Poética aristotélica. Podrá observarse cómo, al ponerlas en jaque, la energía teatral de Shakespeare ha desvelado ambiguos territorios que la filosofía contemporánea explora a tientas como lugares de la invención moderna de lo «humano». Hamlet ejemplificará esta capacidad de suscitar un debate moral y estético en las interpretaciones de autores como C. Schmitt, S. Cavell, F. Ricordi o R. Girard. (shrink)

Si l’on se demande ce qui permet de rapprocher Nietzsche de Shakespeare, on constate que la « pensée » du temps s’impose comme une évidence. Chacun sait l’importance qu’a pu prendre dans l’œuvre de Nietzsche le concept d’Éternel Retour. Or précisément, l’Éternel Retour n’est pas un concept au sens strict mais déjà une figure de style, une métaphore qui sert, de l’aveu même de Nietzsche, une doctrine ésotérique. À cela on voit que Nietzsche est autant poète que penseur, non (...) seulement parce qu’... (shrink)

RESUMO: Na época em que Shakespeare escolheu Veneza para cenário de Otelo e O Mercador de Veneza, a cidade-república correspondia aos ideais renascentistas de liberdade e estabilidade. Descobertas no âmbito da geografia e da astronomia exigiam uma reavaliação do lugar ocupado por mulheres e homens na nova concepção do universo. Este ensaio pretende refletir sobre a Veneza mítica do imaginário shakespeariano, uma paisagem simbólica, menos física e concreta que ideológica. Nesse sentido, o trabalho recorre ao conceito foucauldiano de heterotopia (...) para ilustrar como, na representação da cidade, se projetavam os anseios de uma época. Aqui, a jurisprudência é de importância central. PALAVRAS-CHAVE: Shakespeare, Mercador de Veneza, Renascimento, Veneza, heterotopia, jurisprudência In the storied city: justice and other conflicts of The Merchant of Venice ABSTRACT: When Shakespeare chose Venice as the location for Othello and The Merchant of Venice, the republic corresponded to Renaissance ideals of freedom and stability. Discoveries in the realm of geography and astronomy required a re-evaluation of the place occupied by women and men in the new conception of the universe. This essay intends to discuss the mythical Venice of Shakespeare’s imagination, a symbolic landscape, less physical and concrete than ideological. In this sense, this paper turns to Foucault’s concept of heterotopia to illustrate how the anxieties of an epoch were projected in the representation of the city. Here, jurisprudence is of central importance. KEYWORDS: Shakespeare, The Merchant of Venice, Renaissance, Venice, heterotopia, jurisprudence En la ciudad historiada: justicia y otros conflictos del Mercader de Venecia RESUMEN: En la época en que Shakespeare escogió Venecia como escenario de Otelo y El Mercader de Venecia, la ciudad-república correspondía a los ideales renacentistas de libertad y estabilidad. Los descubrimientos en el ámbito de la geografía y de la astronomía exigían una reevaluación del lugar ocupado por mujeres y hombres en la nueva concepción del universo. Este ensayo pretende reflexionar sobre la Venecia mítica del imaginario shakespeariano, un paisaje simbólico, menos físico y concreto que ideológico. En este sentido, el trabajo recurre al concepto foucauldiano de heterotopía para ilustrar cómo, en la representación de la ciudad, se proyectaban los anhelos de una época. Aquí, la jurisprudencia es de central importancia. PALABRAS CLAVE: Shakespeare, Mercader de Venecia, Renacimiento, Venecia, heterotopía, jurisprudencia. (shrink)

Pretende-se, neste trabalho, investigar a natureza, as origens e as consequências do arrependimento e do remorso e seus acordos com a Vontade; que - na filosofia de Schopenhauer - representa o substrato da existência fenomenal. Além disso, o presente artigo visa aproximar o discurso conceitual de Schopenhauer com o discurso dramático de Shakespeare, na tentativa de ultrapassar a dicotomia existente entre a episteme e a práxis. Schopenhauer, defensor da arte como meio imediato e eficaz de contemplação das ideias metafísicas (...) e dos postulados morais, pede emprestado à tragédia moderna os instrumentos necessários para apreender o conteúdo e a forma de um corpo dilacerado pelo arrependimento e pelo remorso. Daí o apelo a Shakespeare e, em especial, ao ciclo trágico das peças de maturidade, donde extraímos a figura exemplar do Rei Lear para compreender até que ponto um corpo é capaz de oscilar entre a nobreza do saber e a miséria das paixões. Por meio do espírito casmurro do velho Lear, poderemos vislumbrar os caminhos palmilhados pelo homem em sua sede de poder e na afirmação ou na negação de sua vontade em favor do que a Vontade, regente-mor, instaura como equilíbrio e justiça eternas. (shrink)

This essay results from a common interest in the history of emotions shared by an academic with appointments in philosophy and psychiatry (Charland) and a literary historian (White). Where our interests converge is in the early modern concept of 'the passions,' as explanatory of what we now call mental illness. The task we have set ourselves is to see how this might: (a) be exemplified in a 'case study' of the dramatic revelation of Leontes's jealousy in the first half of (...) William Shakespeare's The Winter's Tale, and his 'cure' which takes sixteen years. Both events have troubled literary critics as implausible, lacking in realistic motivation, and clumsy as narrative devices, but can be explained in terms of theories of the passions ; and (b) open up a greater, modern understanding of irrational, pathological states, their onset and termination, by using as an explanatory model the early modern understanding of passions as revived and refined in the nineteenth century by Théodule Ribot. Janus-like, this chapter faces into the past and the future (our present) via a play written in 1610 that is still performed to receptive audiences today. We hope to show that the theory can illuminate a playtext, and that the play can revivify the theory, and to contend that historical analysis can shed light on modern clinical problems. The particular historical distinction which lies at the heart of our approach derives from early modern terminology offered by Thomas Wright in his book, The Passions of the Minde in Generall (first published in 1601; corrected, enlarged and augmented in 1604), and presented in more modern fashion in the nineteenth century by Théodule Ribot, in his La Psycholgie des sentiments * We dedicate this essay to Philippa Maddern, whose inspiration has generated so much inter-disciplinary research in the history of emotions and has brought so many like-minded scholars into fertile contact—in our cases, linking Western Ontario and Western Australia. (shrink)

Foucault only refers to Shakespeare in a few places in his work. He is intrigued by the figures of madness that appear in King Lear, Hamlet, and Macbeth. He occasionally notes the overthrow of one monarch by another, such as in Richard II or Richard III, arguing that “a part of Shakespeare's historical drama really is the drama of the coup d’État.” For Foucault, the first are illustrations of the conflict between the individual and the mechanisms of discipline. (...) The second are, however, less interesting than moments when the sovereign is replaced, not with another sovereign, but with a different, more anonymous, form of power. Yet, in his 1976 Collège de France course, Society Must Be Defended, where he treats the theme at most length, he intriguingly suggests that Shakespearean historical tragedy is “at least in terms of one of its axes, a sort of ceremony, or a rememorialization of the problems of public right.” Foucault was long fascinated by the theatre, and especially its relation to political ceremony. Drawing especially on his 1972 lectures in Paris and a related presentation in Minnesota, this paper asks how we might understand the relation between ceremony, theatre, and politics in Foucault and Shakespeare. Many of Shakespeare's plays, both histories and tragedies, thus demonstrate the importance of ritual and ceremony, a political theatre. Examining the disrupted ceremony of King Lear, the repeated ceremony of King John, the denial of ritual in Coriolanus, and the parody of the ceremonial in Henry IV, Part One opens up a range of historical, theoretical, and political questions. (shrink)