By Andrew Cutrofello
A specter is haunting philosophy -- the threat of Hamlet. Why is that this? Wherefore? What should still we do?Entering from degree left: the philosopher's Hamlet. The philosopher's Hamlet is a conceptual personality, performed via philosophers instead of actors. He plays no longer within the theater yet in the house of philosophical positions. In fascinated by not anything, Andrew Cutrofello seriously examines the functionality heritage of this precise function. The philosopher's Hamlet personifies negativity. In Shakespeare's play, Hamlet's speech and motion are traditionally destructive; he's the depression Dane. such a lot may agree that he has not anything to be pleased approximately. Philosophers have taken Hamlet to include particular types of negativity that first got here into view in modernity. What the determine of the Sophist represented for Plato, Hamlet has represented for contemporary philosophers. Cutrofello analyzes 5 features of Hamlet's negativity: his depression, detrimental religion, nihilism, tarrying (which Cutrofello distinguishes from "delaying"), and nonexistence. alongside the best way, we meet Hamlet within the texts of Kant, Coleridge, Hegel, Marx, Schopenhauer, Kierkegaard, Nietzsche, Freud, Russell, Wittgenstein, Heidegger, Benjamin, Arendt, Schmitt, Lacan, Deleuze, Foucault, Derrida, Badiou, iek, and different philosophers. Whirling throughout a country of endless house, the philosopher's Hamlet is not anything if now not thought-provoking.
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Additional info for All for Nothing: Hamlet's Negativity
Com - licensed to McGill University - PalgraveConnect - 2011-09-05 Rape, Revenge, and Verse: Philomela 27 Ovidian Myth and Sexual Deviance perception, the concept of rape is in threat only, rather than actuality, and implied through the use of Philomela, as in The Tragedy of Hoffman, The Spanish Tragedy, and Cymbeline. This offers a possible rationale for any of Marcus’ notions about rape not being voiced. 51–3). Lavinia’s scraping of the names with the staff recalls another violated woman, Io, from the first book of Metamorphoses.
Shakespeare’s Elizabethan Rome of Titus is floundering politically and morally, and the characters are reliant on Rome’s history and literature in order to make sense of their society and how they act within it. They freely invoke narratives, mainly that of Ovid’s Philomela, to explain events and to shape their own reactions. The characters are always conscious of this, aware of the part they are playing, and thereby seem free to elaborate or switch parts at will. A mythic discourse is static; the figures have fixed characteristics that determine their behaviour.
The function of Philomela here is that common poetic one as a muse. 39 S/he is hermaphroditic perhaps because of this fictional appropriation of male discourse. This narrator, Satyra, then tells her own story which follows that of Philomela in her rape by her brother-in-law. 40 Satyra then overtly compares herself to Philomela as the nightingale can still sing and s/he can still write, in the creation of an accusatory narrative of her attack. Thereby Gascoigne presents himself as both silenced, as a result of being censored, and, consequentially, as emasculated, presenting his narrative voice as female.
All for Nothing: Hamlet's Negativity by Andrew Cutrofello