By Andrew Cutrofello
A specter is haunting philosophy -- the threat of Hamlet. Why is that this? Wherefore? What should still we do?Entering from level left: the philosopher's Hamlet. The philosopher's Hamlet is a conceptual personality, performed by means of philosophers instead of actors. He plays no longer within the theater yet in the area of philosophical positions. In desirous about not anything, Andrew Cutrofello severely examines the functionality heritage of this certain position. The philosopher's Hamlet personifies negativity. In Shakespeare's play, Hamlet's speech and motion are commonly unfavorable; he's the depression Dane. such a lot might agree that he has not anything to be joyful approximately. Philosophers have taken Hamlet to embrace particular different 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 elements 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 state of limitless area, the philosopher's Hamlet is not anything if no longer thought-provoking.
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Being Shakespearean texts they test, as well as test themselves by, their sources, so that in incorporating, let us say, a philosophical problematic, they test, as well as test themselves by, philosophy. What interpretation a text finds of skepticism is, accordingly, not knowable apart from what interpretation the text finds of itself; and in particular philosophy’s own interpretation of skepticism (or skepticism’s self-interpretation, namely as discovering that we cannot achieve certainty in our knowledge of existence on the basis of the senses alone, hence on no human basis) is denied privilege.
Appropriating” seems to have the same stress put on it in relating the individual to the world through the ownership of property as “belief has in relating the individual to the world through the acquisition and power of knowledge. As with belief it seems clear what the relation of appropriation is as between persons. I have no more conceptual hesitation over the possibility of one person appropriating something from another person than I have over one person believing another. But as it seems unclear, or ought to, what it is to (feel driven to) establish the relation of belief between me and the isolated (say, private) existence of this object or place, so it seems unclear what it is to (feel driven to) establish the relation of appropriation between me and this isolated (say, private) object or territory.
Here one would one day have to look at the philosopher’s extraordinary treatment of objects, as in Descartes’s wax that is melting, in Price’s tomato with nothing but its visual front aspect remaining, in Moore’s raised moving hands, in Heidegger’s blooming tree, to explore the sense of hyperbolic, unprecedented attention in play. It is not just careful description, or practical investigation, under way here. The philosopher is as it were looking for a response from the object, perhaps a shining.