A general problem of philosophy concerns the possibility of objective knowledge of other cultures (including past cultures), and the adequacy of their reconstruction. The problem of cultural development is also crucial. In this paper, I argue that a culture which has expanded its potentialities in various independent forms is an open culture capable of entering into dialogue with other cultures.

O artigo examina o problema de identificar a verdade e a beleza em teorias axiomáticas significativas e a formação desses valores no processo de ensino de certas seções de um curso de matemática de uma escola de educação geral com os traços característicos de teorias axiomáticas significativas. critérios de beleza científica ou matemática são considerados um fator na formação e identificação da verdade e da beleza. Tais critérios foram introduzidos pelo filósofo escocês Hutcheson no século XVIII e por seus muitos (...) seguidores nos séculos subsequentes. Este trabalho examina os grupos formativos, unificadores e lógicos de critérios objetivos de beleza científica. Mostra que: a) critérios formativos: simetria, comparação, harmonia, ritmo, aplicabilidade são mais propensos à formação e identificação da beleza dos objetos de uma teoria axiomática significativa do que a verdade nela contida; b) critérios unificadores - unidade de diversidade, generalidade, registro matemático de leis científicas visam revelar a verdade em uma teoria axiomática significativa. E a beleza dos objetos aqui é determinada pela conexão dos critérios com a verdade, c) critérios lógicos - rigor lógico, clareza, simplicidade, redução do complexo ao simples visam a formação e identificação em uma teoria axiomática significativa de ambas as verdades e a formação e identificação da beleza dos objetos. (shrink)

A Persian translation of William Shakespeare's Hamlet along with the original text.

Hamlet’s character sets, under different shapes and extents, the benchmark against which a large part of the European philosophy of the very long «short twentieth-century» behind us has had to measure. In the name of Hamlet as the most enigmatic among Shakespeare’s creatures, even Europe, its spirit and destiny, is identified, according to the well-known claim by Paul Valery.Common trait to a big part of these interpretations – from the juvenile works of Pavel Florenskij and Lev S. Vygotskij (...) to Carl Schmitt’s Hamlet oder Ekuba. Der Einbruch der Zeit in das Spiel – is offered by the detection, in Hamlet’s figure, of the contradiction inherent to an epochal transition: the time of an unresolved passage between two ages that only knows the endless pain of an “interim”. My paper concerns the possibility to interpret Hamlet’s time as the time of an “interim” in light of Benjamin’s claims about Shakespeare’s drama contained in his book on the German Trauerspiel.While Florenskij interprets Hamlet’s time as tragic and the figure of Hamlet as a tragic one, in my essay - moving from some observations on the " Hamlet Problem " by the young Franz Rosenzweig - I consider the original Benjaminian thesis about the character and the drama of Hamlet as the end of the modern Trauerspiel. Starting from a statement by Theodor Adorno in the famed Hornberger Brief to Benjamin of August 2, 1935, I outline, therefore, how Benjamin characterizes the figure of Hamlet. This, from his early writings on the relationship between tragedy and Trauerspiel up to the great book on the Origin of the German Trauerspiel. In the frame of Benjamin’s interpretation, exactly by virtue of its distance from the thesis on the duality of tragedy, the Shakespearian theatrum of consciousness, paradigmatically represented in the figure of Hamlet and in the intimately dialectic character of his drama, is accounted for as necessary correlate of the Cartesian’s theatrum of consciousness. From a theoretical point of view, the Benjaminian characterization of Hamlet's figure reveals, therefore, something of the nature of modern consciousness and of consciousness in general in relation to the problem of truth and its representation. Hence the end of modern Trauerspiel coincides with the original incompleteness of its time. Consequently, I also claim Hamlet's dramatic figure to represent the aporetic characters of modern politics. This contrasts the thesis of Carl Schmitt who speaks, instead, of the Shakespearean drama as an expression of a pre-modern barbaric time. (shrink)

Este artículo tematiza la relevancia del Hamlet, de Shakespeare, para el pensamiento de T. W. Adorno, aun cuando este no haya escrito in extenso sobre aquel. El drama aparece sobre todo en su discurso oral como modelo para describir la relación de discontinuidad entre teoría y práctica. Aquí se desea mostrar cómo el teórico crítico del pensamiento moral abstracto piensa el paso del conocimiento a la praxis a partir del vínculo entre Hamlet y el llamado “factor añadido” (Das (...) Hinzutretende). Desde esta lectura, el Hamlet de Adorno representa un lugar clave de transiciones malogradas. (shrink)

Excerpt from Schopenhauer, Hamlet, Mephistopheles: Drei Aufsatze zur Naturgeschichte des Pessimismus Barmhersigen Siebe, Die Die Seele Des Chriftentums ift, jener Siebe, Die Das Bofe wohl lennt, aber auf Das (ente blicft, Die auch noch in Der Derfommenheit Die menfchliche Seele fieht und fucht; und Dicier mangel an Siebe geht mit Dem mangel an olauben 3ufammen: Die menfchen taugen aus Dem orunde nichts; Darum, feine muhe mit ihnen verlieren! About the Publisher Forgotten Books publishes hundreds of thousands of rare and (...) classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Where science has often been used to explore the questions raised by art, this book does the reverse, suggesting that art can address a problem raised by science: the deep challenge to ethics posed by Darwin’s discovery that we are intentional beings living in an unintentional world. Using Hamlet, Othello, and Macbeth, among others, Angus Fletcher shows how the physical experience of art can transform Darwin’s discouraging theory into a practice-based ethics that establishes pluralism, curiosity, and cooperation as the (...) basis of progressive life. (shrink)

A deconstruction of Hamlet's ontological metaphor—"the time is out of joint"—indicates Shakespeare has made an implicit commitment to a conception of time that is explicitly and systematically developed by Kant's transcendental philosophy. Consequently, a retro reading explains how Hamlet temporarily identifies with the Ghost's temporal-categorical mind-set, and how Hamlet, who has been acutely aware of the passage of time, loses track of time during the prayer/closet scene sequence. More specifically, I assert that Hamlet's identification with the (...) Ghost's categorical sense of what is possible and impossible in accordance with the passage of outer time is what causes his inaction. (shrink)

This essay sounds out Derrida's plurivocal term of frequencies as well as Nancy's understanding of resonance to argue that ghosts live in the ear. Heeding how the different nuances of this term bear on Derrida's reading of Hamlet, it not only seeks to understand the significance of the ghost's rhythmic appearance:disappearance in Shakespeare's play, but indeed, how it comes to frequent Derrida's Specters of Marx.

El personaje de Hamlet ha sido un punto de referencia para gran parte de la filosofía europea del siglo XX, representando el espíritu y destino de Europa. Diversos autores, como Pavel Florenskij, Lev S. Vygotskij y Carl Schmitt, han visto en Hamlet la contradicción inherente a una transición epocal no resuelta, caracterizada por el dolor interminable de un interim. Mi artículo explora la posibilidad de interpretar el tiempo de Hamlet bajo esta luz, en relación con las ideas (...) de Walter Benjamin sobre el Trauerspiel alemán. A diferencia de Florenskij, que lee a Hamlet de manera trágica, sigo la tesis benjaminiana que sitúa a Hamlet como el fin del Trauerspiel moderno. En este marco, se revela la naturaleza de la conciencia moderna y su relación con la verdad, destacando cómo Hamlet encarna los rasgos aporéticos de la política moderna, en contraste con la visión premoderna de Carl Schmitt. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 364-367 [Access article in PDF] Book Review Hamlet in Purgatory Hamlet in Purgatory, by Stephen Greenblatt; xii & 322 pp. Princeton: Princeton University Press, 2001, $29.95. Hamlet in Purgatory is both more and less than literary criticism of Shakespeare's most haunting and most critically belabored play. Greenblatt has captured an evolving culture of belief which informs the play and goes far (...) beyond source studies or the history of ideas. He assays to show how the Medieval doctrine of Purgatory and the rejection of it by Protestant Reformers shaped the structure of Hamlet and the world of Hamlet's spiritual agony.Central to the argument is the notion that the rejection of Purgatory, and ritual practices associated with the doctrine, threatened to disrupt community and sever the relations between the living and the dead. Thus, the senior Hamlet's plea to "Remember me" takes precedence over his injunction to revenge; traditional preoccupations of Hamlet criticism become secondary to the concern for spiritual community which Reformation doctrine threatened. The exegesis is scholarly and the prose is engaging, yet the book suffers from the new historicist tendency to become absorbed more with context than with criticism and to assume too readily the relevance of the context to the criticism. Put another way, Greenblatt, like other new historicists, is not always rigorous in his inferences.Greenblatt warns that his book "requires a certain hermeneutical patience, a willingness to suspend direct literary analysis, in order to examine more thoroughly what has been treated as mere background for the canonical work of art" (p. 5). Although the book culminates in a description of the migration of discarded religious ritual into the theater, and a thoughtful commentary on Hamlet, Greenblatt cautions that "... for the book to work properly, the reader should understand literary analysis, and specifically the analysis of Hamlet, to be suspended in another sense as well, that is, distributed in tiny, almost invisible particles throughout my account" (p. 5). Amen. The caveats are essential for anyone who might expect an "interpretation" of Hamlet. Rather, Greenblatt has evoked the conflict of enduring beliefs and Reformist critiques which animated Shakespeare's imagination and Hamlet's suffering.Hermeneutical patience certainly is demanded of the reader, because more than half of the book presents commentaries on the doctrine of Purgatory from the late Middle Ages to the early seventeenth century. Greenblatt begins with Simon Fish's 1529 "Supplication for the Beggars," (p. 15) an anti-purgatorial (and anti-clerical) tract addressed to Henry VIII. Fish argued that the doctrine of Purgatory is at the heart of ecclesiastical corruption and is a danger to the state, because the fear that the doctrine can generate enables the clergy to extort enormous wealth in the form of "suffrages," donations for trentals, anniversary Masses, and other perpetual penitential memorials on behalf of the dead. Fish's argument is double: its theological burden is that Purgatory is a non-scriptural superstition; its rhetoric is that it is an abuse of the [End Page 364] poor and a danger to the economic solvency of the kingdom. Fish invokes both doctrinal error and political danger; this is thus an excellent tract to begin the elucidation of the complexity of Reformist objections to Purgatory in sixteenth-century England. Greenblatt adds that other Reformers saw Purgatory as a poetic creation, a fable, and therefore a vain imagining. John Donne's "Devotions upon Emergent Occasions" is cited to show that post-Catholic divines believed that purgation must be completed in this life.According to Greenblatt, an unintended consequence for the laity of the rejection of Purgatory is the creation of a radical divide between the living and the dead. If we pray for the dead, they are not as absent from us as if they had passed on to the timeless worlds of Heaven or Hell. Even if Purgatory is expensive or fabulous, its loss destroys a community with the dead that involved a reciprocal and continuing relationship, whereby the living can aid the dead towards Heaven and saved souls can eventually become intercessors in Heaven for the living... (shrink)

This article argues that Walter Benjamin’s aesthetico-political philosophy cannot be understood without reconsidering Hamlet. It elucidates Benjamin’s Hamlet via his theory of Baroque “mourning” and its counter-measure, the “Saturnine Dialectic.” It likewise offers an analysis of the 1877 Herman Ulrici edition of Hamlet, the German edition Benjamin cites exclusively. This analysis reconciles the differences in the secondary literature regarding Benjamin’s Hamlet, expounding upon the edition’s singular use of the word “foreordination”. Finally, by rereading Benjamin’s Hamlet (...) through Carl Schmitt’s Hamlet or Hecuba, it argues that Fortinbras’s succession, effectuated by Hamlet’s dying voice, conditions the repetition of sovereignty in Hamlet, betraying the emergence of the new. Despite this betrayal, the revolutionary potential that is sunken into the content of Hamlet is disjunctively brought to the surface by examining the “dialectical image” of Laertes’s rebellion, rescuing what I term the revolutionary-new from the jaws of defeat. (shrink)

In this chapter I want to explore a comment made by the French philosopher Gilles Deleuze that presents a connection between two figures: Kant and Hamlet.1 In his most important early work, Difference and Repetition, Deleuze writes, “the Northern Prince says ‘time is out of joint’. Can it be that the Northern philosopher says the same thing?” (Deleuze 2004, 111). In this chapter, I want to look at the question of drama and see how different conceptions of drama allow (...) us to understand action, or more precisely inaction, in Shakespeare’s Hamlet. I want to show how these different conceptions of dramatic action tell us something about the nature of temporality. I will begin by reversing Hamlet’s claim, and discussing what time “in joint” would look like, tracing it back to Aristotle’s conception of drama, before moving on to Plato’s characterization of temporality. (shrink)

Volume 24, Issue 6, September 2019, Page 662-683.

The human soul is for pre-modern philosophers the cause of both thinking and life. This double aspect of the soul, which makes man a rational animal, expresses itself above all in human action. Deadly Thought: 'Hamlet' and the Human Soul traces Hamlet's famous inability to act to his inability to hold together these twin aspects of the soul.

The paper addresses the question: why and how does Hamlet lose track of time in the Prayer-Closet scene sequence? While Deleuze aptly notes the poetic formula “the time is out of joint” is indicative of time no longer being subordinate to cyclical rhythms of nature, or as Polonius asserts: “Time is time”(II.ii.88), but rather movement being subordinated to time, it is argued that the HAMLET text goes further in its pre-figuration of Kant’s concept that time is a mysteriously (...) autonomous form. More specifically, it is explicated that in a Kantian sense Hamlet's temporary identification with the Ghost’s categorical sense of whatis possible and impossible in accordance with the passage of outer time is what causes Hamlet’s temporal confusion. (shrink)

All people edit. We don't call it editing, of course. We call it thinking. Frogs think too. When a frog thinks'food', it looks for a moving dot; in a cage of dead flies, a frog starves to death. When something doesnot fit the category, it is not seen. Humans likewise. "Do you see nothing there?" Hamlet asks; "Nothingat all; yet all that is I see", Gertrude replies, exemplifying our difficulty with seeingthings not valued.[1] The reason for such editing is (...) mental economy; given physiological computationallimits, operating with a limited set of categories and properties avoids cognitive paralysis. (shrink)

The writings of Stanley Cavell and Jacques Derrida share many points of intersection. One of these is their mutual interest in Shakespeare’s Hamlet; another is their assessments of J.L. Austin’s philosophy, and his concept of performativity. In this paper, we demonstrate that Cavell’s and Derrida’s respective essays on Hamlet offer a surprising insight into their views on Austin’s notion of performativity. Since Hamlet abounds with oaths and promises, testimonies and bearing witness, what is surprising is not that (...) these philosophers should have identified this theme but rather how they respond to it. We show that Derrida’s writings on Hamlet repeatedly draw and depend on the idea of performativity, amounting to a rapprochement with Austin’s concept; and we also show that Cavell questions the effectiveness of performatives in the play, in ways that sometimes resemble Derrida’s invocation of spectrality in the play. (shrink)

One of the principal challenges to human survival will be for human beings, embedded in a plurality of cultural contexts, to engage with and learn from one another respectfully in the continuing task of creating a more liveable world. I argue here that theoretical psychology can contribute to setting some of the terms for this effort through the kind of conception it advances of the person as agent. I discuss broadly two philosophical perspectives toward human agency which have become prominent (...) in psychology in the last few decades, the humanistic and the hermeneutic. I argue that these two different frameworks make complementary contributions to the project of understanding ourselves and furthering the development of our humanity. 2012 APA, all rights reserved). (shrink)

Interpreting Shakespeare’s seminal work ‘Hamlet’ through the lens of biocentrism offers an illuminating paradigm shift from traditional analyses. Biocentrism, a philosophical standpoint positing the intrinsic value of all living beings and the fundamental interconnectedness of life, contrasts sharply with the anthropocentric viewpoint that places humans at the centre of the universe’s hierarchy. This re-evaluation not only enriches our understanding of the play’s enduring themes, characters, and narrative arcs but also aligns Shakespeare’s work with contemporary environmental and ethical discussions. At (...) the heart of ‘Hamlet’ lie profound contemplations of existence, morality, and the human condition—themes that resonate deeply with biocentric philosophy. (shrink)