Shakespeare in The Winter’s Tale in describing the annual year names only three seasons—Spring, Summer, and Winter. This tripartite scheme is not unprecedented in Shakespeare’s sonnets and plays, e.g. Sonnet 5.5-6; Sonnet 6.1-2, 2 Henry 6 2.4. 1-3; The Tempest 4.1.114-15. What is unique to The Winter’s Tale involves Shakespeare’s correlation of three seasons to a tripartite division of humankind’s age, with a stress on the climacteric years when one season passes to the next. An assumption and a fact undergird (...) this scheme: that a lifetime is 70 years (Psalm 90, verse 10), and that 23 is an important recurring number in this play. Humankind passes from Spring to Summer at age 23 and from Summer to Winter at age 46. Given the possible calculation of major characters’ ages in The Winter’s Tale, one discovers that Leontes after a sixteen-year gap of time is 44, while—in 1610 (the likely date of the play)—Shakespeare himself is 46. This correspondence is richly evocative of figurative final harvests. (shrink)

'When Macbeth comes from the murder of Duncan, his hands are covered in King's blood; he looks at them, and feels that all the waters in the ocean cannot wash away the blood, but that- "this my hand will rather The multitudinous seas incarnadine, Making the green one red.,"... -/- (http://philpapers.org/profile/112741 ).

Exciting analyses of The Merchant of Venice, Othello, Julius Caesar, and King Lear. The authors, political science professors, are anxious to point to the political as an underemphasized dimension of Shakespeare's plays, and they try to substantiate their case by making explicit the political settings of four plays. The deepest, most ingenious political analysis is of the first scene of Lear. Briefly, Jaffa argues that the division of his kingdom by England's most successful king is judiciously calculated to maintain (...) a balance of power with France and Burgundy and to preserve harmony and unity at home. The chief aim of the love-test is to obtain political pledges from the elder daughters. In the case of Cordelia it becomes self-referentially inconsistent because the presuppositions of love and incarnated justice conflict, and the plan is wrecked. Lear's makeshift plan is disastrous, and his spiritual Odyssey consists in coming to recognize the inconsistency in his original plan. The book stands as a challenge to standard interpretations, and should serve the student admirably.—P. S. (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)

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

I examine Nagarjuna’s averting an opponent’s argument, Paul Sagal’s general interpretation of Nagarjuna and especially Sagal’s conception of "averting" an argument. Following Matilal, a distinction is drawn between locutionary negation and illocationary negation in order to avoid errant interpretations of verse 29 The argument is treated as representing an ampliative or inductive inference rather than a deductive one. As Nagarjuna says in verse 30: "That [denial] of mine [in verse 29] is a non-apprehension of non-things" and non-apprehension (...) is the averting of arguments or "the relinquishing of all views." "Not making a proposition P" would be not speaking P or silence with regard to P and, as Sagal argues, not meaning a global linguistic silence. Such an interpretation would lead to attributing wholesale irrationalism to Nagarjuna-something I wish to avoid. (shrink)

The promise of language in the depths of hell: Primo Levi's Canto of Ulysses and Inferno -- The difference between difference and otherness: Il milione of Marco Polo and Calvino's Le città invisibili -- Traces of the Confucian/Mencian other: ethical moments in Sima Qian's Records of the historian -- War and the Hellenic splendor of knowing: Euripides, Hölderlin, Celan -- The saying, the said, and the betrayal of mercy in Shakespeare's Merchant of Venice -- Nom de dieu, quelle race: (...) the saying, the said, and the betrayal of charity in Mongo Beti's Le pauvre Christ de Bomba -- Transcendent divinity and human responsibility in Mahfouz: "zaabalawi" and children of our alley -- That you might have my witness in your poem: Valéry, the symbolist tradition, and Edgar Bowers' later blank verse. (shrink)

Shakespeare's Four Folios were published between 1623 and 1685. Although 'folio' refers to the large size of the books, it is also a reflection of the standing in which the plays and their author were held. Up until the publication of the First Folio , works of literature had never before been produced in such large and luxurious a format. In each of the folios, the 26 plays are arranged in genres of Comedies, Histories and Tragedies and include introductory (...) notes by the editors, Heming and Condell. Routledge/Thoemmes Press have re-published the Four Folios in their original size and format, as they would have appeared in the 17th Century. (shrink)

Abstract:S. N. Balagangadhara, Sarika Rao, Jakob De Roover, and Marianne Keppens One of the best-known aspects of Indian society is its "rigid caste system" and the "evil practices of untouchability." It is a truism today to say that Indian society is divided into four castes, which are not allowed to mix. Many Indian texts are brought forward as evidence of this understanding of Indian society. The ancient Indian text Mānavadharmaśāstra or "Laws of Manu" takes a central place in such accounts. (...) This is especially the case for its verses on varṇasankara, translated as "mixing of social classes" or "intermixture of castes." Given the important role these verses play in the understanding of Indian culture, society, and policymaking, it is crucial to translate them accurately. Using one verse in one text, this article focuses on the standard translation and deals both critically and constructively with the received view. (shrink)

Shakespeare's Villains is a close reading of Shakespeare's plays to investigate the nature of evil. Charney closely considers the way that dramatic characters are developed in terms of language, imagery, and nonverbal stage effects. With chapters on Iago, Tarquin, Aaron, Richard Duke of Gloucester, Shylock, Claudius, Polonius, Macbeth, Edmund, Goneril, Regan, Angelo, Tybalt, Don John, Iachimo, Lucio, Julius Caesar, Leontes, and Duke Frederick, this book is the first comprehensive study of the villains in Shakespeare.

What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work—a collection of newly commissioned essays by leading scholars of classical political philosophy and literature—offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held (...) conceptions of the playwright and his political-philosophical views. (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.

The author describes how he uses Shakespeare's play about Henry V in his courses on ethics and warfare to illustrate several principles in the just-war tradition.

Based on the proven maxim that "money makes the world go round", this study, drawing from Shakespeare's texts, presents a lexicon of common words as well as a variety of familiar familial and cultural sitations in an economic context. Making constant recourse to well-known material from Shakespeare's plays, Turner demonstrates that terms of money and value permeate our minds and lives even in our most mundane moments. His book offers a new, humane, evolutionary economics that fully expresses the (...) moral, spiritual, and aesthetic relationships among persons, and between humans and nature. Playful and incisive, Turner's book offers a way to engage the wisdom of Shakespeare in everyday life in a trenchant prose that is accessible to scholars and to the general reader. (shrink)

This book assembles a team of leading literary scholars and philosophers to probe philosophical questions that assert themselves in Shakespeare's Hamlet, including issues about subjectivity, knowledge, sex, grief, and self-theatricalization.

A response to Kavita Shah's article Selecting Barrenness.

This study contends that folly is of fundamental importance to the implicit philosophical vision of Shakespeare’s drama. The discourse of folly’s wordplay, jubilant ironies, and vertiginous paradoxes furnish Shakespeare with a way of understanding that lays bare the hypocrisies and absurdities of the serious world. Like Erasmus, More, and Montaigne before him, Shakespeare employs folly as a mode of understanding that does not arrogantly insist upon the veracity of its own claims – a fool’s truth, after all, is spoken by (...) a fool. Yet, as this study demonstrates, Shakespearean folly is not the sole preserve of professional jesters and garrulous clowns, for it is also apparent on a thematic, conceptual, and formal level in virtually all of his plays. Examining canonical histories, comedies, and tragedies, this study is the first to either contextualize Shakespearean folly within European humanist thought, or to argue that Shakespeare’s philosophy of folly is part of a subterranean strand of Western philosophy, which itself reflects upon the folly of the wise. This strand runs from the philosopher-fool Socrates through to Montaigne and on to Nietzsche, but finds its most sustained expression in the Critical Theory of the mid to late twentieth-century, when the self-destructive potential latent in rationality became an historical reality. This book makes a substantial contribution to the fields of Shakespeare, Renaissance humanism, Critical Theory, and Literature and Philosophy. It illustrates, moreover, how rediscovering the philosophical potential of folly may enable us to resist the growing dominance of instrumental thought in the cultural sphere. (shrink)

For Derrida, the technological, automatic and mechanical could never simply be defined as external or opposed to the voluntary, conscious and spiritual. The articulation and repeatability of the trace means that there is something machinic that is inseparable from the possibilities of meaning, choice and faith. This paper will draw on various texts – including ‘Faith and Knowledge’, Without Alibi and On Touching – to explore the mutual unravelling of machine and flesh in the Christian doctrine of the incarnation. It (...) will argue that the incarnation should not be interpreted as the self-emptying of God, but as the productive resistance of the immanent world to being appropriated by a discourse of transcendence. Taking account of Derrida's engagement with Nancy, it will explore a deconstruction of Christianity that is not ‘mere Christian hyperbole’, but the ruin of salvation itself. (shrink)

Shakespeare was easily the most inventive writer using the English language. His plays give us intricacies of vocabulary and usage that have enriched us immeasurably. This book provides a series of analytical essays on the marginalia relating to the plays. Each of them is a searching and authoritative account, packed with details, of some of the more peculiar conditions under which Shakespeare and his peers composed their playbooks. Among the essays are two completely new contributions. Altogether they reveal fresh details (...) about the input of the playing companies, playhouses, individual players and even their controller, the Revels Office, to the complex fragments that we now have of the Shakespearean world. Gurr examines Shakespeare's own choice between playwriting and poetry, the requirements of working in a playhouse that wraps itself around the stage, and its impact on the creation of such figures as Henry V, Shylock, Isabella, King Lear and Coriolanus. (shrink)

In verse twelve of the Tao Te Ching, Lao Tzu makes a curious claim about the five flavors; namely that they cause people not to taste or that they jade the palate. The five flavors are: sweet, sour, salt, bitter and spicy or hot as in 'heat'. To the Western mind, the claim, 'The five flavors cause them [persons] to not taste,' is counterintuitive; on the contrary, the presence of the five flavors in a dish or in a meal (...) would expand or enhance the senses and the palate, i.e., taste would be augmented by the five flavors. So what is the plausible meaning of the Taoistic claim? To answer this question, I look very briefly at the history of the doctrine of the five flavors and the history of Chinese cuisine. Lao Tzu probably has Confucian feasts in mind in making such a claim, but other interpretations are discussed. (shrink)

Journal Name: Semiotica - Journal of the International Association for Semiotic Studies / Revue de l'Association Internationale de Sémiotique Volume: 2013 Issue: 195 Pages: 119-126.

A discussion of the connection between activism and academia in bioethics, highlighting the author’s own trajectory, exploring the extent to which academics have an obliation to be ‘judges’ rather than ‘barristers’ (as explored by Jonathan Haidt) and asking questions about the relationship of disability to positions in bioethics.

In this paper I argue that the consistency condition from the Deutsch's influential model for closed timelike curves differs significantly from the classical consistency condition found in Lewis and Novikov, as well as from the consistency condition found in the P-CTC model, the major rival to Deutsch's approach. Both the CCC and the P-CTC consistency condition are formulable in the context of a single history of the world. Deutsch's consistency condition relies on the existence of a structure of parallel worlds. (...) I argue that Deutsch's commitment to realism about parallel worlds puts his solutions to the information paradox in jeopardy. I argue that, because of Deutsch's commitment to this metaphysical picture, he is committed to the existence of physical situations that are in every way indistinguishable from the paradoxes he attempts to rule out by adopting the model in the first place. Deutsch's proposed solution to the Knowledge Paradox, in particular his commitment to the actuality of the many worlds of the Everett interpretation, guarantees the existence of worlds that are indistinguishable from worlds in which the genuine Knowledge Paradox arises. (shrink)

Shakespeare's romantic comedies, interpreted in the light of doctrinal material familiar to Shakespeare and his contemporaries, reveal Shakespeare's close and consistent affinity with St. Paul.

The enshrinement of William Shakespeare’s plays in printed editions has led to the assumption that they were performed with an ideal of exact verbatim reproduction of the language. Evidence drawn from alternative versions of the plays circulating in Shakespeare’s lifetime and from our knowledge of the material practices of playing in early modern England presents us with a very different picture. Performing practices in this period were marked by a tension between improvisational here-and-now languaging practices, including the use of gesture (...) in playing, and a new set of expectations based upon an emergent conception of plays as written documents. (shrink)

Did Shakespeare read Plato? The evidence suggests that Shakespeare not only read Plato, but also consulted him as though he possessed wisdom of the highest sort. With a focus on comparing the Phaedo and Symposium to Timon of Athens, I show that Shakespeare’s genius is at least in part due to his uncanny ability to transform Platonic wisdom into fully realized dramatic action. Previous attempts at interpreting the play have overlooked the extent to which Timon of Athens mirrors Socratic warnings (...) against flattery, sophistry, and uncivil philosophy. (shrink)

This study discusses the correspondence of characterizations of human behaviours in Shakespeare's plays to actual human behaviours, a realism that lends the plays significance as examples of empirical moral philosophies.

What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work--a collection of newly commissioned essays by leading scholars of classical political philosophy and literature--offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held (...) conceptions of the playwright and his political-philosophical views. (shrink)

The text provides a political reading of Shakespeare’s Macbeth, claiming that the play is responding to the curious connection between witchcraft and state power in the preceding century, as well as contemporary political events. Namely, practices variously labeled as witchcraft, magic, conjuring were an integral aspect of English politics and struggles over royal succession in the sixteenth century; even more so were the witch hunts and attempts by British monarchs to control witchcraft. These issues reached a head with the accession (...) of James VI of Scotland to the English throne in 1603, and the Gunpowder Plot in 1605. On the surface, Shakespeare’s play, written in the immediate aftermath of the failed attempt at regicide, brings these historical and political issues together in an effort to legitimize James’ rule. However, the article shows that a closer look reveals a more complicated, indeed subversive undercurrent at play. Paradoxically, while Macbeth does provide James with legitimacy, at the same time it calls into question the grounds of that legitimacy. (shrink)

In "Canonization and Variations of Shakespeare's Work in China," Qing Yang discusses the role of cross-linguistic and inter-cultural variations with regard to William Shakespeare's intercultural travel and canonization in China. In the context of globalization, Shakespeare's texts outside Western cultures undergo cross-national, cross-linguistic and inter-cultural variations in the process of translation. From a symbol of Western powers and cultures to a bearer of Confucianism, a fighter for the survival of the nation during the anti-Japanese struggle, and to (...) a literary master with abundant possibilities of interpretation and adaption today, Shakespeares change and vary in modern and contemporary China. The inter-cultural communication of Shakespeare with clear markings of Chinese culture and history progresses through variation. Yang argues that it is the paradigm of Shunqing Cao’s variation theory central to the formations of world literature that has facilitated the canonization of Shakespeare’s work in China. (shrink)