The relationship between philosophy and theatre is a central theme in the writings of Plato and Aristotle and of dramatists from Aristophanes to Stoppard. Where Plato argued that playwrights and actors should be banished from the ideal city for their suspect imitations of reality, Aristotle argued that theatre, particularly tragedy, was vital for stimulating our emotions and helping us to understanding ourselves. Despite this rich history the study of philosophy and theatre has been largely overlooked in contemporary philosophy. This is (...) the first book to introduce philosophy and theatre. It covers key topics and debates, presenting the contributions of major figures in the history of philosophy, including: what is theatre? How does theatre compare with other arts? theatre as imitation, including Plato on mimesis truth and illusion in the theatre, including Nietzsche on tragedy theatre as history theatre and morality, including Rousseau’s criticisms of theatre audience and emotion, including Aristotle on catharsis theatre and politics, including Brecht’s Epic Theatre. Including annotated further reading and summaries at the end of each chapter, Philosophy and Theatre is an ideal starting point for those studying philosophy, theatre studies and related subjects in the arts and humanities. (shrink)

Abstract:Contenders for serious, let alone worthwhile, philosophical works consisting entirely of jokes are hard to find. Tom Stoppard's comedy Dogg's Hamlet, built from the materials of Ludwig Wittgenstein's Philosophical Investigations, might be one. Wittgenstein could only use previously acquired language to argue that social performance is a necessary prerequisite for the process of learning that meaningful language in the first place. But Stoppard's audiences can experience the inadequacy of a static, constative theory of language; then they can self-consciously undergo a (...) socialized process of meaningful language acquisition. And that new language allows new jokes; so: did Stoppard put the wit into Wittgenstein? (shrink)

Tom Stoppard is not the sort of playwright one might call anti-intellectual, yet he has persistently singled out the field of academic philosophy for special assault in his plays. Stoppard’s antipathy emerges from a history of contention between the theater and philosophy in England, one that originates in Friedrich Nietzsche’s Birth of Tragedy and its particular reception at the hands of George Bernard Shaw. Stoppard offers an apotheosis of this disputation in his 1972 farce Jumpers, which imagines a marriage between (...) a philosopher and an actress meant to demonstrate the superiority of the theater as a mode of speculative discourse. (shrink)

Few stage plays have much to do with analytic philosophy: Tom Stoppard has written two of them—Rosencrantz and Guildenstern are Dead and Jumpers. The contrast between these, especially in how they involve philosophy, could hardly be greater. Rosencrantz does not parade its philosophical content; but the philosophy is there all the same, and it is solid, serious and functional. In contrast with this, the philosophy which is flaunted throughout Jumpers is thin and uninteresting, and it serves the play only in (...) a decorative and marginal way. Its main effect has been to induce timidity in reviewers who could not see the relevance to the play of the large stretches of academic philosophy which it contains. Since the relevance doesn't exist, the timidity was misplaced, and so the kid gloves need not have been used. Without doubting that I would have enjoyed the work as performed on the London stage, aided by the talent of Michael Hordern and the charm of Diana Rigg, I don't doubt either that Jumpers is a poor effort which doesn't deserve its current success. I shan't argue for that, however. I want only to explain why Jumpers is not a significantly philosophical play, before turning to the more important and congenial task of showing that Rosencrantz and Guildenstern are Dead is one. (shrink)

Tom Stoppard’s Rosencrantz and Guildenstern Are Dead is primarily a display of conceptual interrelationships of the same logical kind as might occur in an academic work of analytic philosophy. Its pyrotechnic show of jokes, puns and cross-purposes consists mainly in sparks thrown off by the underlying conceptual exploration. That philosophical insights are closely connected with jokes is a fact which Carroll exploited in Through the Looking Glass, a work which is brim-full of small-scale philosophy. Stoppard, unlike Carroll, works intensively at (...) a small cluster of intimately connected concepts. The central one is the concept of reality, and grouped around it are identity, memory, activity and death. One source of the play’s power - to move and disturb, as well as to amuse - is that these concepts are so important in our thinking about ourselves; but the power derives also from the sheer pertinacity and complexity and depth of the conceptual exploration. Although this can be felt by someone who does not fully realize what is going on, one’s experience of the play can be heightened, and the play made more illuminating and memorable, if one becomes consciously aware of its underlying structures. My aim here will be to make such an awareness available - both as a service (I hope) to readers who will subsequently encounter the play, and also as a defence of my judgment about what kind of play it is and how good it is of its kind. I shall write as though for readers who are ignorant of Stoppard’s play but not of Shakespeare’s. All quotations are from the Faber editions of the play. There will be no omissions within anything I quote, so any rows of ellipses in my quotations are Stoppard’s own. The chief personages are Rosencrantz and Guildenstern and “the Player” - the leader of the band of tragedians who perform for Hamlet the play within the play.. (shrink)

This paper attends to the curious affair of Jacques Derrida in Prague when he was arrested by the Czechoslovakian police on charges of drug smuggling. It reads two images by Valerio Adami and Nicolas Poussin, entitled, ‘The Massacre of the Innocents’, Tom Stoppard's play, Professional Foul about dissident philosophers in Prague, and a section from Ken McMullen's film Ghost Dance on Kafka. It turns around the question of what ‘innocence’ might mean in politics and reading.

This essay probes into the possibility of encountering the Deleuzian sense-event in four Tom Stoppard radio plays, Moon (1964), Boot (1964), Glad (1966) and Artist Descending A Staircase (1972). Itself an incorporeal – an occurrence of the interface – the wonderful and strange protagonist of Gilles Deleuze's 1969 Logic of Sense is approached in apophatic gestures, with a glimpse at the various vestiges it has left upon texts. Within this exercise in indirection, ‘empty forms’ present themselves as the texts’ circulating (...) words. Informed by and receiving infusions from two parallel flows of Deleuzian signifiers and signifieds, these entities are singled out as the texts’ pointers that open up a cleavage where the sense-event can issue forth. (shrink)

Tom Stoppard’s “Rosencrantz and Guildenstern Are Dead” opens with a puzzling scene in which the title characters are betting on coin throws and observe a seemingly astonishing run of 92 heads in a row. Guildenstern grows uneasy and proposes a number of unsettling explanations for what is occurring. Then, in a sudden change of heart, he appears to suggest that there is nothing surprising about what they are witnessing, and nothing that needs any explanation. He says ‘…each individual coin spun (...) individually is as likely to come down heads as tails and therefore should cause no surprise each time it does.’ In this article I argue that Guildenstern is right – there is nothing surprising about throwing 92 heads in a row. I go on to consider the relationship between surprise, probability and belief. (shrink)

Tom Stoppard is justly praised by many for what are perceived as his technical skills as a dramatist—his wit, his seriousness, his mastery of parody and pastiche, his impressive control of dramatic structure. Stoppard earns his place as a giant of modern drama from these qualities. They, however, are not what concern me here. His plays are also in various ways riddled with philosophy. My purpose in this paper is to examine the claim that he is a philosopher's dramatist, rather (...) than a dramatist's dramatist or an ordinary thinking man's dramatist. I am not concerned with how far Stoppard himself as a matter of biographical fact may wish to make this claim, although Stoppard has made no secret of his fascination with Philosophy. I make the claim myself in order both to offer an interpretation of certain dramatic texts and to raise certain questions about philosophical method. I hope to show that to understand certain ways in which Stoppard's plays are philosophical is to appreciate something profound about the way in which philosophy and drama are akin—that is, I hope to make critical and philosophical points, not historical or biographical points. (shrink)

Tom Stoppard’s 1966 play (and 1990 movie) /Rosencrantz and Guildenstern are Dead/ is a metatext – as a text, it interprets, builds upon, and refers to another text, Shakespeare’s Hamlet. Similarly, David N. Reznick’s /The Origin then and now: An interpretative guide to the Origin of Species/ (Princeton UP, 2010) is also a metatext. In this review, I turn to the history of science to evaluate whether Reznick’s book shares three families of virtues with Stoppard’s play: (i) brevity and precision, (...) (ii) intrigue and appeal, and (iii) a genuine value-add to the original. (shrink)

Voyage is the first part of The Coast of Utopia , Tom Stoppard's long-awaited and monumental trilogy that explores a group of friends who came of age under the Tsarist autocracy of Nicholas I, and for whom the term intelligentsia was coined. Among them are the anarchist Michael Bakunin, who was to challenge Marx for the soul of the masses; Ivan Turgenev, author of some of the most enduring works in Russian literature; the brilliant, erratic young critic Vissarion Belinsky; and (...) Alexander Herzen, a nobleman's son and the first self-proclaimed socialist in Russia, who becomes the main focus of this drama of politics, love, loss, and betrayal. In The Coast of Utopia , Stoppard presents an inspired examination of the struggle between romantic anarchy, utopian idealism, and practical reformation. (shrink)

Inspired by the work of prominent University of Notre Dame political philosophers Catherine Zuckert and Michael Zuckert, this volume of essays explores the concept of natural right in the history of political philosophy. The central organizing principle of the collection is the examination of the idea of natural justice, identified in the classical period with natural right and in modernity with the concept of individual natural rights. Contributors examine the concept of natural right and rights in all the manifold and (...) interdisciplinary dimensions associated with the Zuckerts’ oeuvre. Part I explores the theme of natural right in the ancient and medieval political philosophy of Plato, Xenophon, Aristotle, and St. Augustine. Part II examines the early modern break from the classical tradition in the work of Montaigne, Spinoza, Montesquieu, Locke, and Hegel as well as the legacy of the modern natural rights tradition as explored by Leo Strauss and Pope John Paul II. Part III treats the theme of natural rights from the Puritans through the Founding period in such figures as Thomas Jefferson and Gouverneur Morris and up to the Progressive era with Booker T. Washington and Theodore Roosevelt. Part IV addresses questions of natural justice in literature, including works of Euripides, Cervantes, Shakespeare, Edith Wharton, and Tom Stoppard. "In this collection compiled in honor of Catherine and Michael Zuckert, the contributors address a wonderful variety of serious issues in important literary and philosophic texts. Their topics range from Plato on piety to Stoppard on socialist utopianism, and from Aristotle and Augustine to Euripides, Locke, Hegel, Shakespeare, and Booker T. Washington. The volume stands as an impressive introduction to the liberal arts and a lively introduction to many great issues of liberalism, Christianity, justice, and liberty; it is also a tribute to the Zuckerts' breadth of study, teaching, and influence." —_Robert K. Faulkner, Boston College_. (shrink)

Oleg B. Zaslavskii. The little in a non-Euclidean world: On the artistic space in Tom Stoppard's film and play “Rosencrantz and Guildenstern are dead”. It is shown that quite different aspects of Tom Stoppard’s work — spatial organization, relationship between reality and the conditional character of events, causality and narrative links, the problems of choice and personality — are united by the spatial one-sided model like the Möbius strip or Klein bottle. The artistic space turns out to be not orientable, (...) the time being cyclic. This enables us to explain the mutual exchange of names between Rosencrantz and Guildenstern and a number of other paradoxical features in the plot and composition. The model like the Möbius strip embodies the absence of a free choice: there is no other side in the world and there is no chance to escape from the fate indicated in the title of Tom Stoppard’s work. The relevance of topology, e.g. the property of a globalnature, is connected with the fact that a bearer of danger is the world as a whole. Apart from this, it points to the fact that such a structure of the world is essentially “non-Euclidean” and cannot be understood on the basis of observations from every-day life or “obvious” experiments like those carried out by Rosencrantz. (shrink)

Preliminary expectoration -- Alas a dirty third: the logic of death -- Thomas Bernhard's rant -- Following Sebald -- Tickling the corpse: Tom Stoppard's memento mori -- Don Rickles's rant -- Too late, my brothers -- Re: Barth.

The literature regarding social and environmental sustainability of business focuses primarily on rationales for adopting sustainability strategies and operational practices in support of that goal. In contrast, we examine sustainability from a perspective that has received far less research attention—attitudes that inform managerial decision-making. We develop a conceptual model that identifies six elemental categories of attitudes that can be held independently or aggregated to yield a meta-attitude representing the legitimacy of sustainability. Our model distinguishes among three types of internally held (...) attitudes and externally perceived subjective norms: pragmatic, moral, and cognitive. We propose a refinement of Ajzen's (In: Kuhl J, Beckmann J (eds) Action control: from cognition to behavior, 1985; Organ Behav Hum Decis Process 50:179-211, 1991) Theory of planned behavior (TPB) that incorporates these sub-categories of personal attitudes and subjective norms. Practical implications are discussed including how organizations considering adopting sustainability programs might use the model as a conceptual tool to help achieve and assess program success. (shrink)

In a health service with limited resources we must make decisions about who to treat first. In this paper I develop a version of the restoration argument according to which those whose need for resources is a consequence of their voluntary choices should receive lower priority when it comes to health care. I then consider three possible problems for this argument based on those that have been raised against other theories of this type: that we don't know in a particular (...) case that the illness is self-inflicted, that it seems that all illness is self-inflicted in the sense used in my argument, and finally that this type of approach incorporates an unacceptable moralising element if it is to avoid giving those like fire-fighters a lower priority for treatment. I argue that the position outlined here has the resources to respond to each of these objections. (shrink)

The construct of flexibility has been a focus for research and theory for over 100 years. However, flexibility has not been consistently or adequately defined, leading to obstacles in the interpretation of past research and progress toward enhanced theory. We present a model of socioemotional flexibility—and its counterpart rigidity—at three time scales using dynamic systems modeling. At the real-time scale (micro), moment-to-moment fluctuations in affect are identified as dynamic flexibility. At the next higher meso-time scale, adaptive adjustments to changes in (...) context are characterized as reactive flexibility. At the macro scale is flexibility that occurs across months or years, reflecting flexibility due to developmental or life transitions. Implications of the model and suggestions for future research are discussed. (shrink)

Through the use of some purposeful anachronisms, Tom Stoppard uses his 1993 play Arcadia to explore the effects on man's psyche of the transition from Newton's Laws to the laws of thermodynamics and from thermodynamics to chaos theory. However, remarkably similar reactions to these changes are also reflected in works from the actual time periods following these shifts in scientific understanding. Modernist literature is believed by many to reflect a sense of depression about the implications of the second law of (...) thermodynamics, which is exemplified in T. S. Eliot's 1922 poem The Waste Land. Likewise, the comfort provided by the revisions to thermodynamics made by chaos theory are reflected frequently in contemporary popular culture, such as in the current television series Numb3rs. Through the invocation of science, all three works suggest that man is uncomfortable with too much predictability and that comfort can instead be found in chaos and unpredictability. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Being a Moral Agent in Shakespeare's ViennaRobert B. PierceIn one sense we are all moral agents because we make decisions that in some degree take account of what we think we should do and what sorts of selves we want to be. But the problem of moral agency as more than just a theoretical set of philosophical issues, as the lived experience of acting morally in a contingent world, (...) is especially acute for those who set out deliberately to try to uphold some moral ideal, for the idealist in that popular sense of the term. In describing moral agency, philosophers may tend to exaggerate the importance of reflective rationality in the human task of being moral, elevating their own habits of mind into the apex of human striving, but at least the experience of the intellectual idealist is of a special kind, and as such it is an endlessly fascinating subject for artistic contemplation in fiction and drama. That interest raises the issue of what kind of text a philosophical play or novel is. Does it constitute a kind of argument for some set of ideas? Does it show how those ideas play out in lived experience? Or are there other possible ways for a text to count as philosophical?One may also ask why Shakespeare is a good subject for such an enquiry. He is not first and foremost a dramatist of ideas. Bernard Shaw and Tom Stoppard, for example, are far more likely to dramatize the encounter of ideas than he; but for a few years after 1599 or so, beginning with the creation of Brutus, Shakespeare seems to have devoted considerable attention to portraying how ideas impinge on the human experience, and especially to studying moral idealists. Leonato may doubt the importance of philosophical moralizing when he protests that "there was never yet philosopher / That could endure the toothache patiently" (Much Ado 5.1.35–36),1 but in Julius Caesar Brutus is determined to cure the toothaches of the Roman political world by the power [End Page 267] of thought and to govern his own life by the precepts of Stoicism. A group of Shakespeare's plays over the next few years are unusually idea-centered for him and are especially concerned with characters who try to apply moral ideas in the world. Hamlet with its intellectual protagonist comes to mind of course, but perhaps the most systematic exploration of idealists trying to live by their ideas is Measure for Measure. Angelo, Isabella, and the Duke set out on that project in a world that the play analytically divides into four environments for their moral testing: the court, the convent, the tavern-brothel, and the prison.The dramatic richness of this topic of practical ethics lies in how terribly difficult it is to live by a morality worthy of respect. Most of us share the admiration for Brutus's idealism in Antony's tribute, "This was the noblest Roman of them all" (5.5.68), but we may also share the irony, even contempt, in the sarcastic catchphrase of his oration, "Brutus is an honorable man" (3.2.84 and following). The tragedy of Brutus's fate emerges from the difficulties of living out any idealism in our tangled and terribly imperfect world. First, moral principles like the categorical imperative and the Golden Rule, admired character traits like constancy and benevolence, even intuitions (or, as it may be, divine inspirations) about duty do not apply themselves automatically and unambiguously to a decision how to act in a specific situation.2 What does treating human beings as ends, not means entail in your quotidian dealings with your wife, your boss, the dealer who sells you a newspaper? Second, rival values may conflict with a good you are trying to uphold. How can you devote yourself to your work and also give your family the love and attention they need? Third, the demands of the ideal may extend past the limits of your will power or even attention. How many teachers are as patient and understanding of the eightieth student paper as of the first? And, finally, living up to an ideal can be painful... (shrink)

In the middle of the 18th century, a new fad found its way into the gardens of England's well-to-do: building fake Gothic ruins. Newly constructed castle towers and walls looked like they were already falling apart, even on the first day of their creation. Made of stone, plaster, or even canvas, these "sham ruins" are often considered an embarrassing blip in English architectural history. However, Sham Ruins: A User's Guide expands the specific example of the sham ruin into a general (...) principle to examine the way purposely broken objects can be used both to uncover old truths and invent new ones. Along with architecture, work by Ivan Vladislavić, Tom Stoppard, Alain Mabanckou, Aleksei Fedorchenko, Michael Haneke, and Sturtevant is used to develop this thesis, as well as artifacts such as pre-torn jeans, fake histories, and broken screen apps. Using these examples, one of the key questions the book raises is: What is it that sham ruins ruin? In other words, if real ruins are ruins of what they actually are, then sham ruins should be considered ruins of what they are not. Thus sham ruins are about imposing new meaning where such meaning does not and should not exist. They also can show how things we think are functioning well are actually already broken. Sham ruins do this, and much more, by being lies, ruses, and embarrassments. This is what gives them the power with which we can think about objects in new, unintended ways. (shrink)

Nuffield Council on Bioethics, London * Corresponding author: Nuffield Council on Bioethics, 28 Bedford Square, London WC1B 3JS, UK. Email: hschmidt{at}nuffieldbioethics.org ' + u + '@' + d + ' '//--> Abstract In November 2007, the Nuffield Council on Bioethics published the report Public Health: Ethical Issues . While the report has been welcomed by a wide range of stakeholders, there has also been some criticism. First, it has been suggested that it is not clear why, in developing its ‘stewardship (...) model’, the Council felt the need to go beyond the liberal position developed by John Stuart Mill—what is it that the stewardship model adds? Second, it is suggested that the Report is confused about the concept of paternalism. Third, it is argued that the discussion of the concept of stewardship is lacking in detail and substance. We clarify the Working Party's thinking regarding these three areas, which demonstrates the robustness of the framework set out in the report. CiteULike Connotea Del.icio.us What's this? (shrink)

Verkenning van de impact van Darwins evolutietheorie op het denken over de menselijke cultuur.

Principlism is the approach promoted by Beauchamp and Childress for addressing the ethics of medical practice. Instead of evaluating clinical decisions by means of full-scale theories from moral philosophy, Beauchamp and Childress refer people to four principles—of autonomy, beneficence, nonmaleficence, and justice. Now it is one thing for principlism to be invoked in an academic literature dwelling on a stock topic of medical ethical writing: end-of-life decisions, for example. It is another when the topic lies further from the mainstream. In (...) such cases the cost of reaching for the familiar Beauchamp and Childress framework, with its formulaic set of concerns, may be to miss something morally important. After discussing an example of the sort of academic literature I have in mind, I propose to distinguish the uses of the formulaic from the uses of the more unapologetically theoretical in applied ethics, and to suggest that the latter can make up for some of the limitations of the former. This is not to say that the more theoretical literature has no limitations of its own, or that it should take the place of the formulaic. On the contrary, there is room in applied ethics and a use in applied ethics for both. But there is a sense in which there is a greater dependence of principlism on theory than the other way round, and at the end I try to spell out the significance of this fact. (shrink)

As a worldview , naturalism depends on a set of cognitive commitments from which flow certain propositions about reality and human nature. These propositions in turn might have implications for how we live, for social policy, and for human flourishing. But the presuppositions, basis, and implications of naturalism are not uncontested, and indeed there’s considerable debate about them among naturalists themselves.

Shows readers how the choices they make will help them achieve balanced success, true significance, and an everlasting legacy.

There has been no informed or honest debate in North America over the issue of liberalized euthanasia. Despite thousands of newspaper stories, scores of learned academic articles, a handful of closely analyzed legal decisions, and hours of broadcast news and talk show imagery, a full discussion is yet to begin.

ABSTRACTIlya Somin's Democracy and Political Ignorance uses a by-now familiar rational-choice lens with which to explain and analyze Americans’ widespread political ignorance. Unlike some scholars who tout rational choice on purely predictive or heuristic grounds, Somin claims that it also offers a more accurate description of reality, in this case better explaining the findings of empirical public-opinion research. In this essay, I compare Somin's central concept of rational ignorance and the related concept of “rational irrationality” with the earlier explanatory approach (...) taken by Austrian economist Joseph Schumpeter in his classic study, Capitalism, Socialism and Democracy. While Schumpeter developed his description of the mass democratic citizenry over 70 years ago—prior to any of the significant empirical studies of American public opinion—its broad approach remains at least as persuasive as Somin's. (shrink)

In an article published in 2009 titled "How Do Mādhyamikas Think?" I tried to go some distance with Yasuo Deguchi, Jay Garfield, and Graham Priest (henceforth "DGP") in reading certain Buddhist texts as dialetheist.1 The dialetheism that I saw as plausible for the Prajñāpāramitā-sūtras and Nāgārjuna was not the full-blown robust variety of DGP (i.e., acceptance of the truth of some statement of the form p & ¬p) but a non-adjunctive variety, acceptance of p and acceptance of ¬p. In short, (...) the adjunctive move to p & ¬p is blocked.In the article, I focused on texts like the Vajracchedikā Prajñāpāramitā-sūtra ("Diamond Cutter Suūtra") with its famous "signature formulae" along the lines of "x does not exist / x is not .. (shrink)

This editor's preface introduces a special issue of Critical Horizons on the theme of “contestatory cosmopolitanism.” After identifying the broad failings of the standard cosmopolitan appeal to global community, it presents the defining features of the “contestatory” alternative and introduces the papers in light of them.