The article presents a basic perception regarding social contract theory which is considered to be one of the most well-known and influential theories in western political philosophy. By exploring the concepts of social contract theory suggested by Thomas Hobbes and John Locke, an attempt is made to reveal various features and characteristics of the natural state. The article discusses the general description of the state of nature as well as the process of establishing a social contract as a means of (...) formation of civil society. (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)

Abstract: This essay examines the thoughts and actions of the eponymous hero Hamlet of Shakespeare's tragedy from the perspective of existential philosophy. The death of his father, the prompt remarriage of his mother and Ophelia's rejection of his love are interpreted as Jaspersian boundary situations. Burdened with the responsibility to avenge his father's murder, Hamlet faces an existential dilemma of either being a dutiful son or being true to himself. As he loses faith in the goodness of the (...) world and confronts death, Hamlet enters a protracted phase of foundering, suffused with despair and self-loathing. The customary rational way of thinking fails him and his soul becomes shipwrecked. But this is also the beginning of Hamlet's journey toward authentic selfhood and becoming the Existenz that he potentially is. Affirming life with all of its absurdity in a moment of transcendence, he attains a kind of happiness that Camus addresses in The Myth of Sisyphus. Keywords: Hamlet; Jaspers, Karl; Kierkegaard, Søren; Nietzsche, Friedr. (shrink)

The article focuses on a philosophical issue of the Renaissance humanism in William Shakespeare's Hamlet. The humanist tradition originated in Greece with the famous statement “Of all things man is the measure” (Protagoras of Abdera, 485-415 BCE), but it was not until the Renaissance that it reached its peak and became a doctrine. The article focuses on the humanism of the Renaissance, with its glorification of the image of the "giant man," which is mainly expressed in the work of (...) William Shakespeare. By pointing out the nature of Renaissance humanism, the article emphasizes Hamlet's play as a typical work of Renaissance humanism. (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)

This article explores the contradictory nature of the ghost in Hamlet and shows how Shakespeare seeks to manipulate the reader’s response in Hamlet by using contradictions and ambiguities. The article also explores the ways in which the reader responds to these contradictions and reconstructs a palpable world in the impalpable world of the text. These contradictions compel the reader to participate in the composition of the text and make him keep changing his own approach to the work with (...) the result that the more he reads the play, the deeper he finds himself entrenched in contradictions. As he fails to grasp the logic of events, the reader relates his own world to the text instead of relating the events of the text to his world and recreates his own world. Therefore, he can easily detach himself from the text and let his imagination run loose as the play proves too vague for him to comprehend. In reading Hamlet, the imagination runs wild and travels far beyond the text to an extent where the reader perceives things, which stand not within but utterly outside the text. Eventually, the reality achieved by the reader in the course of reading the play is only the reality which dwells in the innermost recesses of his mind. (shrink)

This chapter presents the core challenge before Hamlet as that of achieving authenticity in the face of inner multiplicity. Authenticity—which this chapter will take to mean (1) acting on the (2) knowledge of (3) what one truly is, beneath one’s various masks and social roles—becomes a particularly pressing need under conditions of (early) modernity, when traditional forms of action-guidance are at least halfway off the table. But authenticity is highly problematic when the self that is discovered turns out to (...) be multiple. Which self, exactly, should one be true to? Hamlet’s solution, this chapter suggests, is an “actor’s ethos,” in which each of his aspects is given its day in the sun, granted full commitment by means of what we now call “method acting.” That is what Hamlet learns from the players—and that too is what we stand to learn from _Hamlet_: not an idea but a method. (shrink)

The aim of this paper is to explore why Deleuze takes up Hamlet's claim that ‘time is out of joint’. In the first part of this paper, I explore this claim by looking at how Deleuze relates it to Plato's Timaeus and its conception of the relationship between movement and time. Once we have seen how time functions when it is ‘in joint’, I explore what it would mean for time to no longer be understood in terms of an (...) underlying rational structure. The claim can be understood as about a relationship between time and action. In the second part of this paper, I want to relate this new understanding of time to Hamlet itself, in order to see how temporality operates within the play. I will conclude by relating these two different conceptions of time out of joint to one another through Nietzsche's eternal return. (shrink)

An early work in literary interpretation and analysis.

A complete self analysis on portrait of different dimensions through human characters in the society still...

One of the most popular facets of Schmitt's philosophy is his theory of sovereignty and decisionism, as developed in his early essay Political Theology (1922). There, Schmitt offers an original outlook on the political implications of the secularization of modern Europe and philosophy's purported turn away from theology. The “death of God,” along with the gradual disappearance of the political institution of monarchy, are only symbols of the decline of sovereignty in general. What is lost in the process is not (...) sovereignty as such, since it can assume new forms, such as “reason,” “nature,” “the people,” or “the state.” What…. (shrink)

As Shakespeare is closer in time and spirit to medieval psychology than to popular modern explanations of psyche, this article presents a fourfold analysis of ecstasy from Aquinas' Summa Theologiae to examine the characters of the play. I also suggest performance choices which make a variety of these ecstasies of soul more visible.

Using William Shakespeare’s Hamlet and the play-within-the play, The Murder of Gonzago, as a case study, this essay argues that theatrical utterances constitute a special case of language usage not previously elucidated: the utterance of a statement with propositional content in theatre functions as an event. In short, the propositional content of a particular p (e.g. p1, p2, p3 …), whether or not it is true, is only understood—and understood to be true—if p1 is uttered in a particular time, (...) place, and situation (i.e. during a theatrical event); otherwise, the propositional content in those theatrical utterances can either be false or contingently true. (shrink)

Research is increasing becoming AI dependent and is being done for fulfilment of various academic requirements. Researchers are spending a lot of time 'reinventing the wheel' and use word-padding to trick themselves and their examiners/peers happy. Often bibligraphies are longer than the research papers just to impress others. Often researchers do not know how to cita and rely solely on machine-created bibliographies which are insufficient bibligraphies. They tend to follow the letter of the law, discarding the spirit of the law. (...) While discussing research, the author comments on the Kathleen O'Connor; Graham Greene, Dracula, Hamlet, Blake, Plato and Augistine of Hippo. And Hannah Arendt. Some of his observations in this essay are unique; like he asks Levinas scholars to interrogate certain lines of thoughts which have hitherto not considered. In short, he teaches how to connect the dots. Here and in the Herald he has pointed out the contributions of Fr. Adrian Van Kaam, these need to be worked on by others in the field. An entire section is on Hindu religious research in terms of the Anuttara Trika. Another section is on Gerard Manley Hokins and sprung rhytm. A very interesting observation which he touches on is Samkhya and Plato. Through these and many more examples this essay tries to cleanse the research process of blah and abracadabra. (shrink)

Schopenhauer repeatedly claims that suicide is both foolish and futile. But while many commentators have expressed sympathy for his charge of foolishness, most regard his charge of futility as indefensible even within his own system. In this paper, I offer a defense of Schopenhauer’s futility charge, based on metaphysical and psychological considerations. On the metaphysical front, Schopenhauer’s view implies that psychological connections extend beyond death. Drawing on Parfit’s discussion of personal identity, I argue that those connections have personal significance, such (...) that suicide does not allow one, as Hamlet hopes, simply “not to be.” On the psychological front, I argue that a distinction between agents’ intentions and underlying desires makes room for Schopenhauer to claim that paradigmatic suicidal agents ultimately desire the opposite of what suicide accomplishes. I conclude by showing how the resulting account of futility can buttress the charge of foolishness as well. My interpretation still leaves Schopenhauer vulnerable to certain objections, but shows that his account is significantly more defensible than previous commentators have realized. (shrink)

In a very literarily complicated setting, Frater Taciturnus sets a remark about Hamlet not being a Christian tragedy. After unpeeling that literary setting and noting that Taciturnus' remark aims more at Jacob Börne than at Shakespeare, the paper shows how Frater Taciturnus' remark calls into question the religious project of a certain danish author. For, Taciturnus' primary concern is to show that religious drama is not possible, or at least "ought not be." This general law applies to Hamlet (...) as well, and if Shakespeare was attempting a religious drama he a) shouldn't have because such a thing is essentially undramatizable, and b) failed because he did not begin (which would be possible) by showing the hero's religious presuppositions. Frater Taciturnus himself has given considerable thought to the extent and the manner in which the religious can be represented; in fact the letter to the reader is his proof of how perfectly his own narrative, "Guilty/Not Guilty," was constructed with precisely these problems in mind. The play is not the thing that Taciturnus is really interested in, nor is he interested in the playwright's intentions, he considers that the play's the thing that catches out Börne's misunderstanding of the religious, and it is this field—in particular, that area where the religious life and literary art intersect, that is the brother's interest and forte. But if Taciturnus is correct in his criticism of Börne, it should be impossible for S. Kierkegaard to produce a religious authorship as well. (shrink)

contents: -/- 1. the Romantic fragment 2. life would want to die, a little 3. pain itself is the meaning, in Nietzsche 4. martyrs do not underrate the body 5. inwardly, an Actor prepares 5b. brother, bro: it's only you that overhears you 5c. J is like Hamlet / Herzog / Holden Caulfield / Raskolnikov 5d. they take him to a basement and they feed him METH 6. a surface is revealed / the depths are all inferred 6b. my (...) Self is all depth: a long internal vertical 6c. Joyce knows not the inside of ideas 6d. perception of depth is maladaptive 7. by knowing Death, humans are the Woken Ones 8. all as straw, or graphomania 8b. i tend to write thru / tho unless i'm imitating English 9. Finnegans Wake as Literature's endgame 10. Hard Realism: Hemingway, Knausgård 11. the cause of pain, in Buddhism 11b. duḥkha is uh-hukha: the gut's double throb. (shrink)

I give cases where the contrast between "if Shakespeare had not written Hamlet someone else would have" and "if Shakespeare did not write Hamlet and someone else did"is found in future tense sentences. This is often denied.

The primary intention of this book is to elucidate the relations between sensory perception and art as a form of knowledge. This enables us to understand how different kinds of art are given their meaning not only from observation, resemblance and reason but also from an artist’s sensitivity to the inner form of sensory experience as it is realized in perception, reflection, memory and imagination. By assuming a number of different points of view, Part 1 shows how the physical object (...) and the act of sensory perception are logically interdependent, and I give my elaboration of this argument two kinds of emphasis. In the first place, it opposes all arguments that support a merging of the mental and physical, as in idealism, materialism, neutral monism and panpsychism. A conceptual distinction is observed because sensory perception gives the physical object its identity. This idea also implies that the physical object is only realized by sentient life - self-aware inner life and a world become possible simultaneously. The second emphasis concerns the mind-body problem, and towards the end of Part 1 I offer an argument which places this problem in a certain light by representing the brain not as a physical counterpart to inner experience but as essentially instrumental to perception and self-awareness, and related experience. The argument in Part 2 is distinguished by a sense of continuity between the nature of sensory perception and the formal resources of artists in both physical and literary media. Hence, in a discussion of Titian’s Assumption of the Virgin, I indicate ways in which the painter conveys the inner experience and character of the figures in the painting by means of compositional design, light and colour, and thereby uses these and other sensuous resources to portray human life and experience. This is followed by a discussion of two sonnets by Shakespeare, in which the same general aim is pursued by using the literary resources of figurative language. Finally, a discussion of Hamlet shows how, in this work, the augmentation of figurative language by dramatic form strengthens the view that art can provide a form of knowledge that is based as completely upon intuition about our sensory experience as it is upon reason and observation. Just as my (true) perception of a cup as a vessel for drinking tea or coffee arises immediately from past experience, so the dramatist can see immediately from his or her past experience how a character might perceive things and behave. -/- . (shrink)

There are more things between heaven and earth than are dreamt of in our philosophy, says Hamlet. Right. But there are also philosophies that have dreamt of things that are neither here nor there, as Goodman says. There is a danger of suffering from ontological myopia just as there is a danger of suffering from ontological allucination. This paper is about some basic strategies that are available to (or have been elaborated by) philosophers to steer clear of both dangers (...) in their efforts to draw up a good inventory of what there is. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mother-Daughter Relations and the Maternal in Irigaray and ChodorowAlison StoneGod the Father and Jesus the Son; Abraham and Isaac; Uranus, Cronus, and Zeus; Zeus and Dionysus; Hamlet and his father; Fyodor Karamazov and his three sons—representations of and fantasies about father-son relationships are central to Western culture and philosophy. Within philosophy, one thinks of Hegel’s conception of the dialectic in terms of the divine trinity, Nietzsche’s preoccupation with (...) Christ and Dionysus, or Kierkegaard’s meditations on Abraham’s near-murder of Isaac. In contrast, mother-daughter relationships have been shrouded in near-universal silence—much more so than representations of either mothers and sons (Oedipus and Jocasta; Mary and Jesus) or fathers and daughters (Agamemnon and Iphigenia; Lear and Cordelia). Female and feminist theorists, writers, and artists have done much to bring mother-daughter relationships into representation and to reimagine the maternal beyond its traditional subservience to father-son dynasties.Amongst continental feminists, Luce Irigaray and Julia Kristeva have, of course, made major contributions to this task. Within Anglophone feminism, too, feminist psychoanalytic thinkers have sought to rectify Freud’s overemphasis on the paternal and on father-son relations. Nancy Chodorow’s important work in this area paints a portrait of contemporary mother-daughter relations which seems, at first sight, strikingly similar to Irigaray’s. Both thinkers suggest that mothers and their infant daughters experience a unique level of mutual identification. But under patriarchy—specifically, given exclusively female childrearing for Chodorow and given the absence of any symbolization of female subjectivity for Irigaray—daughters are forced to turn to the father [End Page 45] to achieve any psychical independence from their mothers. The independence that daughters thus attain coexists with ongoing psychical identification with their mothers, so that women oscillate endlessly between separation from and mergence with their mothers. If the dominant template for father-son relations involves violent rivalry followed by guilt-ridden father-worship as the cement of fraternal society, as Freud described in Totem and Taboo (Freud 2001), the template for mother-daughter relations involves hostile separation constantly undone by ongoing fusion. This difference in templates maps the social-symbolic difference between the paternal position of power/authority/law and the maternal position of powerlessness/silence/body.However, the manifest similarities between Irigaray’s and Chodorow’s pictures are embedded in deep theoretical differences. The details of their descriptions of mother-daughter relations differ, and they give different explanations for why these relations follow a logic of separation and fusion: female mothering for Chodorow, the paternal symbolic order for Irigaray. They make different proposals for how to change these relations: shared parenting for Chodorow versus symbolic transformation for Irigaray. They hold conflicting conceptions of the self and of language, reflecting their heterogeneous psychoanalytic backgrounds in Anglo-American object relations versus French Lacanianism and poststructuralism. These deep differences raise questions about whether Chodorow and Irigaray are discussing mother-daughter relations in the same sense at all.Bringing Irigaray and Chodorow together across their different intellectual contexts, this article compares and partially synthesizes their visions of the maternal and of mother-daughter relations. By integrating their perspectives, we can move beyond the “impasse” between Lacanian and object-relations feminisms that dominated psychoanalytic feminist debates in the 1980s and 1990s (Brennan 1991)—debates that have crucially shaped continental feminists’ orientation towards questions of sexual difference, language and representation, and the embodied psyche.The impasse in question has at least two strands. First, for object-relations feminists such as Chodorow, our pre-Oedipal relations with our mothers shape us so that we acquire “core” selves with a fairly stable gender. This approach elevates the mother in importance (compared to classical psychoanalysis with its emphasis on the father), but it loses sight of psychic and gender instability. This can make Chodorow’s views seem rather dated given the impact of Judith Butler’s work and her emphasis on the unstable, shifting nature of gender. Lacanian feminists such as Jacquelyn Rose (Rose 1986) reemphasize psychic instability, but they do so by stressing that the subject is split between paternal language and the pre-Oedipal maternal realm, which means that these theorists also... (shrink)

There is a lesson from the woods--Bollywood, Kollywood, Mollywood, and Tollywood--of make-believe, which speaks to the core concern of science: the practice of science. Puspha, an Indian movie that brought the movie industry to its senses, with its global popularity has this to say: Be thyself; keep it real. Situated in a remote region aeons apart from the vast concrete and intimate plastic world we are familiar with, the happenings in the distant and alien universe of discourse--a hamlet adjacent (...) to tribals, forest, and nature--is surprisingly universally relatable. Here I show how the unity of being and the attendant naturality of becoming or, in the words of Tolkien, "the inner consistency of reality" of Pushpa is what made people all over the world relate to each and every character/scene in Pushpa. In doing so, I bring out its (arts and/or humanities) relevance to the practice of science in general and science policy in particular, with emphasis on changing human behaviour, especially in the context of COVID. (shrink)

The review of this anthology of essays shows the lifelessness of the contributors. They systematically misread everyone from Plato to Kierkegaard. The false ratiocination about love is also foregrounded in this review. Earlier this reviewer had the misfortune to review The Oxford Handbook of the Philosophy of Death . Then an American cloistered Benedictine Abbot wrote to this author in an email this: ""Yes, indeed, the book is not very serious. When the authors die some day, they will understand better, (...) as we all shall see". And this same Abbot has written this after reading this review: "Yes, Professor, for some time now, our Western culture, having lost its reference to authentic Christianity, prefers to indulge in the self-pity of a kind of false heroism of resignation in the face of death. There is no sense of immortality, therefore, the modern Hamlet perceives himself as a tragic hero who glories in his empty agnosticism and admires his own resolution in the face of the inevitable. Neither East nor West ever really lived from such a Philosophy: only the decadent Christian or Jew. But the reality is elsewhere. Thanks. " It must be remarked I am just a tenured Assistant Professor but the Abbot does not listen. Further, this book along with that earlier book this author reviewed on the philosophy of death can now be contextualized in the light of the resurgence of Covid 19. Basic epidemiology says its going nowhere soon. Therefore everyone everywhere has experienced death in ways we never imagined. The contributors to this anthology too were too glib in their times. And now, they have experienced death. These books arise from loveless lives which hover around departmental chairs and absurd academic flip-flops to gain brownie points. Perhaps, they were all as prescient as the Abbot. The editor, for reasons known alone to him, has given the meaning of facile in square brackets. (shrink)

This dissertation is an attempt to find a single framework for understanding two seemingly conflicting aspects of Nabokov's Russian novels---the metaphysical and the existential. The metaphysical aspect is analyzed according to Leibniz's "Monadology," with its key concepts of the monad, pre-established harmony, the optimization of the universe, and sufficient reason. The existential aspect is examined according to Sartre's theory of the gaze from "Being and Nothingness"; its main notions are being-for-another, radical individuation and intersubjective struggle. Concern with the level of (...) being is assumed to be the most basic and unifying element of the Nabokovian worldview. It is shown that Nabokov conceives individual being as value, and that he understands self-authorship as self-ownership. The value of individual being is threatened by intersubjective contact: the other, via the gaze, can undermine its property status, and eventually alienate it. All particular plots are derived from these underlying premises. The key Nabokovian themes of blindness, non-transparency, loss, memory and art are demonstrated to refer back to the root concepts of the gaze and self-protection. ;The dissertation develops two original conceptual tools: a theory of unreliable focalization and a theory of paranoid experience ;Close readings of Nabokov's texts have resulted in several philological findings. Structural and textual parallels have been discovered between "Mashen'ka" and Shakespeare's "Hamlet," as well as between "Priglashenie na kazn'" and Descartes' "Meditations." It has also been shown that the protagonist's story in "Zashchita Luzhina" is repeated four times and not two. (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)

Alexander Pope's An Essay on Man is part of a long tradition of meditating on the human person. In this review the antecedents of Modernism are revised and the Pope's Essay is reinstated as a tour de force which is all the more pertinent today.

In Politics of Friendship, the aporias of friendship transposed to democracy indicate that if democracy is a promise of the universal inclusiveness of each singular one counting equally, and if its fraternal or national limitation naturalizes the ineluctable decision of inclusion and exclusion, then true friendship requires dis-proportion. It demands a certain rupture in reciprocity and equality, as well as the interruption of all fusion between the you and the me. In this way democracy remains an un-fulfillable promise. In what (...) follows, an imaginary voyage to Europe inspired by the so-called Syracuse-paradigm, by means of a close reading of Derrida‘s The Other Heading: Reflections on Today's Europe, a sort of ’untimely meditation’ a la Nietzsche, I critically argue that Derrida’s idea of European identity, begotten by the irruption of the other, involves the radical other as a force that shows the limits of identity and of the self. Re-viewed, revisited and re-thought in the optic of the deconstructive standpoint, The Other Heading acquires a new light focusing on the possible/impossible relation between the political and the ethical (the Other Heading, i.e. democracy to come, Europe to come). The deconstructive standpoint I use here falls within the well known Derrida’s binary conception that undergird his way of thinking: presence/absence, speech/writing, and so forth. (shrink)