This article explores the Nuffield Council on Bioethics’ recent report about non-invasive prenatal testing. Given that such testing is likely to become the norm, it is important to question whether there should be some ethical parameters regarding its use. The article engages with the viewpoints of Jeff McMahan, Julian Savulescu, Stephen Wilkinson and other commentators on prenatal ethics. The authors argue that there are a variety of moral considerations that legitimately play a significant role with regard to (prospective) parental decision-making (...) in the context of NIPT, for example, views on the morality of abortion and understandings of the impact of disability on quality of life. The variable nature of such considerations, both singularly and combined, suggests that any approach to NIPT should be sensitive to and understanding of similarly variable parental assessments and decisions. The implications of the approach developed for current and future policies in this area are explored, along with the impact of such arguments on ideas about procreative beneficence. (shrink)

Sutton's review of Renaissance Magic and the Return of the Golden Age.

"Men have died from time to time, and worms have eaten them, but not for love."Satyajit Ray Wikipedia The Free Encyclopedia 2015 .

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

This is the English translation (with a brief introduction and relatively detailed commentary) of a long excerpt from Mikhail Bakhtin's notes titled "Additions and changes to Rabelais", written in the mid-1940s with reworking his then unpublished manuscript on François Rabelais in mind. This excerpt is most notable for being the only extant text in which Bakhtin discusses and analyses Shakespear's tragedies at relative length—a discussion interesting not only as a reading of Shakespeare, but also as an unusual and revealing (...) example of Bakhtin's thought. In addition to Shakespeare, the text deals briefly with Dostoevsky's novels and with Goethe's Faust, as well as with several themes Bakhtin develops in his better-known works, such as Menippean satire, seriousness, and laughter. (shrink)

the Cathedral's central prop as a war trophy, tribute from the client state Judea. also: the First Folio as Royalist propaganda.

Los autores realizan un análisis comparativo entre The Tempest de Willian Shakespeare y La Tempestad de Augusto Boal, siguiendo la pauta de este último autor, quien ve en su obra no la adaptación de la del clásico dramaturgo inglés, sino la respuesta a aquella desde la perspectiva de Caliban y no de Próspero.

"But he that filches from me my good name Robs me of that which not enriches him, And makes me poor indeed." (Othello) -/- ( http://philpapers.org/profile/112741 ).

Machiavelli’s work is a commentary on the power politics that frame Shakespeare’s tragedies and histories, and Shakespeare’s villains bring to life the inherent dangerousness of Machiavelli’s philosophy. Because their writings appear to illuminate each other in this way, because they constantly remind us of each other, several questions arise: what did Shakespeare know about Machiavelli? What did he think of Machiavelli’s philosophy as it’s normally construed, that is, as a kind of completely unscrupulous political realism? To what (...) extent had the figure of the Machiavel already been articulated within the Elizabethan literary world when Shakespeare got a hold of it? Was the Tutor sense of Machiavelli’s thought accurate? If not, what was the pervasive sense of Machiavelli in Shakespeare’s culture? (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)

Wittgenstein's lack of sympathy for Shakespeare's works has been well noted by George Steiner and Harold Bloom among others. Wittgenstein writes in 1950, for instance: "It seems to me as though his pieces are, as it were, enormous sketches, not paintings; as though they were dashed off by someone who could permit himself anything, so to speak. And I understand how someone may admire this & call it supreme art, but I don't like it." Of course, the animosity of (...) one great mind for another has its own interest. But the interest here is increased by two factors: (1) Wittgenstein's brief but specific critique of Shakespeare's similes, of interest particularly since he identifies his own philosophical strength half-deprecatingly but still seriously as one of crafting beautiful similes; and (2) Wittgenstein's and Shakespeare's shared concern, as revealed in Stanley Cavell's writings, with the human impulse to skepticism. The present paper considers the importance of these two factors in weighing Wittgenstein's judgment. It suggests that Wittgenstein's frequent charge that Shakespeare is "completely unrealistic" is not a misunderstanding of the Bard (Wittgenstein distinguishes his "failure to understand" from others' willingness to misunderstand Shakespeare) but rather an expression of Wittgenstein's anxiety over Shakespeare's wholly original use of language to represent the sound of the raw motives to skepticism. (shrink)

Michael Ryan's Literary Theory: A Practical Introduction, Second Edition introduces students to the full range of contemporary approaches to the study of literature and culture, from Formalism, Structuralism, and Historicism to Ethnic Studies, Gender Studies, and Global English. Introduces readings from a variety of theoretical perspectives, on classic literary texts. Demonstrates how the varying perspectives on texts can lead to different interpretations of the same work. Contains an accessible account of different theoretical approaches An ideal resource for use in introductory (...) courses on literary theory and criticism. Designed to function both as a stand-alone text and a companion to Rivkin and Ryan’s Literary Theory: An Anthology, Second Edition. (shrink)

This is my first book from Partridge International In Association with Penguin Random House in 2018. I wanted to enrich self through my creativity on selected topics as far as a Google Scholar.

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)

Shakespeare's works present intriguing explorations of law and legal theory. They help demonstrate the flaws in command-theory positivism, natural law theory and prediction theory accounts of the law. This is a simultaneously-published abbreviated version of a longer article published in Acta Iuridica Olomucensia in 2010.

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)

Generalisation, universal knowledge claims, and recommendations within disaster studies are problematic because they lead to miscommunication and the misapplication of actionable knowledge. The consequences and impacts thereof are not often considered by experts; forgone as irrelevant to the academic division of labour. There is a disconnect between expert assertions for disaster risk reduction (DRR) and their practical suitability for laypersons. Experts currently assert independently of the context within which protective action measures (PAMs) are to be used, measures unconnected to the (...) people for whom they are developed. This has knock-on effects for DRR: much expert-generated science and policy remains unused, unimplemented, and sometimes misapplied. I use philosophical accounts of assertion and epistemic blame to highlight the epistemic relationship between experts and laypersons. This relationship includes responsibilities and agreements between epistemic agents. Since multilevel DRR knowledge still transfers top-down from experts to laypersons, if experts impair the epistemic relationship, they can be held epistemically blameworthy. To address the pervasiveness of top-down systems, I analyse the epistemic framings and narratives currently shaping DRR, and more specifically PAMs and campaigns. I deconstruct universal perspectives that dominate the epistemic processes of generating, disseminating, and implementing DRR knowledge and specifically for co-seismic landslide PAMs for Nepal. I argue for more inclusive, contextual, and epistemically responsible DRR. Co-production of knowledge should begin from the standpoints of marginalised persons who may have an epistemic advantage due to their socio-politically marginalised positions. Often these epistemic contributions are left out of DRR efforts because marginalised persons are rarely afforded equal, if any, epistemic agency, which results in epistemic gaps and a large pool of relevant knowledge remaining unincorporated and unused in DRR research and policy. (shrink)

This contribution addresses issues of interpretation and translation in Derrida’s reading of Shakespeare’s Merchant of Venice in relation to the supposed opposition of the letter and the spirit of the law. Rather than supporting a supersession of the law’s letter in favor of its spirit and advocating a sublation of the law by means of mercy, as a traditional reading suggests, this essay’s reading of Shakespeare’s play suggests that it deconstructs the underlying opposition. By linking the insistence on (...) “the letter of the law” not to a kind of literalism or blind compliance with the law, but instead to an insistence on the textuality of the law, such a reading elucidates the law’s need for interpretation and highlights how the attempt to surpass the letter of the law involves a threat of a fundamental injustice. (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)

Résumé -/- Cet article vise à expliquer comment Shakespeare articule une philosophie de la nature dans Le Conte d’hiver. Nous suggérons que la spécificité dramatique de la pièce ainsi que son schéma narratif expriment cette philosophie. D’une part, l’histoire racontée par la plume de Shakespeare peut montrer d’abord un éloignement de la nature pour laisser suivre une redécouverte et une renaissance de la nature – d’abord par son acception simple, brute, puis dans la compréhension téléologique de celle-ci. D’autre (...) part, la succession de la tragédie, la comédie et la romance illustre ces trois étapes. Le triomphe de la romance indique le triomphe d’une philosophie de la nature dont les causes les plus importantes sont d’ordres téléologique. -/- Abstract -/- This article aims to explain how Shakespeare shows a philosophy of nature in The Winter’s Tale. We suggest that both the dramatic and narrative specificities of the play express this philosophy. On one hand, the story told by Shakespeare’s writing can show a remoteness from nature which is to be followed by a rediscovery and a rebirth of nature – first with its rawest meaning and finally in its teleological understanding. On the other hand, the succession of tragedy, comedy and romance illustrates those three steps. The triumph of romance indicates the triumph of a philosophy of nature in which the most important causes are the teleological ones. (shrink)

Analytic philosophers have a tendency to forget that they are human beings, and one of the reasons that P. F. Strawson’s 1962 essay, “Freedom and Resentment”, has been so influential is that it promises to bring discussions of moral responsibility back down to earth. Strawson encouraged us to “keep before our minds...what it is actually like to be involved in ordinary interpersonal relationships”, which is, after all, the context in which questions about responsibility arise in the first place. In this (...) essay I explore what we can learn about ordinary interpersonal relationships from three works of literature – Shakespeare’s King Lear, Jane Austen’s Persuasion, and Graham Greene’s The End of the Affair. My intention is to try to heed Strawson’s advice without imposing upon the data any particular theoretical agenda, and my hope is that the data collected will prove useful for future theorizing about responsibility. (shrink)

This article seeks to explore the different strategies the Bard uses in order to evoke sympathy in the reader for Macbeth who is so persistent in the path of evil. What strategy does Shakespeare use in order to provoke such a deep emotional response from his readers? By using paradoxes in the play, the Bard creates a world of illusion, fear and wild imagination. The paradoxical world in Macbeth startles us into marvel and fear, challenges our commonly held opinions, (...) and reshapes our thought in the process (Platt 8). As the text involves the reader in the formation of illusion and the simultaneous formation of the means whereby the illusion is punctured, “reading reflects the process by which we gain experience. Once the reader is entangled, his own preconceptions are continually overtaken so that the text becomes his present while his own ideas fade into the past. As soon as it happens, he is open to the immediate experience of the text” (Iser, The Implied Reader 290). Mesmerised by Macbeth’s powerful imagination and poetic language, the reader engages in a dialogical interaction with the play and eventually finds light in the murky world of the text. Regardless of Macbeth’s diabolical world, the reader ventures into it, shares it with him and ultimately wakes up from its dizzying stupor. In reading Macbeth, the reader leaves behind the familiar world of his experience in order to participate in the adventure the text offers him. The edifying effect of the tragedy in the end is the reward the reader reaps after eventually waking up from the nightmarish dream of the text. (shrink)

The aim of this paper is to explore the metaphysical foundations of Throne of Blood , Kurosawa's reworking of Shakespeare's Macbeth . Using Hegel's theory of tragedy, I develop the distinction between Greek and modern tragedy, with their differing bases in ethical and subjective freedom. I then show that Noh drama also includes a very different metaphysical account, stemming from its theoretical roots in Buddhism. I then use these three differing accounts (Greek, modern and Noh drama) to explore the (...) effect of Kurosawa's use Noh aesthetics in Throne of Blood on the metaphysical ground of the film itself. (shrink)

Transformations are not only conditioned by facts encompassing narrower or wider panoramas: from concentrating on death and one (political) role (the ode of Horace), through recalling Cleopatra’s mature life and love (the drama of Shakespeare), to creating an image embracing the heroine’s whole life with its numerous roles, but as a mother and a daughter in the first place, because even her lovers resemble a father and a child (the fictional biography of Karen Essex). Above all, they appear to (...) be more connected with different attitudes towards universal references lying within human cognitive abilities. Horace’s didactic opposition of contradictory patterns leads to the victory of one of them — and it is a linear pattern, as an equivalent of modern myth, which is accepted by the author himself. In Shakespeare, it takes a form of tragedy resulting from the fragmentary character of each pattern, one of which introduces change (archaic myth) and the other constancy (modern myth), and from a painful attempt to combine them. In Essex, the vision of the world in which archaic myth, strongly represented by a child, triumphs is utopian. Irrespective of the differences, all the works realize the essential role played by images developed by heroes, and especially by authors, in human cognition. (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)

Each of us is not just a set of actions, experiences, and plans but also a set of traits, capacities, and attitudes; we are as much our character as our life. And while story form can help unify a messy life, when it comes to a messy character, we may need something like the form of a poem. Could we model our self-conception, then, on a work like Sonnet 35? In finding deep-going unity—and even bittersweet beauty—beneath surface-level ambivalence, Sonnet 35 (...) arguably offers a perfect formal model, pointing the way to a transfiguration, through art, of intractable internal conflict. (shrink)

Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) led (...) to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

Abstract: Contemporary analytic philosophers of the “reactive attitudes” tend to share a simple conception of guilt as “self-directed blame”—roughly, an “unpleasant affect” felt in combination with, or in response to, the thought that one has violated a moral requirement, evinced substandard “quality of will,” or is blameworthy. I believe that this simple conception is inadequate. As an alternative, I offer my own theory of guilt’s logic and its connection to morality. In doing so, I attempt to articulate guilt’s defining thought (...) or proposition through an extended investigation and analysis of guilt’s many competing metaphors, which I trace from the Hebrew Bible to the New Testament to Shakespeare to contemporary vernacular. My interpretation of this literary genealogy offers a way to understand guilt’s seemingly disparate metaphors in terms of a single master-image that illuminates our self-conceptions and our relationship to morality. I conclude by making a very brief start toward a moral vindication of guilt against the backdrop of Nietzschean and Freudian analyses that explicitly call guilt’s place in a healthy social and personal life into question. I suggest that once guilt’s logic is made explicit, we can see that it makes sense of, honors, and addresses some of our deepest aspirations and needs. (shrink)

This paper reconsiders the Idealistic aesthetics of tragedy from an unconventional point of view. It investigates the relationship between theory and dramatic canon by focusing on those works and authors that are excluded from the canon by the theoretical discourse. My aim is to show that Idealist philosophers and Romantic critics concur in constructing a unitary model of the tragic conflict that is partly defined through its contraposition to the ‘Senecan’ conception of tragedy as a representation of suffering and as (...) a dialectic of passions. Seneca here stands for an entire line of European dramaturgy, which involves Shakespeare and culminates in French Classicism. This contrast does not merely concern a literary model, but also, more generally, the conception of subjectivity underlying the dramaturgy of passions. This paper thus helps to shed light on the controversial relationship between the idealistic philosophy of the tragic with modern tragedy at large. -/- Keywords: Theory of Tragedy, Idealism, Seneca, Hegel, Pathos . (shrink)

How can intellectuals who oppose the illegitimate war in Iraq come to similar terms with the U.S. neoconservatives, and their unrepentant British collaborators, who have stranded us in it? In the Tempest, Shakespeare’s most political play, comedy though it is meant to be, intellectuals are warned not to consider themselves guiltless. But how can those who marched against the war, or who tried to speak truth to power in other ways, be guilty of its misuses? Surely this is too (...) harsh a view of the role of the public intellectual. What choice did Prospero really have? He was exiled, hapless, stranded. What choice do intellectuals who are against the war have? We, too, are powerless. Aren’t we? (shrink)

I observe that the aim and method of a Victorian text within Shakespeare criticism overlaps significantly with deconstruction.

"I have a tree, which grows here in my close, / That mine own use invites me to cut down, / And shortly I must fell it" (Shakespeare 2001, 168)—Timon's lament, which in Shakespeare's rendition occurs shortly before its utterer's demise "upon the beached verge of the salt flood" (2001, 168) beyond the perimeter of Athens, is an indictment of the nature that Timon finds unable to escape. Having given away his wealth in misguided generosity to a host (...) of parasitic sycophants, Timon turns misanthropic when his "friends" reject his requests for help in kind to repay his debts, eventually exiling himself from the city with the intent of sustaining himself on nothing but water and roots. Yet he soon finds that removing .. (shrink)

After viewing a painting, reading a novel, or seeing a film, audiences often feel that they improve their cognitive standing on the world beyond the canvas, page, or screen. To learn from art in this way, I argue audiences must employ high degrees of epistemic autonomy and creativity, engaging in a process I call ‘insight through art.’ Some have worried that insight through art uses audience achievements to explain an artwork’s cognitive and artistic value, thereby failing to properly appreciate the (...) cognitive and artistic achievements of artists. I move against this worry by arguing that in order to learn via insight through art audiences must collaborate with artists, sharing the labour and credit for the cognitive achievements they co-produce. I claim this co-productive outlook reveals that our appreciation of art’s cognitive and artistic value involves far more audience participation than has hitherto been realised. (shrink)

Antisemitism is fun. This essay explains why and proposes a new approach to combating it.

An early work in literary interpretation and analysis.

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)

The early modern period was the natural historical habitat of the Principle of Sufficient Reason, i.e., the demand that everything must have a cause, or reason. It is in this period that the principle was explicitly articulated and named, and throughout the period we find numerous formulations and variants of the PSR and its closely related ‘ex nihilo nihil fit’ principle, which the early moderns inherited from medieval philosophy. Contemporary discussions of these principles were not restricted to philosophy. “Nothing will (...) come of nothing; speak again” old King Lear tells his daughter Cordelia at the beginning of Shakespeare’s celebrated tragedy, and in early modern science, conservation principles were the order of the day. Within philosophy, Malebranche stipulates that there cannot be an effect without a cause, and Berkeley motivates his idealism by an appeal to ‘ex nihilo nihil fit.’ Were we to try to provide an exhaustive survey the various formulations of the PSR in this period – including the weaker ones – we would be writing an encyclopedia. In fact, one wonders whether any early modern thinker was willing to accept a wholesale rejection of the PSR, i.e., a view which states that no fact requires an explanation. Moreover, the view that many – perhaps most – facts require an explanation seems to be tacitly assumed even by us today, in both our theoretical and colloquial discourse. For these reasons, this chapter will focus on two early modern philosophers who advocated very strong (i.e., virtually exceptionless) versions of the PSR: Benedict de Spinoza and G.W. Leibniz. Following a brief overview of Descartes’s restricted endorsement of the PSR, I will turn to discuss the central features of the PSR in the writings of Spinoza (§2) and those of Leibniz (§3). In the cases of each of these philosophers, we will examine carefully: (i) their main statements of the PSR, (ii) the scope they assign to the principle (i.e., what requires an explanation and what counts as an explanation), (iii) the modal strength they assign to the principle, (iv) the main implications they draw from the principle, (v) exceptions to the principle, and, finally, (vi) the justification of the principle. In §4, we will study a principle, complementing the PSR, namely, the assertion that everything and every fact must have an effect (or as Leibniz would put it: “nothing is sterile”). (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.

In a recent paper, Justin D’Ambrosio (2020) has offered an empirical argument in support of a negative solution to the puzzle of Macbeth’s dagger—namely, the question of whether, in the famous scene from Shakespeare’s play, Macbeth sees a dagger in front of him. D’Ambrosio’s strategy consists in showing that “seeing” is not an existence-neutral verb; that is, that the way it is used in ordinary language is not neutral with respect to whether its complement exists. In this paper, we (...) offer an empirical argument in favor of an existence-neutral reading of “seeing”. In particular, we argue that existence-neutral readings are readily available to language users. We thus call into question D’Ambrosio’s argument for the claim that Macbeth does not see a dagger. According to our positive solution, Macbeth sees a dagger, even though there is not a dagger in front of him. (shrink)

2021 marks Dylan's 80th birthday and his 60th year in the music world. It invites us to look back on his career and the multitudes that it contains. Is he a song and dance man? A political hero? A protest singer? A self-portrait artist who has yet to paint his masterpiece? Is he Shakespeare in the alley? The greatest living exponent of American music? An ironsmith? Internet radio DJ? Poet (who knows it)? Is he a spiritual and religious parking (...) meter? Judas? The voice of a generation or a false prophet, jokerman, and thief? Dylan is all these and none. The essays in this book explore the Nobel laureate’s masks, collectively reflecting upon their meaning through time, change, movement, and age. They are written by wonderful and diverse set of contributors, all here for his 80th birthday bash: celebrated Dylanologists like Michael Gray and Laura Tenschert; recording artists such as Robyn Hitchcock, Barb Jungr, Amy Rigby, and Emma Swift; and 'the professors’ who all like his looks: David Boucher, Anne Margaret Daniel, Ray Monk, Galen Strawson, and more. Read it on your toaster! (shrink)

This is a short academic book based on Shakespeare’s Macbeth (original). The approach and procedure on writing critical answers of the play is authored on advanced thoughts of the Council for Indian School (XI and XII, ISC). This book can also be used by college students on preliminary understanding to analyse this Shakespearian play as The Prologue of Evil. .....In the play, Hecate is presented as a separate character from three witches who first appear in Act 1, Scene 1. (...) Hecate's role is primarily that of an observer and commentator on actions of Macbeth and the other characters. She serves as a counterpart to Lady Macbeth, as she rules the three witches and is drawn from the Greek goddess of feminine magic. Goethe's judgment of Lady Macbeth as a super witch is the most well-known evaluation of calling her a witch. This is used to describe evil forces she has that are more terrible than three witches in the play.” . (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 -/- ONT vol 1 i. short review: Beyond the Black Rainbow ii. as you die, hold one thought iii. short review: LA JETÉE -/- ONT vol 2 i. maya means ii. short review: SANS SOLEIL iii. vocab iv. eros has an underside v. short review: In the Mood for Love -/- ONT vol 3 i. weed weakens / compels me ii. an Ender's Game after-party iii. playroom is a realm of the dead iv. a precise german History v. short (...) review: STATUES ALSO DIE vi. Kenneth Clark, curator for Fascism vii. a protest poem, in industry lit viii. Lawrence and the English Romance -/- ONT vol 4 i. short review: The Eyes of Tammy Faye ii. vR is efficient R iii. all thru Asia, robes for monks iv. same of God, and of the one God sent v. i thought of the Messiah / muse would be vi. conscience is strong vii. a monk's exalted end -/- ONT vol 5 -/- i. for Shakespeare's Richard the Third ii. the truth is i pass over so many words iii. the boori nazar / nadhar iv. i've awe for jihaad v. short review: Hail, Caesar! vi. a minute of Nothing, gone from YouTube vii. we were rivalrous friends, again viii. my bardo pdf ix. within i'm a weak old mandarin -/- ONT vol 6 i. short review: The Intern ii. the confusion of Chinatown iii. we'll remember water, in Theology iv. Respironics versus ResMed v. i'd bet my life for what vi. the Mad Max deity vii. they'd kill my rat, not heal him -/- ONT vol 7 i. Austen would eroticize all life ii. Merchant/Ivory, a name oddly right iii. Ellie Arroway / Agent Starling iv. abattoir / l’abattoir / laboratoire v. von Neumann's brain an anomaly vi. was terrified of death, delighted in the a-bomb vii. the Greatest Brain is variously named -/- ONT vol 8 i. the day they shot the sacrifice ii. Yay or Nay, on Animal Testing iii. an ought is an is / an is is an ought iv. Behaviorism is for zombies v. a finding from the neuro-lab, on empathy vi. i’ve never had discernible abs vii. a cowardice i'm assenting to perpetually -/- ONT vol 9 i. Day of the Locust / Triffids ii. we're wide on a Paramount soundstage iii. HOLLYWOOD, an ecologic history iv. yet one more site of end-time art v. he's "a bookworm with bulging lobes" vi. apartment is my state of being apart vii. enlightenment means a weight's release -/- ONT lates and xtras i. re Gödel's ontological argument ii. deep in pi's numeric noise iii. from Nothing, something iv. endless in the wrong direction, tragic v. they give you all Eternity to answer vi. what of God's mercy? vii. informed consent and prayer viii. i won't live on. a deed i've done may ix. my selective memory x. Janus means: in close-up foam, two faces xi. a liveable world is a readable world xii. what Supervenes from this? xiii. at each extreme our naming is anachronism xiv. Cat is a collapsing of the wave-function xv. diminishing returns in the history of Experiment xvi. all those undershared Nobels xvii. ice preserves the Cold from heat xviii. a desert spreads xix. Pinker's wit, on jokes xx. Rome surrounds St. Paul / Paul is now the center xxi. each is a gathering Ministry xxii. white boy shot execution-style xxiii. the McDonald's Statement of Claim xxiv. first & last: Don Quixote / Ulysses xxv. The Summer of Rave xxvi. this electro is intrinsically anonymous xxvii. all thru Asia, Drake-Rihanna xxviii. WHO IS BETTER: PLATON OR KANT? (shrink)

It has long been recognised that great art, whether visual art, literature or music, has a special capacity to “live on” – to endure – long after the moment of its creation. Thus, our world of art today includes, for example, ancient Mesopotamian sculpture, Shakespeare’s plays, and the music of medieval times. How does this capacity to endure operate? Or to ask that question another way: what does “endure” mean in the case of art? The Renaissance concluded that art (...) endures because it is timeless – impervious to change, “eternal”, “immortal” – and this solution, which was ratified without question by Enlightenment philosophers of art such as Hume and Kant, still lingers on in some quarters today. But developments since the nineteenth century have gravely weakened the credibility of the proposition that art is immortal, and the idea is now effectively dead. This leaves us with a major dilemma: if art is not impervious to change, how exactly does it endure? If the time-honoured solution of immortality is no longer viable, what alternative explanation can we find to replace it? -/- This paper explains why immortality is dead, describes our contemporary dilemma, and briefly canvasses a possible solution. (shrink)

Das Buch stellt den ersten Teil eines mehrbändigen Sammelwerkes dar, in dem von Philosophen sowie klassischen und modernen Philologen Beiträge zur ethischen Ökonomie und ihrer Geschichte zusammengeführt sind. Es gliedert sich in zwei Teile. Der erste Teil – „Philosophische Quellen“ – enthält Studien zur ökonomischen Dimension im Denken Heraklits, Platons, der Stoa, Thomas von Aquins, Ockhams, Kants, Nietzsches, Thoreaus, Simone Weils; der zweite Teil – „Dichterische Quellen“ – versammelt entsprechende Untersuchungen zu Aischylos, zur Augusteischen Dichtung, zu Shakespeare, Ramuz, Pound (...) und Cummings. (shrink)