By Andrew Cutrofello
A specter is haunting philosophy -- the threat of Hamlet. Why is that this? Wherefore? What should still we do?Entering from level left: the philosopher's Hamlet. The philosopher's Hamlet is a conceptual personality, performed by means of philosophers instead of actors. He plays no longer within the theater yet in the area of philosophical positions. In thinking about not anything, Andrew Cutrofello significantly examines the functionality historical past of this special function. The philosopher's Hamlet personifies negativity. In Shakespeare's play, Hamlet's speech and motion are often unfavorable; he's the depression Dane. such a lot may agree that he has not anything to be joyful approximately. Philosophers have taken Hamlet to include particular kinds of negativity that first got here into view in modernity. What the determine of the Sophist represented for Plato, Hamlet has represented for contemporary philosophers. Cutrofello analyzes 5 elements of Hamlet's negativity: his depression, unfavorable religion, nihilism, tarrying (which Cutrofello distinguishes from "delaying"), and nonexistence. alongside the way in which, we meet Hamlet within the texts of Kant, Coleridge, Hegel, Marx, Schopenhauer, Kierkegaard, Nietzsche, Freud, Russell, Wittgenstein, Heidegger, Benjamin, Arendt, Schmitt, Lacan, Deleuze, Foucault, Derrida, Badiou, iek, and different philosophers. Whirling throughout a nation of countless area, the philosopher's Hamlet is not anything if now not thought-provoking.
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Additional info for All for Nothing: Hamlet's Negativity
Casey Stengel, 1964 Chapter 3 The Mechanics of Culture: Editing Shakespeare Today Everyone seems to be doing it these days, or thinking about doing it, or most often—it is the nineties, after all—thinking about why he or she is not doing it. Editing, that is. Editing has suddenly become hot, or, if not exactly hot as an activity to undertake (it does, after all, involve a lot of very tedious, numbingly cold work), at least a hot topic (arguably the hot topic in Shakespeare studies) to debate. Never has the materiality of the texts we study seemed so compelling, so unavoidable, and so exhilaratingly problematic.
Thus editors will inevitably seek to correct some of what the printed texts avow. 3, TLN 967), practices that indeed could be said to “purify” a text, ridding it of manifest error. But other changes are more problematic. “Emendatory criticism is always hazardous,” as Samuel Johnson insisted. ”15 The perceived need to emend may reflect not some textual deficiency but only our ignorance of syntactic, semantic, or stylistic possibilities, and even in cases where some editorial response is indeed required by an unmistakable defect in the printed text, the emendation itself can never in its own terms be said to be definitively correct.
Texts and contexts are no longer seen as the inside and outside of literary utterance but rather 42 SHAKESPEARE AFTER THEORY as interdependent factors exerting influence upon and contained within one another. The meanings of the literary work are therefore not intrinsic to it, not properties solely of its internal structuring, but functions of its mediation of and by the cultural contexts in which it is located. Literary meaning, then, becomes inescapably historical, and literary scholars have turned to history, not as in the past, to provide inert data to illuminate certain textual details, but now to explore the very conditions in which cultural meanings are articulated and circulate.