Shakespeare's Tragic SkepticismYale University Press, 01/10/2008 - 304 páginas Readers of Shakespeare’s greatest tragedies have long noted the absence of readily explainable motivations for some of Shakespeare’s greatest characters: why does Hamlet delay his revenge for so long? Why does King Lear choose to renounce his power? Why is Othello so vulnerable to Iago’s malice? But while many critics have chosen to overlook these omissions or explain them away, Millicent Bell demonstrates that they are essential elements of Shakespeare’s philosophy of doubt. Examining the major tragedies, Millicent Bell reveals the persistent strain of philosophical skepticism. Like his contemporary, Montaigne, Shakespeare repeatedly calls attention to the essential unknowability of our world. In a period of social, political, and religious upheaval, uncertainty hovered over matters great and small—the succession of the crown, the death of loved ones from plague, the failure of a harvest. Tumultuous social conditions raised ultimate questions for Shakespeare, Bell argues, and ultimately provoked in him a skepticism which casts shadows of existential doubt over his greatest masterpieces. |
No interior do livro
Resultados 1-5 de 54
Página
... things. But the book is also addressed to the general reader who may or may not be interested in that sort of claim. I was, of course, first prompted to write this study of Hamlet, Othello, King Lear, Macbeth, Julius Caesar, and Antony ...
... things. But the book is also addressed to the general reader who may or may not be interested in that sort of claim. I was, of course, first prompted to write this study of Hamlet, Othello, King Lear, Macbeth, Julius Caesar, and Antony ...
Página
... things and the pre-ordained meaning of things, between experience and inherited constructs of experience.'' Stephen Booth, in King Lear, Macbeth, xii Preface.
... things and the pre-ordained meaning of things, between experience and inherited constructs of experience.'' Stephen Booth, in King Lear, Macbeth, xii Preface.
Página
... things—though the New Historicist Stephen Greenblatt probably would deny that there is any possible way of standing entirely ''outside.'' Shakespeare, one might almost propose, is an early–seventeenth century New Historicist of sorts ...
... things—though the New Historicist Stephen Greenblatt probably would deny that there is any possible way of standing entirely ''outside.'' Shakespeare, one might almost propose, is an early–seventeenth century New Historicist of sorts ...
Página
... things happening to real persons. Consequently, among the scholars to whom I have incurred a clear debt there are, most especially, the editors of the editions of the six of Shakespeare's plays I have quoted from—G. R. Hibbard, editor ...
... things happening to real persons. Consequently, among the scholars to whom I have incurred a clear debt there are, most especially, the editors of the editions of the six of Shakespeare's plays I have quoted from—G. R. Hibbard, editor ...
Página
... things, but he also invites us to question the absoluteness of our ideas and the validity of our impressions in the most radical way. A working title for this book was Honest Shakespeare—meant to give our authora characterization ...
... things, but he also invites us to question the absoluteness of our ideas and the validity of our impressions in the most radical way. A working title for this book was Honest Shakespeare—meant to give our authora characterization ...
Índice
2 Othellos Jealousy | |
3 Unaccommodated Lear | |
4 Macbeths Deeds | |
The Roman Frame | |
Selected Bibliography | |
Outras edições - Ver tudo
Palavras e frases frequentes
action actor already Antony appears asks audience become beginning believe body bring Brutus Caesar called Cassio cause character Cleopatra comes continue Cordelia course crime critics daughters death deed denies Desdemona different doubt Duncan earlier effect evidence expect expressed fact faith false father feel find first follow force future ghost give Hamlet hand hear heart Holinshed human Iago Iago’s idea identity imagination Kent killed kind King Lear Lady language Lear’s lives look lost Macbeth madness meaning merely mind Montaigne murder nature never observed off once Othello perhaps play plot present reason reference relation remark reminds represented revenge role royal says scene seems seen sense Shake Shakespeare skepticism social soliloquy sometimes speaks stage story suggested tells theater things thou thought tion tragedy true truth witchcraft witches witnesses