Shakespeare's Tragic SkepticismYale University Press, 2008 M10 1 - 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. |
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... Montaigne, his near-contemporary, not only general doubts of what had long beenassumed aboutthe universe and mankind butalsodoubt concerning the reliability of our own power to perceive and conclude anything.Montaigne'sideas ...
... Montaigne, his near-contemporary, not only general doubts of what had long beenassumed aboutthe universe and mankind butalsodoubt concerning the reliability of our own power to perceive and conclude anything.Montaigne'sideas ...
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... Montaigne's Essays and Plutarch's Parallel Lives, both of which he knew in contemporary English translations, and Raphael Holinshed's historical chronicles of English and Scottish history. I have chosen to quote from John Florio's ...
... Montaigne's Essays and Plutarch's Parallel Lives, both of which he knew in contemporary English translations, and Raphael Holinshed's historical chronicles of English and Scottish history. I have chosen to quote from John Florio's ...
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... Montaigne. Montaigne's curiously moving, often evasive, often self-revelatory confessions of alternating belief and unbelief are not merely a feature of his response to the dogmas of his religion. They are duplicated in his attitudes ...
... Montaigne. Montaigne's curiously moving, often evasive, often self-revelatory confessions of alternating belief and unbelief are not merely a feature of his response to the dogmas of his religion. They are duplicated in his attitudes ...
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... Montaigne's or Bayle's, dialectic or dialogic. It pits an idea against its opposite. It looks to me as though Shakespeare—writ- ing as he did at a time of cultural crisis when old convictions and new doubts were contending in men's ...
... Montaigne's or Bayle's, dialectic or dialogic. It pits an idea against its opposite. It looks to me as though Shakespeare—writ- ing as he did at a time of cultural crisis when old convictions and new doubts were contending in men's ...
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... Montaigne claimed that he had been prompted to this task by the threat to his Catholic faith of Lutheranism—to which Sebond's writing was a response. But when Montaigne came towrite the longest and most famous of his essays, which ...
... Montaigne claimed that he had been prompted to this task by the threat to his Catholic faith of Lutheranism—to which Sebond's writing was a response. But when Montaigne came towrite the longest and most famous of his essays, which ...
Contenido
2 Othellos Jealousy | |
3 Unaccommodated Lear | |
4 Macbeths Deeds | |
The Roman Frame | |
Selected Bibliography | |
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Términos y frases comunes
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