Hazarding All : Shakespeare and the Drama of Consciousness /
Budick, Sanford
Hazarding All : Shakespeare and the Drama of Consciousness / Sanford Budick. - 1 online resource (192 p.) : 2 B/W illustrations - Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP .
Frontmatter -- CONTENTS -- ACKNOWLEDGEMENTS -- SERIES EDITOR’S PREFACE -- CHAPTER 1 TERMS OF DISCUSSION -- CHAPTER 2 ‘CONVERSION’ OF THE ‘NOTHING’ BY THE INSTRUMENTALITY OF THE MERCHANT OF VENICE -- CHAPTER 3 TOWARDS AN ESCAPE FROM THEATRICALISATION: HAMLET AND AS YOU LIKE IT -- CHAPTER 4 THE SECOND EPOCHÉ OF OTHELLO AND THE MERCHANT OF VENICE -- CHAPTER 5 INTENTIONALITY TOWARD BEING: BLESSING IN KING LEAR AND THE WINTER’S TALE -- RETROSPECT -- BIBLIOGRAPHY -- INDEX
restricted access http://purl.org/coar/access_right/c_16ec
Demonstrates how theatre and theatricalisation serve as the indispensable means for creating a kind of consciousness that exits as an unmediated encounter with actualityShows the pervasiveness of Shakespeare’s chiasmus of theatricalisation: the back-and-forth, and forth-and-back, movements between role-playing consciousness and a would-be non-role-playing consciousness that is never free from role-playingDemonstrates and explains how Shakespeare opens a shared space of negativity within partnered chiastic relation of two playsExplores that the product of this chiastic relation for the playwright and the spectator is an object of reflection that they encounter outside theatreExplains that, as a result, the playwright and the spectator move toward an intersubjectivity and a reciprocal intentionality toward sustained beingPhilosophers speak of newly accessed ways of knowing reality as epistemological shifts. This book demonstrates how Shakespeare effected a massive shift of just this kind in his bold management of theatricalisation itself. These pages levy on terms of Kant and Husserl that they elaborated in proposals for such shifts. It will be seen that Shakespeare exceeds the proposals of the philosophers. He anticipates and already brings to a working consummation a systematic and immediate access to the ways of knowing reality that they contemplate as hoped-for desiderata. In, and through, the drama of consciousness played out in the pairs of plays examined here, the playwright and the spectator together – intersubjectively – attain to an ‘onlooker’ consciousness that exits the fictionality, the play-acting, of theatricalisation; and they are enabled to recover the actuality of objects in their worlds.
Mode of access: Internet via World Wide Web.
In English.
9781474493154 9781474493178
10.1515/9781474493178 doi
Consciousness.
Shakespeare, William,-1564-1616-Philosophy.
Theater--Philosophy.
Literary Studies.
LITERARY CRITICISM / Shakespeare.
PR3001 / .B83 2023
822.33
Hazarding All : Shakespeare and the Drama of Consciousness / Sanford Budick. - 1 online resource (192 p.) : 2 B/W illustrations - Edinburgh Critical Studies in Shakespeare and Philosophy : ECSSP .
Frontmatter -- CONTENTS -- ACKNOWLEDGEMENTS -- SERIES EDITOR’S PREFACE -- CHAPTER 1 TERMS OF DISCUSSION -- CHAPTER 2 ‘CONVERSION’ OF THE ‘NOTHING’ BY THE INSTRUMENTALITY OF THE MERCHANT OF VENICE -- CHAPTER 3 TOWARDS AN ESCAPE FROM THEATRICALISATION: HAMLET AND AS YOU LIKE IT -- CHAPTER 4 THE SECOND EPOCHÉ OF OTHELLO AND THE MERCHANT OF VENICE -- CHAPTER 5 INTENTIONALITY TOWARD BEING: BLESSING IN KING LEAR AND THE WINTER’S TALE -- RETROSPECT -- BIBLIOGRAPHY -- INDEX
restricted access http://purl.org/coar/access_right/c_16ec
Demonstrates how theatre and theatricalisation serve as the indispensable means for creating a kind of consciousness that exits as an unmediated encounter with actualityShows the pervasiveness of Shakespeare’s chiasmus of theatricalisation: the back-and-forth, and forth-and-back, movements between role-playing consciousness and a would-be non-role-playing consciousness that is never free from role-playingDemonstrates and explains how Shakespeare opens a shared space of negativity within partnered chiastic relation of two playsExplores that the product of this chiastic relation for the playwright and the spectator is an object of reflection that they encounter outside theatreExplains that, as a result, the playwright and the spectator move toward an intersubjectivity and a reciprocal intentionality toward sustained beingPhilosophers speak of newly accessed ways of knowing reality as epistemological shifts. This book demonstrates how Shakespeare effected a massive shift of just this kind in his bold management of theatricalisation itself. These pages levy on terms of Kant and Husserl that they elaborated in proposals for such shifts. It will be seen that Shakespeare exceeds the proposals of the philosophers. He anticipates and already brings to a working consummation a systematic and immediate access to the ways of knowing reality that they contemplate as hoped-for desiderata. In, and through, the drama of consciousness played out in the pairs of plays examined here, the playwright and the spectator together – intersubjectively – attain to an ‘onlooker’ consciousness that exits the fictionality, the play-acting, of theatricalisation; and they are enabled to recover the actuality of objects in their worlds.
Mode of access: Internet via World Wide Web.
In English.
9781474493154 9781474493178
10.1515/9781474493178 doi
Consciousness.
Shakespeare, William,-1564-1616-Philosophy.
Theater--Philosophy.
Literary Studies.
LITERARY CRITICISM / Shakespeare.
PR3001 / .B83 2023
822.33