Pub Date : 2023-11-27DOI: 10.1080/17450918.2023.2285830
Dalton Greene
Published in Shakespeare (Ahead of Print, 2023)
出版于《莎士比亚》(2023年出版前)
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Pub Date : 2023-11-27DOI: 10.1080/17450918.2023.2284180
Alexander Thom
Published in Shakespeare (Ahead of Print, 2023)
出版于《莎士比亚》(2023年出版前)
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Pub Date : 2023-11-14DOI: 10.1080/17450918.2023.2278515
Julia Reinhard Lupton
ABSTRACTIn Shakespeare’s late plays, the arts of care push towards sublime horizons of value out of lived ecologies of virtue nourished by global wisdom traditions. To know by nursing is to intuit in and through the intimate tactility of tending to the birth, growth, healing, or dying of another person a sense of purpose and meaning, of telos or goal, yearnings that both sustain and are supported by philosophies, religions, or world views that gain value by being shared with others: ‘What is your study?’KEYWORDS: StoicismSenecaOikeiosisvirtue AcknowledgementMy deep thanks to my partner in spiritual exercise, Unhae Park Langis; to Sheiba Kian Kaufman and Benjamin Parris for pointing me on the track of care; to Miriam Bender, for bibliography and conversations on nursing science; to the two readers and two Special Issue editors of this volume for their generous and helpful readings; and to my physical therapist Dawn Denny and my speech pathologist Teresa Dwight for their care and wisdom.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Citations from King Lear are from Kenneth Muir, ed., King Lear.2 Markham, Country Contentments, frontispiece.3 On Cordelia’s virtue ecology, see Sale, ‘Cordelia’s Fire’. For another ecological reading of the passage, see Archer, Turley and Thomas, ‘The Autumn King’, 518–43.4 On Edgar as romance hero, see Beckwith, Shakespeare and the Grammar of Forgiveness, 85–9.5 Murdoch, Metaphysics, 87, 120.6 Ibid., 120–1.7 Parvini, Shakespeare’s Moral Compass, 280–94. On care as a private virtue, see Dolven, ‘Besides Good and Evil’, 12.8 Accessed 29 June 2020. http://www.latin-dictionary.net/definition/15255/cura-curae.9 Heidegger, Being and Time, 184–6; 19; 121, 147; Dreyfuss, Skillful Coping.10 Benner and Chelsea, Expertise in Nursing Practice, 19–20.11 Dreyfus, Dreyfus and Benner, ‘Implications’.12 Parris, Vital Strife, 16.13 Gray, Shakespeare and the Fall of the Roman Republic, 58–9.14 Cicero, De Finibus, 19:62.15 Klein, ‘Stoic Argument’, 160.16 Ibid., 162.17 Martha Nussbaum tracks the medical analogy in ancient philosophy, which aimed to transform ‘the inner world of belief and desire through rational argument’ by managing the emotions in their cognitive and evaluative aspect, as ‘forms of intentional awareness’. Therapy of Desire, 77–8.18 On Stoic epistle as preventative medicine, see Gill, ‘Philosophical Therapy’.19 Foucault, Care of the Self, 44–5.20 Sellars, Routledge Handbook to the Stoic Tradition, 1–2.21 Benjamin Parris emphasises the laboring aspects of care in ‘Life and Labor in the House of Care’, 149–65.22 On the wide domain of virtue before the Enlightenment, see Crocker, Matter of Virtue.23 Allman, ‘Is caring a virtue?’ 467.24 Seneca, ‘Letter 75’, 247.25 Hershinow, Shakespeare and the Truth-Teller, 123–4, 131, 190.26 Langis, ‘Humankindness’; on ancient scepticism and Buddhism, see McEvilley, Shape of Ancient Thought.27 Langis links the passage to global wisdom traditions:
在莎士比亚的晚期戏剧中，关怀艺术在全球智慧传统滋养下的美德生活生态中推动着崇高的价值视野。通过护理来了解，就是通过对另一个人的出生、成长、康复或死亡的亲密接触，直觉地感受到一种目的感和意义感，一种终极目标或目标，一种既能支撑又能得到哲学、宗教或世界观支持的渴望，这种渴望通过与他人分享而获得价值:“你的研究是什么?”感谢我的精神锻炼伙伴，Unhae Park Langis;感谢谢赫·基恩·考夫曼和本杰明·帕里斯，是你们指引我走上了关怀的道路;Miriam Bender，关于护理科学的参考书目和对话;感谢本卷的两位读者和两位特刊编辑，感谢他们慷慨而有益的阅读;感谢我的物理治疗师道恩·丹尼和语言病理学家特蕾莎·德怀特，感谢他们的关怀和智慧。披露声明作者未报告潜在的利益冲突。注1《李尔王》引证自肯尼斯·缪尔编，《李尔王》2马卡姆，《国家内容》，扉页关于科迪利亚的美德生态，见塞尔的《科迪利亚之火》。关于这段话的另一个生态解读，见阿切尔，特里和托马斯，“秋王”，518-43.4关于埃德加作为浪漫英雄，见贝克威斯，莎士比亚和宽恕的语法，85-9.5默多克，形而上学，87,120.6同上，120-1.7帕尔维尼，莎士比亚的道德指南针，280-94。关于作为一种私人美德的关心，见Dolven，“除了善与恶”，12.8 2020年6月29日访问。http://www.latin-dictionary.net/definition/15255/cura-curae.9海德格尔，《存在与时间》，184-6;19;121年,147年;德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、德莱弗斯、“启示”12Parris, Vital Strife, 16.13 Gray, Shakespeare and the Fall of Roman Republic, 58-9.14 Cicero, De Finibus, 19:62.15 Klein，“Stoic Argument”，160.16同上，162.17 Martha Nussbaum追溯了古代哲学中的医学类比，其目的是通过在认知和评估方面管理情感，将“信念和欲望的内心世界”转变为“有意识意识的形式”。关于斯多葛书信作为预防医学，见吉尔，“哲学治疗”。19福柯，《自我的关怀》，44-5.20 Sellars，《劳特利奇手册》，《斯多葛派传统》，1-2.21 Benjamin Parris在《关怀之家的生活和劳动》中强调了关怀的劳动方面，149-65.22关于启蒙运动前美德的广泛领域，见Crocker，《美德的问题》。467.24塞内加，“第75封信”，247.25赫西诺，莎士比亚和实话讲者，123 - 4,131,190.26兰吉斯，“人性”;关于古代怀疑主义和佛教，参见McEvilley的《古代思想的形态》。27 Langis将这段话与全球智慧传统联系起来:““以物理学为例”是东方(阿育吠陀和佛教)和西方(亚里士多德-盖伦)寻求自然(物理学)整体性的身心传统中所熟悉的思想的最压缩的表达。”《人性》，22028斯特里尔，《不悔改的文艺复兴》，50页。凯利·莱托宁(Kelly Lehtonen)认为，莎士比亚“猛烈地打破了激情与理性之间的哲学对立”，这种对立与文艺复兴时期的新斯多葛派思想家有关。《消极激情的智慧》，261.29谢尔曼，《莎士比亚体现的斯多葛主义》海德格尔，《存在与时间》，185页。海德格尔引用塞内卡的《书信124.31存在与时间》181-3;185.32参见Dressler的评论，人格化和女性，35.33 Benner和Chelsea，护理实践的专业知识，19.34 Sharp，助产士书，237-8.35关于书信的戏剧性特征作为哲学友谊的肖像，参见Schafer，“Seneca的Epistulae Morales”。36埃尔顿在古典以及犹太教和基督教著作中找到了司空见惯的东西，并认为“埃德加的评论有一种明显的斯多葛派的感觉”。《李尔王与众神》，101-3。理查德·斯特里尔指出，格洛斯特的死亡愿望和他最终经历的“温和”死亡都符合塞内坎范式。不屈不挠的文艺复兴50-2。引用这句话，西德尼·尚卡尔称李尔王为“莎士比亚斯多葛主义的巅峰之作”，莎士比亚和意识形态的使用，104.37皮埃尔·哈多写道，马可·奥勒留“把写作作为一种技巧或程序，以影响自己，并通过沉思斯多葛主义的教条和生活规则来改变他的内心话语”。引自福柯，照顾自我，50.39照顾是“帮助他人来照顾自己，并通过对自己的需要做出反应来照顾自己，从而对自己的生活负责”。《论关怀》，第13页。
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Pub Date : 2023-11-08DOI: 10.1080/17450918.2023.2274498
Maria Devlin McNair
ABSTRACT‘Uneasy comedy’ can be a surprising source of moral insight. Comedies like John Marston’s The Dutch Courtesan and Shakespeare’s All’s Well That Ends Well provoke uneasy laughter, laughter mixed with anxiety and moral concern – concern especially at how characters manipulate and deceive others to achieve certain outcomes. But the characters claim this deception is justified. They argue that their situation calls for a particular moral framework – one based on the achievement of desirable ends, rather than one based on autonomy and consent – and that their actions count as moral within that framework. The issue is that their arguments partially but don’t completely succeed. A key moral piece seems to be missing – but what is it? Is the problem with the characters’ actions or with the framework? To answer that question, we must determine how one would act morally within that framework and when it would be the right one to use. We must ask, essentially, how the story would have to change before we could laugh more freely. Uneasy comedies bring moral clarity through their suggestions about the different moral frameworks called for by different life contexts and what it takes to act worthily within those frameworks.KEYWORDS: All’s Well That Ends WellThe Dutch Courtesanconsentcarecomedyethics AcknowledgementsI am grateful to the readers’ reports on the original draft of this article for directing my attention to new critical sources and new modes of approach to the subject. I also thank Patrick Gray for his feedback on this article.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Henri Bergson (Laughter: An Essay on the Meaning of the Comic) and Sigmund Freud (Jokes and Their Relation to the Unconscious) emphasise comedy’s unconcern with or resistance to moral norms. For readings of comedy as subverting or suspending moral codes, see Barton, ‘London Comedy’; Bowers, Radical Comedy; and Bristol, Carnival and Theater. The norms that comedy is said to subvert are often political or sexual. On politics, see Greenblatt, Shakespearean Negotiations, and Stallybrass and White, Politics and Poetics. On sexuality, see Traub, Desire and Anxiety, and Dusinberre, Shakespeare and the Nature of Women.2 Marston, The Dutch Courtesan, Prologue, 1. All citations are from the edition edited by Britland.3 Julian, ‘Our hurtless mirth’, 185–86.4 For a detailed account of the play’s many shifts in mood and tone, see Cordner, ‘The Dutch Courtesan’.5 Feminist criticism in particular reveals how the experience of a play as a comedy – as something happy, pleasing, desirable, etc. – is undermined if it seems to support unethical or otherwise objectionable views. Schwarz’s essay ‘Comedies End in Marriage’ finds that the notion of comedies’ ‘ethical failure’ ironizes the notion of a truly ‘happy ending’ (274–75). For similar readings in relation to sexist humour, sexual polarity, and female subjection in comedy, see Belsey, ‘Disruptin
{"title":"Shakespeare, Marston, and Getting to Moral Clarity through Comedy","authors":"Maria Devlin McNair","doi":"10.1080/17450918.2023.2274498","DOIUrl":"https://doi.org/10.1080/17450918.2023.2274498","url":null,"abstract":"ABSTRACT‘Uneasy comedy’ can be a surprising source of moral insight. Comedies like John Marston’s The Dutch Courtesan and Shakespeare’s All’s Well That Ends Well provoke uneasy laughter, laughter mixed with anxiety and moral concern – concern especially at how characters manipulate and deceive others to achieve certain outcomes. But the characters claim this deception is justified. They argue that their situation calls for a particular moral framework – one based on the achievement of desirable ends, rather than one based on autonomy and consent – and that their actions count as moral within that framework. The issue is that their arguments partially but don’t completely succeed. A key moral piece seems to be missing – but what is it? Is the problem with the characters’ actions or with the framework? To answer that question, we must determine how one would act morally within that framework and when it would be the right one to use. We must ask, essentially, how the story would have to change before we could laugh more freely. Uneasy comedies bring moral clarity through their suggestions about the different moral frameworks called for by different life contexts and what it takes to act worthily within those frameworks.KEYWORDS: All’s Well That Ends WellThe Dutch Courtesanconsentcarecomedyethics AcknowledgementsI am grateful to the readers’ reports on the original draft of this article for directing my attention to new critical sources and new modes of approach to the subject. I also thank Patrick Gray for his feedback on this article.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Henri Bergson (Laughter: An Essay on the Meaning of the Comic) and Sigmund Freud (Jokes and Their Relation to the Unconscious) emphasise comedy’s unconcern with or resistance to moral norms. For readings of comedy as subverting or suspending moral codes, see Barton, ‘London Comedy’; Bowers, Radical Comedy; and Bristol, Carnival and Theater. The norms that comedy is said to subvert are often political or sexual. On politics, see Greenblatt, Shakespearean Negotiations, and Stallybrass and White, Politics and Poetics. On sexuality, see Traub, Desire and Anxiety, and Dusinberre, Shakespeare and the Nature of Women.2 Marston, The Dutch Courtesan, Prologue, 1. All citations are from the edition edited by Britland.3 Julian, ‘Our hurtless mirth’, 185–86.4 For a detailed account of the play’s many shifts in mood and tone, see Cordner, ‘The Dutch Courtesan’.5 Feminist criticism in particular reveals how the experience of a play as a comedy – as something happy, pleasing, desirable, etc. – is undermined if it seems to support unethical or otherwise objectionable views. Schwarz’s essay ‘Comedies End in Marriage’ finds that the notion of comedies’ ‘ethical failure’ ironizes the notion of a truly ‘happy ending’ (274–75). For similar readings in relation to sexist humour, sexual polarity, and female subjection in comedy, see Belsey, ‘Disruptin","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"66 s258","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135342170","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-03DOI: 10.1080/17450918.2023.2272943
Anouska Lester
Click to increase image sizeClick to decrease image size Disclosure StatementNo potential conflict of interest was reported by the author(s).
点击放大图片点击缩小图片披露声明作者未报告潜在的利益冲突。
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Pub Date : 2023-11-02DOI: 10.1080/17450918.2023.2274488
Sally Barnden
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Pub Date : 2023-10-24DOI: 10.1080/17450918.2023.2273926
Alexander Thom
Click to increase image sizeClick to decrease image size Notes1 Das, ‘The Stranger at the Door’.2 Shakespeare, The Comedy of Errors.3 Kahn, ‘Magic of Bounty’.
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Pub Date : 2023-10-03DOI: 10.1080/17450918.2023.2264813
Benedict J. Whalen
{"title":"Shakespeare and Virtue: A Handbook <b>Shakespeare and Virtue: A Handbook</b> , edited by Julia Reinhard Lupton and Donovan Sherman, Cambridge, Cambridge University Press, 2023, xii + 421 pp., $125 (hardback), ISBN: 978-1108843409","authors":"Benedict J. Whalen","doi":"10.1080/17450918.2023.2264813","DOIUrl":"https://doi.org/10.1080/17450918.2023.2264813","url":null,"abstract":"","PeriodicalId":42802,"journal":{"name":"Shakespeare","volume":"208 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135739373","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-03DOI: 10.1080/17450918.2023.2261898
James M. Sutton
ABSTRACTSantiago is a bilingual script of Othello, created jointly by Joe Falocco of Texas State University and Shakespearean scholar and translator Alfredo Michel Modenessi. Developed during spring 2023, it was performed as a staged reading at the 51st Annual Shakespeare Association of America Conference. This production directed by Maija Garcia of the Guthrie Theatre's Professional Training Program, featured a BIPOC and Latine cast. In performance, the script offered new perspectives on Othello, shifting focus away from Othello and Desdemona and highlighting Iago and Emilia instead. Santiago thus seems less concerned with issues of race and colourism than with questions of religious and cultural identity, especially as marked by linguistic power founded upon the ability to code-switch with ease between two languages, in this case, (Shakespeare's) English and (Modenessi's) Spanish. An extended interview with Falocco, Modenessi, and the two Texas State actors who voiced in Minneapolis examines these claims; a coda then places Santiago into wider conversation with prior scholarship on the nature of translation, issues of Othello and race, and the newly emergent field of Borderlands Shakespeare.KEYWORDS: OthellotranslationShakespearean performanceLatine ShakespeareBorderlands Shakespeare Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Buffone and Della Gatta, ‘Introduction: Shakespeare and Latinidad’, 3.2 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxii.3 Falocco, ‘Echoes of Cervantes’, 8.4 Little, ‘Introduction’, 6.5 Ibid., 9.6 Kendi, How to be an Antiracist, 40.7 Little, ‘Introduction’, 4.8 Ibid., 14.9 Bevington, The Complete Works of Shakespeare, ‘Antony and Cleopatra’, 1.5.29.10 Bevington, The Complete Works of Shakespeare, ‘Merchant of Venice’, 2.1.2–4.11 Bevington, The Complete Works of Shakespeare, ‘Othello’, 3.4.29–30.12 Falocco, ‘Echoes of Cervantes’, 2–4.13 Quoted in Falocco, ‘Echoes of Cervantes’, 3.14 Cobb, King, and Kello, ‘A Theatre Practice’, 205.15 Ibid., 206.16 Rekskou, ‘Translating Richard’, 98–100.17 Modenessi, ‘Every Like is not the Same’.18 Joubin, ‘Others Within’, 31–33.19 Schroeder-Arce, ‘Shakespeare with … Latinx Youth’, 128–35.20 Thompson, ‘Practicing a Theory’, 1–26.21 Modenessi, ‘You Say’, 40–42.22 Falocco, ‘Lleno de Tejanidad’, 170–77.23 Botelho, ‘De-Emphasizing Race’, 370–74.24 De Sousa, ‘Introduction’, 137.25 Corredera, ‘The Moor Makes a Cameo’, 359–60.26 Gillen, Santos, and Santos, ‘General Introduction’, xv–xxxiii.27 Ibid., xv–xvi.28 Espinosa, ‘Don’t It Make My Brown Eyes’, 57.
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