O artigo examina o problema de identificar a verdade e a beleza em teorias axiomáticas significativas e a formação desses valores no processo de ensino de certas seções de um curso de matemática de uma escola de educação geral com os traços característicos de teorias axiomáticas significativas. critérios de beleza científica ou matemática são considerados um fator na formação e identificação da verdade e da beleza. Tais critérios foram introduzidos pelo filósofo escocês Hutcheson no século XVIII e por seus muitos (...) seguidores nos séculos subsequentes. Este trabalho examina os grupos formativos, unificadores e lógicos de critérios objetivos de beleza científica. Mostra que: a) critérios formativos: simetria, comparação, harmonia, ritmo, aplicabilidade são mais propensos à formação e identificação da beleza dos objetos de uma teoria axiomática significativa do que a verdade nela contida; b) critérios unificadores - unidade de diversidade, generalidade, registro matemático de leis científicas visam revelar a verdade em uma teoria axiomática significativa. E a beleza dos objetos aqui é determinada pela conexão dos critérios com a verdade, c) critérios lógicos - rigor lógico, clareza, simplicidade, redução do complexo ao simples visam a formação e identificação em uma teoria axiomática significativa de ambas as verdades e a formação e identificação da beleza dos objetos. (shrink)

A general problem of philosophy concerns the possibility of objective knowledge of other cultures (including past cultures), and the adequacy of their reconstruction. The problem of cultural development is also crucial. In this paper, I argue that a culture which has expanded its potentialities in various independent forms is an open culture capable of entering into dialogue with other cultures.

Molecular epidemiology (ME) is a field that integrates molecular biology techniques with traditional epidemiological methods to study the distribution, determinants, and dynamics of disease. In the context of HIV, ME involves analysing genetic sequences of the virus to understand patterns of transmission, evolution, and the relationships between social, behavioural, and biological factors that influence transmission. This holds great promise in the global effort to further reduce HIV transmission, although its use raises significant ethical issues. ME is not currently used in (...) Australia’s public health response to HIV, although experiences from other countries emphasize the importance of community consultation and support to avoid unintended negative consequences, such as deterring individuals from accessing sexual health services. This article explores the perspectives of twenty-three participants, recruited through HIV/sexual health-related organizations in Victoria, Australia, via nineteen semi-structured interviews and one focus group. Participants included people who regularly test for sexually transmissible infections (STIs) and people diagnosed with HIV and/or syphilis/gonorrhoea. Participants often reported vague or no prior understanding of ME (19/23; 82.6 per cent); however, many of those with vague or no understanding were supportive (16/19; 84.2 per cent). A subset of participants raised concerns, including those related to privacy risks, misuse of data, and the disproportionate impact on marginalized groups. These findings reinforce the need for meaningful community engagement and safeguards for potential ethical use of ME in Australia. (shrink)

A Persian translation of William Shakespeare's Hamlet along with the original text.

In German eighteenth-century culture, Shakespeare’s work was translated, staged, and discussed with a passion that has remained unrivaled. Philosophy was no exception to this trend. In the second half of the eighteenth century, Lessing, Herder, and Schlegel all turned to Shakespeare’s work and used it as an anchoring point for reflection on theater and dramatic poetry. In different ways, they came to see _Hamlet_ a work that captured the dynamics of modern life, especially its emphasis on interpretation, relativism, and the (...) threat of nihilism. The changing attitudes toward _Hamlet_ reflect, in turn, a changing attitude toward interpretation and understanding, as these topics are addressed in Shakespeare’s work _and_ in eighteenth-century aesthetics and philosophy more broadly speaking. (shrink)

“_Hamlet_’s Ethics” argues that the critical question of delay in _Hamlet_ has blinded readers to the play’s exploration of questions of agency and vision. The so-called indecision of Hamlet at the point of action is framed in the play, but in such a way as to expose and altogether overturn the prototype of revenge. What does it mean to be the author of one’s own acts, and what does one become in doing them? What are the ends of action? (...) _Hamlet_ opens out these questions of what we become by virtue of our acts. In so doing this tragedy offers us an object lesson in ethics, but not as a question of either obligation or choice, but as a question of the vision by which the world comes into focus for us at all. (shrink)

Este artículo tematiza la relevancia del Hamlet, de Shakespeare, para el pensamiento de T. W. Adorno, aun cuando este no haya escrito in extenso sobre aquel. El drama aparece sobre todo en su discurso oral como modelo para describir la relación de discontinuidad entre teoría y práctica. Aquí se desea mostrar cómo el teórico crítico del pensamiento moral abstracto piensa el paso del conocimiento a la praxis a partir del vínculo entre Hamlet y el llamado “factor añadido” (Das (...) Hinzutretende). Desde esta lectura, el Hamlet de Adorno representa un lugar clave de transiciones malogradas. (shrink)

Hamlet’s character sets, under different shapes and extents, the benchmark against which a large part of the European philosophy of the very long «short twentieth-century» behind us has had to measure. In the name of Hamlet as the most enigmatic among Shakespeare’s creatures, even Europe, its spirit and destiny, is identified, according to the well-known claim by Paul Valery.Common trait to a big part of these interpretations – from the juvenile works of Pavel Florenskij and Lev S. Vygotskij (...) to Carl Schmitt’s Hamlet oder Ekuba. Der Einbruch der Zeit in das Spiel – is offered by the detection, in Hamlet’s figure, of the contradiction inherent to an epochal transition: the time of an unresolved passage between two ages that only knows the endless pain of an “interim”. My paper concerns the possibility to interpret Hamlet’s time as the time of an “interim” in light of Benjamin’s claims about Shakespeare’s drama contained in his book on the German Trauerspiel.While Florenskij interprets Hamlet’s time as tragic and the figure of Hamlet as a tragic one, in my essay - moving from some observations on the " Hamlet Problem " by the young Franz Rosenzweig - I consider the original Benjaminian thesis about the character and the drama of Hamlet as the end of the modern Trauerspiel. Starting from a statement by Theodor Adorno in the famed Hornberger Brief to Benjamin of August 2, 1935, I outline, therefore, how Benjamin characterizes the figure of Hamlet. This, from his early writings on the relationship between tragedy and Trauerspiel up to the great book on the Origin of the German Trauerspiel. In the frame of Benjamin’s interpretation, exactly by virtue of its distance from the thesis on the duality of tragedy, the Shakespearian theatrum of consciousness, paradigmatically represented in the figure of Hamlet and in the intimately dialectic character of his drama, is accounted for as necessary correlate of the Cartesian’s theatrum of consciousness. From a theoretical point of view, the Benjaminian characterization of Hamlet's figure reveals, therefore, something of the nature of modern consciousness and of consciousness in general in relation to the problem of truth and its representation. Hence the end of modern Trauerspiel coincides with the original incompleteness of its time. Consequently, I also claim Hamlet's dramatic figure to represent the aporetic characters of modern politics. This contrasts the thesis of Carl Schmitt who speaks, instead, of the Shakespearean drama as an expression of a pre-modern barbaric time. (shrink)

This chapter discusses the indispensible particularity as grasped within a specific context that is necessary for the genuine understanding of a character. Most of us, most of the time, think of human beings—including literary characters—as ethically _responsible_, and we thus try to gauge their character by measuring the degree of their responsibility. Critics often find in Shakespeare’s _Hamlet_ a stance on the reality and nature of human choice as shown within Hamlet individually, but interpreted as a universal for humanity (...) in general. But a close reading shows that the play in fact dramatizes only the very particular, contextually situated, and nuanced experiences that can then inspire our more generalized philosophical views about freedom, determinism, and ethical responsibility. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 364-367 [Access article in PDF] Book Review Hamlet in Purgatory Hamlet in Purgatory, by Stephen Greenblatt; xii & 322 pp. Princeton: Princeton University Press, 2001, $29.95. Hamlet in Purgatory is both more and less than literary criticism of Shakespeare's most haunting and most critically belabored play. Greenblatt has captured an evolving culture of belief which informs the play and goes far (...) beyond source studies or the history of ideas. He assays to show how the Medieval doctrine of Purgatory and the rejection of it by Protestant Reformers shaped the structure of Hamlet and the world of Hamlet's spiritual agony.Central to the argument is the notion that the rejection of Purgatory, and ritual practices associated with the doctrine, threatened to disrupt community and sever the relations between the living and the dead. Thus, the senior Hamlet's plea to "Remember me" takes precedence over his injunction to revenge; traditional preoccupations of Hamlet criticism become secondary to the concern for spiritual community which Reformation doctrine threatened. The exegesis is scholarly and the prose is engaging, yet the book suffers from the new historicist tendency to become absorbed more with context than with criticism and to assume too readily the relevance of the context to the criticism. Put another way, Greenblatt, like other new historicists, is not always rigorous in his inferences.Greenblatt warns that his book "requires a certain hermeneutical patience, a willingness to suspend direct literary analysis, in order to examine more thoroughly what has been treated as mere background for the canonical work of art" (p. 5). Although the book culminates in a description of the migration of discarded religious ritual into the theater, and a thoughtful commentary on Hamlet, Greenblatt cautions that "... for the book to work properly, the reader should understand literary analysis, and specifically the analysis of Hamlet, to be suspended in another sense as well, that is, distributed in tiny, almost invisible particles throughout my account" (p. 5). Amen. The caveats are essential for anyone who might expect an "interpretation" of Hamlet. Rather, Greenblatt has evoked the conflict of enduring beliefs and Reformist critiques which animated Shakespeare's imagination and Hamlet's suffering.Hermeneutical patience certainly is demanded of the reader, because more than half of the book presents commentaries on the doctrine of Purgatory from the late Middle Ages to the early seventeenth century. Greenblatt begins with Simon Fish's 1529 "Supplication for the Beggars," (p. 15) an anti-purgatorial (and anti-clerical) tract addressed to Henry VIII. Fish argued that the doctrine of Purgatory is at the heart of ecclesiastical corruption and is a danger to the state, because the fear that the doctrine can generate enables the clergy to extort enormous wealth in the form of "suffrages," donations for trentals, anniversary Masses, and other perpetual penitential memorials on behalf of the dead. Fish's argument is double: its theological burden is that Purgatory is a non-scriptural superstition; its rhetoric is that it is an abuse of the [End Page 364] poor and a danger to the economic solvency of the kingdom. Fish invokes both doctrinal error and political danger; this is thus an excellent tract to begin the elucidation of the complexity of Reformist objections to Purgatory in sixteenth-century England. Greenblatt adds that other Reformers saw Purgatory as a poetic creation, a fable, and therefore a vain imagining. John Donne's "Devotions upon Emergent Occasions" is cited to show that post-Catholic divines believed that purgation must be completed in this life.According to Greenblatt, an unintended consequence for the laity of the rejection of Purgatory is the creation of a radical divide between the living and the dead. If we pray for the dead, they are not as absent from us as if they had passed on to the timeless worlds of Heaven or Hell. Even if Purgatory is expensive or fabulous, its loss destroys a community with the dead that involved a reciprocal and continuing relationship, whereby the living can aid the dead towards Heaven and saved souls can eventually become intercessors in Heaven for the living... (shrink)

Hamlet illustrates how wisdom can be staged in theater. It ought to be impossible, because theater is watching, and wisdom can't be watched at all. Moreover, people spouting wisdom are rarely worth watching. Successful theater makes fun of those who spout wisdom (such as Polonius) and engages its audiences constantly with humor or emotion, leaving no space for the reflection that leads to wisdom. So how could a play present wisdom successfully in performance? Plato concluded that the playwrights of (...) his time could put nothing but fake wisdom on stage. Plato was wrong: although divine wisdom is beyond the reach of theater, human wisdom is not. Human wisdom lies mainly in recognizing human limitations. In writing to please his audience, Shakespeare succeeded in staging human wisdom, most notably in Hamlet, which brilliantly exposes the folly of those who pretend to be wise. (shrink)

In this chapter I want to explore a comment made by the French philosopher Gilles Deleuze that presents a connection between two figures: Kant and Hamlet.1 In his most important early work, Difference and Repetition, Deleuze writes, “the Northern Prince says ‘time is out of joint’. Can it be that the Northern philosopher says the same thing?” (Deleuze 2004, 111). In this chapter, I want to look at the question of drama and see how different conceptions of drama allow (...) us to understand action, or more precisely inaction, in Shakespeare’s Hamlet. I want to show how these different conceptions of dramatic action tell us something about the nature of temporality. I will begin by reversing Hamlet’s claim, and discussing what time “in joint” would look like, tracing it back to Aristotle’s conception of drama, before moving on to Plato’s characterization of temporality. (shrink)

El personaje de Hamlet ha sido un punto de referencia para gran parte de la filosofía europea del siglo XX, representando el espíritu y destino de Europa. Diversos autores, como Pavel Florenskij, Lev S. Vygotskij y Carl Schmitt, han visto en Hamlet la contradicción inherente a una transición epocal no resuelta, caracterizada por el dolor interminable de un interim. Mi artículo explora la posibilidad de interpretar el tiempo de Hamlet bajo esta luz, en relación con las ideas (...) de Walter Benjamin sobre el Trauerspiel alemán. A diferencia de Florenskij, que lee a Hamlet de manera trágica, sigo la tesis benjaminiana que sitúa a Hamlet como el fin del Trauerspiel moderno. En este marco, se revela la naturaleza de la conciencia moderna y su relación con la verdad, destacando cómo Hamlet encarna los rasgos aporéticos de la política moderna, en contraste con la visión premoderna de Carl Schmitt. (shrink)

A deconstruction of Hamlet's ontological metaphor—"the time is out of joint"—indicates Shakespeare has made an implicit commitment to a conception of time that is explicitly and systematically developed by Kant's transcendental philosophy. Consequently, a retro reading explains how Hamlet temporarily identifies with the Ghost's temporal-categorical mind-set, and how Hamlet, who has been acutely aware of the passage of time, loses track of time during the prayer/closet scene sequence. More specifically, I assert that Hamlet's identification with the (...) Ghost's categorical sense of what is possible and impossible in accordance with the passage of outer time is what causes his inaction. (shrink)

Excerpt from Schopenhauer, Hamlet, Mephistopheles: Drei Aufsatze zur Naturgeschichte des Pessimismus Barmhersigen Siebe, Die Die Seele Des Chriftentums ift, jener Siebe, Die Das Bofe wohl lennt, aber auf Das (ente blicft, Die auch noch in Der Derfommenheit Die menfchliche Seele fieht und fucht; und Dicier mangel an Siebe geht mit Dem mangel an olauben 3ufammen: Die menfchen taugen aus Dem orunde nichts; Darum, feine muhe mit ihnen verlieren! About the Publisher Forgotten Books publishes hundreds of thousands of rare and (...) classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

The aim of this paper is to explore why Deleuze takes up Hamlet's claim that ‘time is out of joint’. In the first part of this paper, I explore this claim by looking at how Deleuze relates it to Plato's Timaeus and its conception of the relationship between movement and time. Once we have seen how time functions when it is ‘in joint’, I explore what it would mean for time to no longer be understood in terms of an (...) underlying rational structure. The claim can be understood as about a relationship between time and action. In the second part of this paper, I want to relate this new understanding of time to Hamlet itself, in order to see how temporality operates within the play. I will conclude by relating these two different conceptions of time out of joint to one another through Nietzsche's eternal return. (shrink)

Where science has often been used to explore the questions raised by art, this book does the reverse, suggesting that art can address a problem raised by science: the deep challenge to ethics posed by Darwin’s discovery that we are intentional beings living in an unintentional world. Using Hamlet, Othello, and Macbeth, among others, Angus Fletcher shows how the physical experience of art can transform Darwin’s discouraging theory into a practice-based ethics that establishes pluralism, curiosity, and cooperation as the (...) basis of progressive life. (shrink)

This chapter opens by noting that, since the Romantics and Hegel became enraptured by _Hamlet_, two philosophical assumptions have been commonly made about it: first, that it embodies a mimetic understanding of theatrical art by holding ‘a mirror up to nature’, and, second, that it illustrates an early modern, ‘Cartesian’ conception of a mental, interior self. Both of these assumptions are brought into question by casting in high relief the fact that the essential speech acts of plays are interactive, or (...) ‘dialogic’, and that it is by continuously refining and reflecting on this foundation of his artistic medium that Shakespeare significantly contributes to the history of philosophy. The dialogic self is, in short, the ethical (relationally engaged) rather than the isolate self, and this dialogical understanding of selfhood indeed provides the basis for nothing less than a philosophical conception of the soul. (shrink)

This essay sounds out Derrida's plurivocal term of frequencies as well as Nancy's understanding of resonance to argue that ghosts live in the ear. Heeding how the different nuances of this term bear on Derrida's reading of Hamlet, it not only seeks to understand the significance of the ghost's rhythmic appearance:disappearance in Shakespeare's play, but indeed, how it comes to frequent Derrida's Specters of Marx.

This article argues that Walter Benjamin’s aesthetico-political philosophy cannot be understood without reconsidering Hamlet. It elucidates Benjamin’s Hamlet via his theory of Baroque “mourning” and its counter-measure, the “Saturnine Dialectic.” It likewise offers an analysis of the 1877 Herman Ulrici edition of Hamlet, the German edition Benjamin cites exclusively. This analysis reconciles the differences in the secondary literature regarding Benjamin’s Hamlet, expounding upon the edition’s singular use of the word “foreordination”. Finally, by rereading Benjamin’s Hamlet (...) through Carl Schmitt’s Hamlet or Hecuba, it argues that Fortinbras’s succession, effectuated by Hamlet’s dying voice, conditions the repetition of sovereignty in Hamlet, betraying the emergence of the new. Despite this betrayal, the revolutionary potential that is sunken into the content of Hamlet is disjunctively brought to the surface by examining the “dialectical image” of Laertes’s rebellion, rescuing what I term the revolutionary-new from the jaws of defeat. (shrink)

This book assembles a team of leading literary scholars and philosophers to probe philosophical questions that assert themselves in Shakespeare's Hamlet, including issues about subjectivity, knowledge, sex, grief, and self-theatricalization.

This chapter focuses on Hamlet, Prince of Denmark. The soliloquies of Prince Hamlet represent the maximum linguistic expression of a singular mind in English letters. The prince’s inner reasoning suits the decision trees so familiar to Ramus (and so often used by game theorists). Present and future predicaments, coordinative and otherwise, plague the prince. In adopting and adapting Erasmus’s technique of copiousness, the playwright captures the extensive structure of the prince’s discourse, and with it, the convolutions of his (...) mind. That mind reveals a Ramist understanding of the animating force of holy conscience. Edward de Vere was effectively expressing the pain of nostalgia. Oxford’s Ramism converges with personal experience in Prince Hamlet. No similar convergence supports the Stratfordian case. (shrink)

The article focuses on a philosophical issue of the Renaissance humanism in William Shakespeare's Hamlet. The humanist tradition originated in Greece with the famous statement “Of all things man is the measure” (Protagoras of Abdera, 485-415 BCE), but it was not until the Renaissance that it reached its peak and became a doctrine. The article focuses on the humanism of the Renaissance, with its glorification of the image of the "giant man," which is mainly expressed in the work of (...) William Shakespeare. By pointing out the nature of Renaissance humanism, the article emphasizes Hamlet's play as a typical work of Renaissance humanism. (shrink)

Nietzsche’s comments on Shakespeare’s Hamlet reveal a subtle shift in his thinking about skepticism. In The Gay Science and Beyond Good and Evil Nietzsche describes Hamlet pejoratively as a skeptic who manifests the values of Christian morality and the acetic ideal. Yet in Ecce Homo and Nietzsche Contra Wagner, Nietzsche revalues Hamlet as someone whose suffering imparts certainty, nobility, and poignancy. Nietzsche’s writings on skepticism are equally ambiguous and, when read together with Nietzsche’s comments on Hamlet, (...) reflect a revaluation of skepticism and suffering between his earlier (1882–86) writings and his final writings of 1888. In 1888, Nietzsche associates both Hamlet and skepticism with “certainty.” This “certainty” is a form of self-assurance, rooted in the passions, that allows one to be strong enough to experiment with new perspectives without becoming subject to fanatical convictions. (shrink)

Volume 24, Issue 6, September 2019, Page 662-683.

One of the principal challenges to human survival will be for human beings, embedded in a plurality of cultural contexts, to engage with and learn from one another respectfully in the continuing task of creating a more liveable world. I argue here that theoretical psychology can contribute to setting some of the terms for this effort through the kind of conception it advances of the person as agent. I discuss broadly two philosophical perspectives toward human agency which have become prominent (...) in psychology in the last few decades, the humanistic and the hermeneutic. I argue that these two different frameworks make complementary contributions to the project of understanding ourselves and furthering the development of our humanity. 2012 APA, all rights reserved). (shrink)

Ingmar Pörn (Inquiry 27 [1984], nos. 2–3) claims that certain ideas of Kierkegaard's can illuminate a notion of the self articulated in action‐theoretical terms. Through a reconstruction of Kierkegaard's concept of despair, couched in these terms, Pörn aims to show how these ideas can contribute to the study of the self. Because he misconstrues an important distinction in Kierkegaard's account of selfhood, Pörn fails to show this. It remains uncertain what use the study of the self would have for Kierkegaard's (...) notion of selfhood, and whether an action‐theoretical analysis is capable of bringing out whatever may be of interest in it. (shrink)

The survival of some masterpieces of literature across the ages is still an unexplained mystery. Deeply rooted in their time, they reflect the preoccupations of a given historical period and have an impact, by means of their testimony, on future generations. They bring into play images, drives and phantoms which have remained unchanged from prehistoric time to our day. The perfection of their form has remained unequaled; their examples incite us to meditation and creativity.

“If anthropology and history once begin to collaborate in the study of … societies, it will become apparent that the one science can achieve nothing without the help of the other,” said Claude Levi-Strauss. This statement is so immediately sensible in a plain, common-sense way, that only an examination of historical and anthropological practices reveal that such a collaboration is neither as frequent nor as complete as it ought to be.Anthropologists traditionally studied preliterate societies, historians, literate ones. Preliterate societies lack (...) written documents (or such documents are rare and often unreliable since they are usually written by untrained observers from outside the culture) and anthropologists found themselves with only oral traditions from which to reconstruct the past. Oral traditions, myths, tales, legends and so on are part of every culture; but the value of such traditions as a source of historical information was considered doubtful by most anthropologists, and historians seemingly had no need of them. The functionalist school of anthropology contributed to our understanding by recognizing the value and importance of oral histories in terms of the functions such tales fulfill in a given society. (shrink)