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Anna Karenina ◽  
2016 ◽  
Author(s):  
Leo Tolstoy
Keyword(s):  
King Lear ◽  
The Other

Two very interesting things were performed at the matinée concert. One was a fantasia, King Lear on the Heath, and the other was a quartet dedicated to Bach’s memory.* Both were new and in the new style, and Levin wanted to...

Sovereignty, Justice, and Political Power

2020 ◽  
pp. 110-143
Author(s):  
Elizabeth Frazer
Keyword(s):  
Social Justice ◽  
Political Authority ◽  
King Lear ◽  
The Other ◽  
The Political ◽  
Political Strategy ◽  
Social Transformations ◽  
Family Stories ◽  
Sovereign Authority ◽  
Forms Of Violence

King Lear intertwines two family stories: one of disinheritance and the consequent crisis of sovereignty that follows on the division of territory and political authority; the other of legitimacy, illegitimacy, resentment, and revenge against a father. The political plot of King Lear puts sovereign authority, patriarchal authority, political strategy, and violence into juxtaposition with the claims of social justice. The play puts into question the idea of a ‘sovereign body’, in particular in its treatment of economic and social transformations in attitudes to value and exchange, and in its meditation on the way sovereign power destroys human and social bodies. These themes can be reflected in interpretations of the drama that emphasize loneliness and meaninglessness. The drama also focuses on forms of violence which track social status, and instantiate forms of authority, including sovereignty.

Shakespeare on the Stage in Restoration Dublin

PMLA ◽  
1941 ◽  
Vol 56 (2) ◽  
pp. 369-378 ◽  
Author(s):  
R. C. Bald
Keyword(s):  
King Lear ◽  
The Other ◽  
Henry Viii ◽  
The Winter's Tale ◽  
Twelfth Night ◽  
Winter's Tale ◽  
Original Volume ◽  
Timon Of Athens

The Folger Shakespeare Library possesses a number of separate plays, all from the Shakespearian Third Folio, and all bearing unmistakable signs of theatrical annotation. They were acquired by Mr. Folger from a variety of sources: the majority were bought from a bookseller in Munich, one was purchased in London, and another came with the Warwick Castle collection of Shakespeariana. There are nine plays in all: The Comedy of Errors, The Merry Wives of Windsor, Twelfth Night, The Winter's Tale, Henry VIII, Timon of Athens, Macbeth, King Lear, and Othello, but three of them—The Merry Wives, Macbeth, and Othello—are imperfect. It soon became clear that they were all from the same original volume, which, apparently, had belonged to Halliwell-Phillipps and was dismembered by him. The bindings of the separate plays—half leather, with boards of marbled paper or purplish-brown cloth—are obviously all the work of one binder, and are similar to the bindings of other books which have passed through Halliwell-Phillipps's hands. In addition, his handwriting is to be found in six of them: in The Merry Wives and Macbeth there is an inscription on one of the preliminary flyleaves, and in the other four there is a mere “C. and P.” on a fly-leaf at the end of the book.

scholarly journals CLIMATE AS CLIMAX IN ‘KING LEAR’

2018 ◽  
Vol 28 (7) ◽  
pp. 2349-2353
Author(s):  
Fatbardha Doko
Keyword(s):  
Weather Conditions ◽  
King Lear ◽  
The Other ◽  
Literary Works ◽  
Weather And Climate ◽  
Points Of View ◽  
Local Weather ◽  
Harsh Reality ◽  
Structured Play ◽  
The Way

Shakespeare’s tragedies are among the most analyzed and discussed literary works. In his tragedies Shakespeare follows the Aristotelian pattern of drama, so it is easy to notice there all the elements of a tragedy presented in Aristotle’s Poetics. In this paper I will define what climax in literature is and explore the climax of one of the four great tragedies of Shakespeare, that of King Lear. As a masterfully structured play, the central part of the play is the climax itself. But what is the climax of this play, how is it presented, does it have any impact on the characters, how does it change the course of events, etc? Answers to these questions will be given here. As an example of the interactions between men and weather conditions in Shakespeare’s drama, I will explore climate as climax. The climactic moment of the play is the storm, in the 3rd act, when we see the psychological rage of King Lear. Unsurprisingly, Shakespeare exposes the issue of how the local weather durably affects the nature of men as well as by the way their humours are temporarily changed by climate and environment. Yet, I will argue that this issue actually prompts him to reverse traditional points of view in order to show that things also work the other way round. Indeed, in some of his plays, the playwright insists on men’s unfortunate capacities to provoke violent climactic disorders and to generate chaos on earth. So, it is not only the weather and climate that affect the behaviour and humour of people, but the way people feel and behave. The case with King Lear is a perfect example of this problem. The storm that Lear finds himself is actually reflected in his inner state, in his psychological rage due to his disappointment with his two daughters, and facing with the harsh reality for a father, but mostly for being unjust to his younger daughter, Cordelia.

The Sum of It All

2019 ◽  
pp. 317-324
Author(s):  
Steven J. Osterlind
Keyword(s):  
Thought Experiment ◽  
Thought Experiments ◽  
King Lear ◽  
The Other ◽  
Scientific Question ◽  
The Future

This concluding chapter reviews the long road to quantification, drawing especially on ideas introduced in Chapter 1, but also mentioning highlights from the other chapters. It considers two thought experiments, where a thought experiment is defined as an investigation into a scientific question that is carried out only in the imagination. The first is, suppose quantification had not taken place and we had not transformed our worldview to it. The second is, from our current quantified worldview, how we might evolve in the future? The chapter concludes with a quote from Shakespeare’s King Lear is given, describing a state of internal happiness.

scholarly journals Identity Recognition as a Tragic Flaw in King Lear by William Shakespeare: Application of Hegel’s Master-Slave Dialectic

2020 ◽  
Vol 9 (3) ◽  
pp. 37
Author(s):  
Malik Haroon Afzal ◽  
Mohamad Rashidi Mohd Pakri ◽  
Nurul Farhana Low Abdullah
Keyword(s):  
William Shakespeare ◽  
Research Direction ◽  
Identity Crisis ◽  
King Lear ◽  
The Other ◽  
Identity Recognition ◽  
Self Knowledge ◽  
New Research

According to several theories of recognition it has been established that an individual counts on the feedback of another to seek identity recognition. According to G.W.F. Hegel (1977) the identity of an individual being does not rest solely in himself but in its relationship to other beings. In his opinion, consciousness of a self exists in being acknowledged by another self and true selfhood exists in acknowledging the requirements and rights of the other self. This paper aims at analyzing the identity recognition as a tragic flaw in William Shakespeare’s famous tragedy King Lear in the light of Hegel’s critiques of self and the other. In this context, King Lear’s attainment of true selfhood and self- knowledge is going to be visualized as the consequence of his effort for identity recognition and then undergoing an extreme suffering. The present research aims to explore the process or stages of becoming a victim of identity crisis. The crisis of recognition for the protagonist of the play starts right in the first scene. This paper aims at discussing the identity recognition on the part of King Lear himself and others in the play as a cause of tragedy. By using Hegel’s Master-Slave Dialectic, this paper will open up a new research direction for the Shakespearean scholars.

Ethics, Subjectivity, and Alterity in King Lear

2021 ◽  
Vol 25 (4) ◽  
pp. 385-420
Author(s):  
Mehrdad Bidgoli
Keyword(s):  
King Lear ◽  
The Other ◽  
Ethical Approach ◽  
Defiant Behavior

Abstract Cordelia’s defiance during the first scene of King Lear is among the thorniest issues in Lear criticism. There are also questions about her defiance in the first act and her sacrificial return in the fourth. Generally, critics either interpret her defiance negatively and condemn her (the question of her sacrifice remains equivocal), or they lay the blame on Lear’s absurdity and justify Cordelia’s silence (thus somehow explaining her sacrificial return). I will turn to the recent ethical approach to Lear in which critics usually treat Cordelia as an excess that both foregrounds the ethical themes of the play and resists our understanding. She is said to be like a trace, an evasive Other who can hardly be grasped or explicated. Her defiance and sacrifice thus mark her incomprehensibility and divinity. There are, however, problems and shortcomings with this view that I will enumerate and try to resolve here. I will mainly study Cordelia’s role and discuss her subjectivity with a closer attention. Drawing upon Emmanuel Levinas’s philosophy, I suggest that Cordelia’s defiance/sacrifice is not simply a choice; she (dis)embodies a logic of heteronomy and absolute openness to and receptivity of the other, a passivity which is beyond any onto-political sense of passivity and activity. Her silence and sacrifice can be discussed as pre-voluntary, nonintentional sensibility. We can connect the dots to explain her defiant behavior in the first act and her sacrificial return in the last acts. Her uncanny ethicality will finally bridge the current gap and explain her alterity as the other as well. Hence she is both a responsive self and an uncanny other in a peculiar combination of qualities.

The Terminal Comma

2019 ◽  
pp. 189-220
Author(s):  
Oliver Morgan
Keyword(s):  
King Lear ◽  
The Other ◽  
Midsummer Night's Dream ◽  
Other Hand ◽  
A Midsummer Night's Dream ◽  
Turn Taking ◽  
The One ◽  
The Relationship

This chapter investigates the relationship between turn-taking and punctuation. On the one hand, punctuation seems to offer a way of resolving precisely those ambiguities over timing with which the second half of this book is concerned. On the other hand, the punctuation of Shakespeare’s texts is notoriously unreliable. No firm set of typographical conventions had yet evolved for the presentation of plays in print, and the punctuation they contain is more likely to be compositorial than authorial. In spite of these problems, the chapter argues for greater attention to punctuation at the ends of speeches and, in particular, to what it calls the ‘terminal comma’ in the early quartos of A Midsummer Night’s Dream and King Lear. Although largely ignored by editors and critics, these commas are often employed with a purpose and subtlety that is hard—but not impossible—to attribute to a compositor.

scholarly journals THE CONTENT OF NATURE FOUND IN WILLIAM SHAKESPEARE’S KING LEAR

2019 ◽  
Vol 10 (2) ◽  
pp. 91-120
Author(s):  
Ali Fauzi
Keyword(s):  
Human Activity ◽  
Subject Matter ◽  
Literary Work ◽  
King Lear ◽  
The Other ◽  
Human Beings ◽  
Dramatic Character ◽  
Life Problems ◽  
Sea Monster ◽  
The Universe

Drama is a literary work in which it reflects the activities of human beings and the surrounding life. It delineates life and human activity by means of presenting various actions of-and dialogues between-a group of characters.  It also uses natural mimetic in form of symbolic nature of dramatic character and looks that nature becomes a part of subject matter which is quiet close to the action of men. The background of Shakespeare’s King Lear is the nature or the universe itself. Shakespeare uses the instrument of nature, the product of nature wholly and the hierarchy of the society combined with the medieval and old mythology to be the materials of his play. He uses the existence of nature to be interrelated with the parts, the naturalistic phenomena and with human beings and their life problems. The whole universe or nature is the cosmic system in which human beings form the system of social structure and live in harmony with other system where every element in the cosmos has its meaning only in relation to the other parts Therefore, it attracted Shakespeare so much to interpret the image of the cosmic system and its parts that the content of nature is richly found in the play. The content of nature consists of Cosmos including microcosm (a man, an animal-birds, a fox, an ape, an ass, wolves, a bull- a fiend and a sea monster, a Stock, a castle, a heath and hovel, clothes, music and medicine, a wheel) and macrocosm (a sun, a moon and other orbs, a storm, a rain, a thunder and lighting, an earth, an air, a fire and water, the insane, the death, the hell and the heaven).

scholarly journals Lear and Quijote, two wanderers on uneven paths

2019 ◽  
Vol 26 ◽  
pp. 117-126
Author(s):  
Maria de Jesus Crespo Relvas
Keyword(s):  
Surface Layer ◽  
William Shakespeare ◽  
Human Nature ◽  
Physical Condition ◽  
King Lear ◽  
The Other ◽  
Miguel De Cervantes ◽  
Cultural Traditions ◽  
Don Quijote ◽  
La Mancha

King Lear of Britain and Don Quijote de la Mancha, both old and frail, are dwellers of two very different worlds and eras. The ways they were devised and shaped by William Shakespeare and Miguel de Cervantes generate nonetheless diverse similarities that emphatically expose crucial traits of the human nature.      The meaningful, more obvious dichotomies in the texts – such as Reality/Fantasy, Sight/Blindness, Truth/Falsehood, Loyalty/Treachery – frame the complexity of the protagonists and are metaphors of their antithetical features. On the other hand, their alienation, misapprehension and distortion of the surrounding realities turn them into wanderers on uneven, problematic paths, while their frail physical condition discloses a surface layer that encapsulates assertive individuals. This essay approaches Shakespeare’s and Cervantes’ texts by focusing on such aspects, as well as on the respective contextualisation. Each work constitutes a challenging exemplum of a unique, proficuous broad age that wisely amalgamated the old and the new: amidst a multitude of cultural traditions, King Lear primarily embodies the expansion of Tragedy, while Don Quijote de la Mancha primarily materialises the transition to a new stage of Modernity. Keywords: Lear; Quijote; dichotomies; alienation; tradition; innovation  

Lear’s Subjectivity and Apotheosis

2021 ◽  
Vol 33 (3-4) ◽  
pp. 39-46
Author(s):  
Mehrdad Bidgoli
Keyword(s):  
King Lear ◽  
The Other ◽  
Third Party ◽  
Gradual Transition ◽  
Ontological Status ◽  
Ethical Awareness ◽  
Clear Cut ◽  
The Third ◽  
The Third Party ◽  
Ethical Character

Ethically attuned readings of King Lear typically study, among other issues, Lear’s ethical revolution. More specifically, Shakespeare critics who have engaged with Levinasian treatments of this play often do not present a clear-cut account of Lear’s status with regard to the authentic encounter with the destitute yet commanding face of the Other, and the ineluctably intervening third party. Trying to unravel these complexities, I examine one of the possible reasons why ethical readers of King Lear equivocate when they study Lear and his ethical apotheosis. I will discuss Lear’s subjectivity and trace its gradual transition to a more heightened ethical awareness, but refuse to envision him as a perfect ethical character. Lear does improve significantly with regard to his relationship with the Other, but while he appears to temporarily touch a Levinasian standpoint, his subjectivity undergoes an apotheosis, eventuating in a deontological (perhaps pre-ontological) status which cannot reconcile itself with the presence of ‘the third party’. This, as I will discuss, is his ethical-political flaw which blocks a final recourse towards a probable reconciliation of the Other and the Third. Lear’s ethical awakening, I suggest, fails to reconcile with and restore justice.

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