哈姆莱特与威登堡大学

在莎士比亚的悲剧《哈姆莱特》中,有一个隐藏在作品背后的重要背景——德国威登堡大学。许多评论者认为,这里是培养哈姆莱特成为人文主义思想家的基地。但联系莎士比亚时代德国威登堡大学所侧重的教育内容,当时这里所进行的宗教改革所取得的重大成果,再重新考察《哈姆莱特》中哈姆莱特的思想内涵和精神实质与路德宗神学的诸多相通之处,就会发现,威登堡大学对哈姆莱特产生的重要作用,正体现在宗教思想方面。     

“Remember me”: Hamlet,memory and Bloom’s poiesis

Although memory is not explicitly named in “Hades”, it nonetheless features centrally. Intertextuality is an example of memory, and in “Hades” Shakespeare’s Hamlet is remembered – specifically the Ghost’s relation to Hamlet, whom he bids to “Remember” and “revenge”. Derrida calls this relation “hauntological”: it is characterised by an uncertain gaze, the father telling his son what to do, and the son mourning for his father. In Bloom’s mourning for his father, Virag, hauntology might be expected. However, it is Bloom’s late son, Rudy, who hauntologises Bloom, thereby revitalising the latter; this adjusts Shakespeare’s original hauntology. While considering repeatable ways of maintaining this hauntology, Bloom jocularly reverts to new technology: the phonograph and photograph. His plan reveals his relish for liminality and poiesis: being and non-being at the same time. Bloom is thus remembered into the future, all the while Ulysses is haunted by Hamlet.     

《哈姆莱特》经典独白解读

《哈姆莱特》的第一幕第三场中有哈姆雷特关于生死问题的经典独白,这段独白可以说是深入认识哈姆莱特个人性格甚至是理解整个戏剧的关键。独白不仅是针对哈姆菜特个人的复仇计划同时也包含着深刻的意蕴。长久以来,学者们对于这段经典独白有很多不同的解读。本文将从哈姆莱特个人性格、戏剧情节、社会意义等角度深入解读这段独白在戏剧中的合理性和不可或缺性。     

Shakespeare as a method. Carl Schmitt’s reading of Othello and Hamlet

While in the 1960s Allan Bloom suggested to read William Shakespeare’s works through the prism of political philosophy, a decade earlier Carl Schmitt used the works of English poet in a reverse way: he read political philosophy and history through Shakespeare. Deprived – under the influence of Leo Strauss – from the possibility of considering Thomas Hobbes a decisionist thinker, Schmitt in his ‘Hamlet or Hecuba’ used Shakespeare’s most famous work to interpret origins of disappearance of the state of emergency from English soil. Shakespeare was seen by Schmitt as a writer who captured the Sixteenth and seventeenth century changes in thinking about sovereignty and the state. Interestingly, Schmitt did not use Shakespeare as method for the first time: in first decades of twentieth century, in his diary, he made ‘Othello’ a prism through which he read his love life. Because the author of ‘The Concept of the Political’ is one of the less methodologically cohesive writers of twentieth century, his usage of Shakespeare twice, in different circumstances, is interesting. In an article, author links ‘Hamlet or Hecuba’ with Schmitt’s geopolitical works and presents Shakespeare’s works as the coherent method of interpretation in Schmitt’s philosophy of decisionism.     

《牡丹亭》与《哈姆莱特》之魂形象探寻

汤显祖与哈姆莱特是同时代中西戏剧领域的大家，《牡丹亭》和《哈姆莱特》是他们的重要剧作。作品中都出现了魂，虽一个是为爱情的美女魂，一个是为政治的先王魂，但他们都由作品中主人公心灵深处而化。如果说杜丽娘的魂是“至情”而化，那么，老哈姆菜特的魂便是“至仇”而化。