January 17, 2014
Interesting conference in Dublin. Here’s an overview of the central lines of inquiry quoted from the conference website:
What does it mean to be oneself? When considering this issue, two approaches are unavoidable, as they both devote their investigations to the question of who one is, in one’s singularity. On the one hand, phenomenology defines the subject in terms of one’s conscious experience; on the other hand, psychoanalysis roots the subject in the unconscious. Across this rough divide, these two conceptualizations of the subject appear as irreconcilable. Nonetheless, it is precisely this irreconcilability that we aim at interrogating during this conference.
Picture Macbeth alone on stage, staring intently into empty space. “Is this a dagger which I see before me?” he asks, grasping decisively at the air. On one hand, this is a quintessentially theatrical question. At once an object and a vector, the dagger describes the possibility of knowledge (“Is this a dagger”) in specifically visual and spatial terms (“which I see before me”). At the same time, Macbeth is posing a quintessentially philosophical question, one that assumes knowledge to be both conditional and experiential, and that probes the relationship between certainty and perception as well as intention and action. It is from this shared ground of art and inquiry, of theater and theory, that this series advances its basic premise: Shakespeare is philosophical.
It seems like a simple enough claim. But what does it mean exactly, beyond the parameters of this specific moment in Macbeth? Does it mean that Shakespeare had something we could think of as his own philosophy? Does it mean that he was influenced by particular philosophical schools, texts, and thinkers? Does it mean, conversely, that modern philosophers have been influenced by him, that Shakespeare’s plays and poems have been, and continue to be, resources for philosophical thought and speculation?
The answer is yes all around. These are all useful ways of conceiving a philosophical Shakespeare and all point to lines of inquiry that this series welcomes. But Shakespeare is philosophical in a much more fundamental way as well. Shakespeare is philosophical because the plays and poems actively create new worlds of knowledge and new scenes of ethical encounter. They ask big questions, make bold arguments, and develop new vocabularies in order to think what might otherwise be unthinkable. Through both their scenarios and their imagery, the plays and poems engage the qualities of consciousness, the consequences of human action, the phenomenology of motive and attention, the conditions of personhood, and the relationship among different orders of reality and experience. This is writing and dramaturgy, moreover, that consistently experiments with a broad range of conceptual crossings, between love and subjectivity, nature and politics, and temporality and form.
“Edinburgh Critical Studies in Shakespeare and Philosophy” takes seriously these speculative and world-making dimensions of Shakespeare’s work. The series proceeds from a core conviction that art’s capacity to think—to formulate, not just reflect, ideas—is what makes it urgent and valuable. Art matters because unlike other human activities it establishes its own frame of reference, reminding us that all acts of creation—biological, political, intellectual, and amorous—are grounded in imagination. This is a far cry from business-as-usual in Shakespeare studies. Because historicism remains the methodological gold standard of the field, far more energy has been invested in exploring what Shakespeare once meant than in thinking rigorously about what Shakespeare continues to make possible. In response, “Edinburgh Critical Studies in Shakespeare and Philosophy” pushes back against the critical orthodoxies of historicism and cultural studies to clear a space for scholarship that confronts aspects of literature that can neither be reduced to nor adequately explained by particular historical contexts.
Shakespeare’s creations are not just inheritances of a past culture, frozen artifacts whose original settings must be expertly reconstructed in order to be understood. The plays and poems are also living art, vital thought-worlds that struggle, across time, with foundational questions of metaphysics, ethics, politics, and aesthetics. With this orientation in mind, “Edinburgh Critical Studies in Shakespeare and Philosophy” offers a series of scholarly monographs that will reinvigorate Shakespeare studies by opening new interdisciplinary conversations among scholars, artists, and students.
For more information, including a list of Editorial Board members and guidelines on submitting a proposal, please follow this link.
For the official EUP series page, please follow this link.
October 29, 2013
Check out Joseph Campana’s (Rice University) fascinating new blog, Alternate Currents. Putting ideas about energy into conversation with critical and artistic modes of inquiry, Campana describes the aims of the blog as follows:
“Energy is everywhere, thrumming through bodies and machines, illuminating private and public spaces, enabling the computers and servers I use as I type this. To many, energy seems increasingly and exclusively the province of scientists, businessmen, activists, and public policy makers. Artists beg to differ. Alternate Currents explores:
- how central art is to the conversations we now have about energy, sustainability, and ecology. It considers the way range of arts and media engage with energy: extraction, generation, consumption, crisis, distribution, sustainability, and enervation.
- longstanding links between art, energy, affect, perception, and aesthetics
- the relationship between energy industries and artistic patronage and production
- and how artists engage with energy as it courses through and shapes bodies, cities, and landscapes.”
October 22, 2013
Have a look at The Roaring Twenties, a fabulous project by Emily Thompson at Princeton University which reconstructs the aural landscape of New York in the 1920s. Thompson explains:
“To recover [the meaning of sounds] we need to strive to enter the mindsets of the people who perceived those sounds, to undertake a historicized mode of listening that tunes modern ears to the pitch of the past. The Roaring ‘Twenties website is dedicated to that challenge, attempting to recreate for its listeners not just the sound of the past but also its sonic culture. It offers a sonic time machine; an interactive multimedia environment whereby site visitors can not just hear, but mindfully listen to, the noises of New York City in the late 1920s, a place and time defined by its din.”
Another interesting sound project, the NYSoundmap, has been assembled by artists, philosophers, designers, and sound engineers affiliated with the New York Society for Acoustic Ecology.
April 4, 2013
I’ll be directing a seminar called “Theater and Judgment in Early Modern England” for faculty and advanced graduate students at the Shakespeare Association of America conference in St. Louis next year. The description is below.
Judgment is both a concept and a practice. It is fundamental to law as well as religion, and it is a key term in the development of aesthetics and the discourse of sociality. As such, judgment has a remarkably vibrant intellectual history. The basic premise of this seminar is that the theater of Shakespeare and his contemporaries occupies an important position within that intellectual history, that early modern plays and the institution of theater have compelling things to tell us about judgment, and that, conversely, judgment offers an illuminating framework for thinking about a variety of early modern plays. The audience for this seminar is broad since judgment stands at the intersection of several different strands of early modern intellectual culture, including law, religion, ethics, literary criticism, and rhetoric. It will also appeal to philosophically and theoretically inclined scholars, especially those interested in Hannah Arendt. Arendt explored the topic of judgment in various ways throughout her career and lectured on Kant’s Critique of Judgment at the University of Chicago and the New School for Social Research. The aim of the seminar will be to map out the relationship between early modern theater and the intellectual history of judgment through a variety of case studies. Papers are invited on a range of topics. These might include: courtroom scenes; judges and judge-figures; justices of peace and juries; judgment and theatrical spectatorship; theater and the development of literary criticism; judgment and the prehistory of taste; the legal history of judgment; divine judgment; skepticism and other intellectual contexts; judgment and evidence; theological considerations; judgment and sociality; modern philosophical perspectives; medieval inheritances; the rhetoric of judgment.
December 29, 2012
“Throughout the three-piece and four-piece periods, Talking Heads songs, and even the shows, were still mostly about self-examination, angst, and bafflement at the world we found ourselves in. Psychological stuff. . . . The groove was always there, as a kind of physical-body oriented antidote to this nervous angsty flailing . . . It served as a sonic and psychological safety net, a link to the body. It said that no matter how alienated the subject or the singer might appear, the groove and its connection to the body would provide solace and grounding.”
–David Byrne, How Music Works
December 17, 2012
“A person is a person through other persons”
–Desmond Tutu, No Future without Forgiveness
October 30, 2012
A new exhibition at the Folger Shakespeare Library, co-curated by Rosamond Purcell and Michael Witmore
Very Like a Whale takes its name from Hamlet’s quickly changing descriptions of a cloud’s shape as a camel, a weasel, and, finally, a whale—claims that are met each time with hearty agreement from Polonius.
Jointly curated by Folger Director Michael Witmore and photographer Rosamond Purcell, the exhibition explores the richness and variety of Shakespeare’s visual language through Purcell’s photographs and a wealth of rare books, manuscripts, prints, and natural objects. Along the way, it presents a sprawling landscape of ideas and images, from mirrors, magic, and optical illusions to uncanny animals, twists of fate, and the ugly transformations of war. More info here.
“When I stood there making academic small talk and looking at the automaton, or peering into the gorgeous array of books on objects in the ‘Wind’ case, I considered the larger project of putting such strangeness inside an academic institution . . . The gambit is that such strangeness speaks to the same part of the mind that’s moved by Shakespeare, and it certainly works for me.”
– Steven Mentz (St. John’s University), The Bookfish
October 10, 2012
Artist Samuel Winston has assembled three concept clouds–solace, passion, and rage–from the language of Romeo and Juliet. This is an interesting way of bringing together, through Shakespeare, the abstract and the material, the linearly linguistic and emotionally associative. Have a look here.