Thinking with Shakespeare

Rosy Colombo, Nadia Fusini, Tzachi Zamir, Kristin Gjesdal, A. Kottman. Paul, Katie Brennan, Massimo Cacciari, Silvano Facioni, Digital Publishing Division Of DigiLab (Centro Interdipartimentale Di Ricerca E Servizi)-La Sapienza Universita' Di Roma, Natalia Lombardo, Rosy Colombo, Nadia Fusini (+2 others)
2014
From the dawn of its theatrical history, Hamlet, Shakespeare's most inexhaustible tragedy, has resurfaced time and again with wilful perseverance. It has done so by alternatively questioning or eliciting its own modes of repetition; but also by encouraging revisitation and transformation via its own undifferentiated matrix of meaning. Extraordinary reserves of potential have enabled this tragedy to scatter out into a fine dust of enduring lines later used up and reinvested by the media or to
more » ... the media or to settle into monument-like shapes that the canon has invariably entrenched. First and foremost, such reserves have to do with the staging of Renaissance epistemophilia, i.e. a drive towards knowledge which -in Hamlet -desire itself endows with the predicate of passion, opening it up to an ever-wider range of questions. Onto the framework of a conventional revenge tragedy -a king father enjoining his son to revenge the crime of which he was a victim -a question -Hamlet's crucial trope -is engrafted, which undermines the times and the ways of living and of dying. From its borderline outpost, the prince's gaze reaches out to penetrate such experiences, suspended as it is between a nostalgia for ancient, well-established knowledge and its ravenous proclivity to plumb modernity's new paradigms in their incipient stages. The threshold Hamlet looks out from marks the precarious epistemic balance of early modern England, where the sciences, be they old or new, along with the crafts and the arts are given a new lease of life in a shared cognitive venture. The
doi:10.13133/2283-8759 fatcat:ynntlzmwv5awvbxiugfrz4v5o4