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- W4285362037 abstract "Keats famously claimed that there was an easy flow from Shakespeare’s personality trait (or “quality”) of “negative capability” to representations that express that personality. This chapter begins to describe the ways in which Shakespeare achieves a “negative capability” through varieties of arduous <italic>negative</italic> representation. This he achieves especially in a systematic language of the “nothing” that is closely correlated with the use of the figure of chiasmus. Both of these usages are illuminated by Edmund Husserl’s account of a meditative “bracketing” that produces the space of the negative which he called the “<italic>epoché</italic>.” As Husserl no doubt realised but did not acknowledge, in Kant’s writings on the sublime he described a means (which Husserl’s system could not provide) for producing something closely equivalent to the <italic>epoché</italic> – and to Shakespeare’s “nothing” of chiasmus. Husserl, as well as Kant, provide springboards for understanding the depth of Shakespeare’s achievement in going beyond theatricalisation. Yet Shakespeare in fact goes deeper than the philosophers. In Shakespeare’s practice, experience that goes beyond theatricalisation enables the transformation (conversion) into the condition of an onlooker that itself facilitates the disclosure of an inward self—for the playwright, the spectator, and, at times, for the protagonists as well." @default.
- W4285362037 created "2022-07-14" @default.
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- W4285362037 date "2021-09-24" @default.
- W4285362037 modified "2023-09-27" @default.
- W4285362037 title "Terms of Discussion" @default.
- W4285362037 doi "https://doi.org/10.3366/edinburgh/9781474493154.003.0001" @default.
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