Tragic Conditions in Shakespeare: Disinheriting the Globe

Index

Adelman, Janet, 174n6 aesthetics, neoclassical, 11–12 affect, in response to tragedy, 1–2, 5–8, 44–45, 76–77, 104, 130–31 Almereyda, Michael, director of film Hamlet (2000), 177n28 Antigone (Sophocles), 6, 8, 13, 21, 190n63 Antony and Cleopatra, 18 Arden, Forest of, 16, 23–37 Arendt, Hannah, 25–26, 34–35, 125, 142, 173n18, 174n2, 189n57, 190n63 Aristophanes, 20 Aristotle: Poetics, 1, 4, 6–7, 8–10, 11, 17, 24, 44, 77, 114–15, 167n3, 167n6, 168n11; Politics, 38 As You Like It, 3–5, 12, 13–14, 23–43, 89 Auden, Wystan Hugh, 24, 183n17 Austin, J. L., 95 banishment, 23, 32, 36–37 baroque art, 11, 168n17 baseness, 87–89 betrayal, in tragedy, 13–15 blindness, 9–10, 114–17, 125. See also harmatia blood ties. See kinship Bloom, Harold, 20, 171n28 bodily recognition, 147–60 Borges, Jorge Luis, 169n28 Bradley, Andrew Cecil, 6–7, 9, 45 Brook, Peter, 179n1 burial, of the dead, 6, 48–58, 59–61, 62– 66 caritas, 33–34 Cavarero, Adriana, 126–27, 129 Cavell, Stanley, 174n4, 182n13, 184n18, 187n44 comedy, 4–5, 18–21, 31–33 A Comedy of Errors, 24 consequentiality, as separation of tragic deed from recognition, 5, 8–10, 14– 15, 24–25, 114–16 criminality, 34 death, 49–58, 79–83, 90–91, 180n6 desire, sexual, 40–42, 156–58 deus ex machina, 39 diremption, of culture from nature, 21– 22, 23–24, 26, 60–63, 83–84, 91–92, 101–4, 132–34 disguises, 40–41 disgust, sexual, 46–47 evil, 183n17 flattery, 95–96 forgiveness, 13–14, 122–23, 161–63, 189n57, 191n6 Frye, Northrop, 180n6 Globe Theater, 3 de Grazia, Margreta, 176n24 Greenblatt, Stephen, 180n7, 181n9, 184n21 grief, 7–8, 67–69, 130–31 hamartia, 17, 114 Hamlet, 1–5, 7, 9, 13–14, 19, 44–79, 142 Hegel, Georg Wilhelm Friedrich: on comedy, 18–21; “experience” [erfahrung ] in, 1–3, 8–9, 115–16, 134– 38; on tragedy, 4, 6, 8–9, 13, 14, 24, 44, 48–50, 53–54, 115, 142, 168n11, 195 index Hegel, Georg Wilhelm Friedrich (cont.) 169n20, 176n24, 186n35, 189n57, 190n63 Henry IV, 15–17, 169n22, 169n23, 182n12 Herder, Johann Gottfried von, 10–12 Hobbes, Thomas, 83, 91, 95, 126, 181n10, 183n17; “individual” in, 88–89 honor, 5, 16–17, 66–71 humanism, 19–21, 191n3 Joyce, James, 182n14 Kantorowicz, Ernst, 180n5 katharsis, 6–8, 44, 136–37 King Lear, 1–5, 7, 9–10, 13–14, 16, 19, 22, 78–132 kinship, as blood ties, 3, 6, 26–31, 42, 45–54, 55–60, 84–90, 98–103 Kott, Jan, 24, 78, 179n1 love, 16–18, 67, 92–98, 100, 105–9, 112, 122, 181n9, 185n30 Lukács, Georg, 14–15, 169n20 Macbeth, 14, 111, 183n17 marriage, 38–43, 55–56 maternity, 46–50, 60–61, 84–86, 182n12 A Midsummer Night’s Dream, 38–39 military service, 3, 5, 15–17 mimesis, 19–20, 74–76, 170n26 monarchy, 4, 15–16 moral judgment, 7 mourning, 62–63 murderousness, 63, 86 neoclassicism, 10–11 Nietzsche, Friedrich, 186n38 Oedipus at Colonus (Sophocles), 118 Oedipus the King (Sophocles), 8, 13, 21, 114, 117, 138 pastoral, comedy and, 23–26, 31 Plato, 7 plot, in tragedy, 8–10, 11–13, 38–40, 44–45, 77, 115–17 Poetics (Aristotle), 1, 4, 6–7, 8–10, 11, 17, 24, 44, 77, 114–15, 167n3, 167n6, 168n11 Politics (Aristotle), 38 property rights, 27–29, 32, 35, 42, 45– 47, 54–66, 79–86 punishment, 161–62, 191n6 Quevedo, Francisco de, 173n13 revenge: in Hamlet, 125–26; in tragedy, 13–14, 55–58, 142–44, 161–63, 189n54 reversal and recognition, in tragedy, 1, 9– 10, 116–17 Richard III, 89, 169n20 Romeo and Juliet, 13 self-alienation, in Hamlet, 69–72 Shakespeare, William, “roles” in, 18–20 —Dramatic Works: Antony and Cleopatra , 18; As You Like It, 3–5, 12, 13– 14, 23–43, 89; A Comedy of Errors, 24; Hamlet, 1–5, 7, 9, 13–14, 19, 44– 79, 142; Henry IV Parts 1 and 2, 15– 17, 169n22, 169n23, 182n12; King Lear, 1–5, 7, 9–10, 13–14, 16, 19, 22, 78–132; Macbeth, 14, 111, 183n17; A Midsummer Night’s Dream, 38–39; Richard III, 89, 169n20; Romeo and Juliet, 13; The Tempest, 3, 4, 10, 13– 14, 16, 22, 132–65; Twelfth Night, 38, 40 shame, 182n13, 184n22 slavery, 27–31, 156–58 statelessness, 25–26, 33 subjection, 145–48 subjectivity, 45, 70–72, 103–4...