Shakespeare between Plato and Leibniz
Subtitle: the philosophy of individuation and baroque drama
By: by Peter Kishore Saval
Published: 2008
Language: eng
Number of pages: 238
Description: My dissertation attempts to find new interpretive models for answering the question, "what is an individual in Shakespeare's plays?" The starting-point of my question is a problem at the center of classical, Hellenistic, and early modern philosophy. In Chapter One, I explain how a range of discourses in classical, Hellenistic, and early modern philosophy provide a new framework for understanding the individual and the cosmos in Renaissance and baroque literature. In Chapter Two, I present the outlines of the problem of individuation in the scholastics in order to demonstrate that the notion of the individual substance in Renaissance and seventeenth-century thought is the result of centuries-old Aristotelian debates. In Chapter Three, I explore the connection between fate and character in Julius Caesar by relating the baroque drama of Shakespeare to the baroque philosophy of Leibniz. Leibniz's infinite analytic approach to identity helps me to reinterpret the drama of fate and character in Shakespeare's play.

In Chapter Four, on Timon ofAthens, I explore the faculty of touch and study the problem of individuation in relation to the labyrinth of the continuum. Underlying the idea of the continuity of an individual body, in certain strains of Renaissance thought, is the hypothesis of an all-pervading force of cosmic coherence that links the expression of human language with the expressive unity of a world. In Chapter Five, I continue my exploration of the relation between fate and character by using the problem of future contingents as a paradigm to read Twelfth Night. The scholastics refer the representation of a future event directly to Aristotle's apophantics as a limit of speech to bear properly on a determinate thing. My chapter uses this model to explore the drama of futurity and identity in Twelfth Night. Finally, an afterword takes up the trajectory of these chapters such that the individual of baroque drama seen under the guise of what Leibniz and the scholastics call an "angel" or a "lowest species," whose anonymity, and absolution from categorical language, alone guarantees its individuality.
Notes: "May 2008."

Thesis (Ph.D., Dept. of English and American Literature and Language)--Harvard University, 2008.

Includes bibliographical references.