LEADER 04395nam 22004815 450 001 996517760603316 005 20230529101353.0 010 $a1-4744-9784-5 024 7 $a10.1515/9781474497848 035 $a(CKB)5470000001631795 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/95409 035 $a(DE-B1597)638196 035 $a(DE-B1597)9781474497848 035 $a(OCoLC)1365105302 035 $a(ScCtBLL)7998146e-6a8d-4a5e-9fd5-8fd2eff3b817 035 $a(EXLCZ)995470000001631795 100 $a20230529h20232023 fg 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTouching at a Distance $eShakespeare's Theatre /$fJohannes Ungelenk 210 1$aEdinburgh : $cEdinburgh University Press, $d[2023] 210 4$dİ2023 215 $a1 online resource (288 p.) $c1 B/W illustrations 1 black and white engraving 225 0 $aEdinburgh Critical Studies in Shakespeare and Philosophy : ECSSP 311 $a1-4744-9782-9 327 $tFrontmatter -- $tCONTENTS -- $tAcknowledgements -- $tAbbreviations -- $tSeries Editor's Preface -- $tIntroduction: Theatrical Contagions -- $tChapter 1 Theatre's Offence: Hamlet and The Tempest -- $tChapter 2 Touching the Depth of the Surface: Richard III -- $tChapter 3 Caressing with Words: Much Ado About Nothing -- $tChapter 4 Touching Fractions: Troilus and Cressida -- $tCoda: A Philology of Touch -- $tBibliography -- $tIndex 330 $aStudies the capacity of Shakespeare's plays to touch and think about touchBased on plays from all major genres: Hamlet, The Tempest, Richard III, Much Ado About Nothing and Troilus and CressidaCentres on creative, close readings of Shakespeare's plays, which aim to generate critical impulses for the 21st century readerBrings Shakespeare Studies into touch with philosophers and theoreticians from a range of disciplinary areas - continental philosophy, literary criticism, psychoanalysis, sociology, phenomenology, law, linguistics: Friedrich Nietzsche, Maurice Blanchot, Jacques Lacan, Luce Irigaray, Jacques Derrida, Roland Barthes, Niklas Luhmann, Hans Blumenberg, Carl Schmitt, J. L. AustinTheatre has a remarkable capacity: it touches from a distance. The audience is affected, despite their physical separation from the stage. The spectators are moved, even though the fictional world presented to them will never come into direct touch with their real lives. Shakespeare is clearly one of the master practitioners of theatrical touch. As the study shows, his exceptional dramaturgic talent is intrinsically connected with being one of the great thinkers of touch. His plays fathom the complexity and power of a fascinating notion - touch as a productive proximity that is characterised by unbridgeable distance - which philosophers like Friedrich Nietzsche, Maurice Blanchot, Jacques Derrida, Luce Irigaray and Jean-Luc Nancy have written about, centuries later. By playing with touch and its metatheatrical implications, Shakespeare raises questions that make his theatrical art point towards modernity: how are communities to form when traditional institutions begin to crumble? What happens to selfhood when time speeds up, when oneness and timeless truth can no longer serve as reliable foundations? What is the role and the capacity of language in a world that has lost its seemingly unshakeable belief and trust in meaning? How are we to conceive of the unthinkable extremes of human existence - birth and death - when the religious orthodoxy slowly ceases to give satisfactory explanations? Shakespeare's theatre not only prompts these questions, but provides us with answers. They are all related to touch, and they are all theatrical at their core: they are argued and performed by the striking experience of theatre's capacities to touch - at a distance. 606 $aLiterature: history & criticism$2bicssc 610 $aLiterary Criticism 610 $aEuropean 610 $aEnglish, Irish, Scottish, Welsh 615 7$aLiterature: history & criticism 676 $a822.33 700 $aUngelenk$b Johannes , $4aut$4http://id.loc.gov/vocabulary/relators/aut$01178390 801 0$bDE-B1597 801 1$bDE-B1597 906 $aBOOK 912 $a996517760603316 996 $aTouching at a Distance$93006348 997 $aUNISA