Ophelia Essay - opinion
Several times in the play Hamlet denies his love for Ophelia. If he truly loved her, he would not want to hurt her. When Hamlet accidently killed Polonius, he did not try to console Ophelia. If he truly loved her, he would have been at her side to provide comfort in her time of grief. If he truly loved her, he would have proclaimed his love for her to those present at the funeral. Ophelia Essay.Similar Homeworks Posted
To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Download Ophelia Essay PDF. Download PDF. A short summary of this paper. In Ophelia Essay essay I analyze how industrial modernity finds its articulation in Hamlet, especially in the positions where Hamlet is claimed for realism; realism is https://amazonia.fiocruz.br/scdp/essay/is-lafayette-a-hidden-ivy/a-study-on-using-enhanced-efficeincy.php to mean not a poetics so much as an apparatus instrumental to negotiating the modern condition in the nineteenth century.
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Key words: industrial modernity, Hamlet, Ophelia, realism, the Pre-Raphaelites, An- tigone Opening remarks Understanding modernity seems to be inflected in the narrative con- ditions of Hamlet: Hamlet may be to modernity what the story of Oedipus is to psychoanalysis, a specimen story in which the intellectual constitution of modernity is decided. In Hamlet, therefore, the very constitution Ophelia Essay modernity seems to be both decided and exceeded, just as modernity, by this account, receives its confir- mation only by a measure of literary excess. In this essay I analyze how industrial modernity Ophelia Essay its articulation in Hamlet, especially in the positions where Hamlet is claimed for realism in the nineteenth century: realism in the nineteenth century being not so much a poetics as an apparatus instrumental to negotiating the modern condition. This web page is in this sense that realism may be a measure of literary excess in which industrial modernity is decided.
Figure 1. Indeed, Millais foregrounds the Antigonic aspect of Ophelia in his painting, as if to suggest that Ophelia Antigonized is how to figure out both the Ophelia Essay of realism and the politics of industrial modernity. Hamlet Opheliz Industrial Modernity Drawing on Benjamin, Schmitt argues for an exceptional status of Hamlet in the ideation of modernity. Schmitt explains the exceptional status of Hamlet in part by the fact that revenge in this play is emphatically inflected in reflection, so 2 For the concept of realism in the s, see Brooks 71— Insofar as Hamletization entails the structures of mourning, this means that modern authority is inextricably bound with mourning and melancho- lia.
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After all, Hamlet is an exemplary mourning play, and Schmitt describes Hamletization as Opheloa transformation of the figure of the Ophelia Essay into a re- flective, self-conscious melancholic Ophelia Essay ; Leonard For Schmitt, mourning and melancholia thus become an index of modern psychopolitics, to borrow a term from Peter Sloterdijkjust as modernity is there- by identified as a psychopolitical excess. This further implies that mourning and melancholia in modernity cannot be accessed ex- cept check this out psychopolitics — that, in modernity, there may be an immovable po- litical excess to mourning and melancholia.
This means that in modernity there may be a political excess to literature too, and not only for Schmitt, by which literature itself is confirmed and exceeded hence, perhaps, the obsessive concern with artistic autonomy in modern lit- erary and critical theory. Schmitt implies that the Industrial Revolution resulted from Ohelia systemic revolution- ary character that England retained between the seventeenth and the nine- teenth centuries; he suggests that the Industrial Revolution began as political, adopting and furthering the language of Hamletization.
That no less than mo- dernity was at stake can be inferred from a comment by Eric L. The Industrial Revolution kept refracting the conditions of the other revolutions that shaped the political profile of the Ophelia Essay nineteenth century: the American Revolution, the French Revolution, the Russian Revolution. When Eric Hobsbawm argues for Ophelia Essay Dual Revolution as a concept that explains the historical logic of the nineteenth century — the Dual Revolution designating a coming together, in the nine- teenth century, of the Industrial Revolution and the legacy of the French EEssay That Schmitt was critical of industrialization pointedly so in Land and Sea is a staple of Schmitt scholarship.
Hence the special importance of his claim in Hamlet and Hecuba, that the Industrial Revolution proceeds from seventeenth-century English sovereignty, given that seventeenth-century England had a lasting fascination for Schmitt and in many ways remained a cornerstone of his political thought. Rather than an instance of forgetting, however, the Industrial Revolu- tion seems Ophelia Essay be an instance of Hamletization in the very theory whose aim is to explain Hamletization.
The question that informed the Pre-Raphaelite creed, therefore, was this: What constitutes truth to nature if nature is predicated on transformation? The Pre-Raphaelite nature was in fact true only to the modern world engaged in its this web page by the Industrial Revolution: the totality also to do with the fact that the industrial transfor- mation coincided with the intellectual breakthroughs of Victorian geology, with its emphasis on the ongoing planetary transformation. Victorian moder- nity, in other words, was acutely paleotechnic, to paraphrase Lewis Mumford The name of the exhibition was the Great Exhibition of the Works of Industry of All Nations, a historic event whose ambition was not merely to represent the world as industrial in its totality, Ophelia Essay also to testify to a truth implicit to this Ophelia Essay.
The Exhibition was housed in the novel architecture of the Crystal Palace, as if to suggest that Victorian exhibition areas came to replace, in the nineteenth century, the theatrical spectacularity of early modernity. Armstrong, Victorian ]
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