Term Paper: Theoretical Approach Critic on a Chosen Media Object

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Media Critical Analysis

Hamlet

Hamlet: The struggle of being and the power of passion

Hamlet: The struggle of being and the power of passion

Media critical analysis

The Struggle of Being and Power of the Passions attempts to show the role played by the tragedy in areas such as aesthetics and politics. To this end, the idea is to see, in broad terms, the relationship between tragedy and modern political thought. At the same time explore the influence of the tragedy itself in the work of performance art and psychoanalytic theory.

This study will also guide the thinking of Sigmund Freud (1856-1939), subsequently to establish the relationship between the work of Sophocles (497-405 BC), Oedipus Rex, and Oedipus Complex Hamlet. Moreover, the aesthetic theory of Georg Wilhelm Friedrich Hegel (1770-1831) and Immanuel Kant (1724-1804) will be used to observe the incidence of the artwork in the construction of subjectivity. Some important concepts when reading Hamlet: the masterpiece of Shakespeare (1564-1616)

Studying the works of Shakespeare is not easy. Not only for his wonderful sense of creation in which the characters do, but also for the remarkable and outstanding your use of the language. (Miller, 1997, p11-18) But beyond that, their study becomes even more complex if we consider that the time of Shakespearean literature can not neglect the national historical background. Why? For the period in which the author wrote was a time a little closed and confined and where the individual's problems were inseparable from the state's problems. (Aragay, 2005, p88-96)

Hamlet between politics and tragedy

To expand briefly the concept of tragedy, we will see how it appears not only manifested in art but also in political life since the advent of modernity, transcendental guarantees disappear and the political man begins to reflect more Acute its tragic element. (Hall, 2001, p166-76) In addition, there is a break between what we know as Greek tragedy, which took place in a time outside of time and the struggles that characterized the Elizabethan theater, but in turn, with the Renaissance there was a break between tragedy and life social. (Kilbourne, 1999, p270-91)

Following the definition of Georg Wilhelm Friedrich Hegel (1770-1831) the tragedy could be defined as the central instrument of political life. So much so that Niccolo Machiavelli (1469-1527) and Thomas Hobbes (1588-1679) are the authors who inaugurated the modern political thought, as in the theories of both the idea of tragedy is visible. (Goodman, 2004, p237-49)

In Machiavelli we see two tragedies: the first is the tragedy of the values and the second is the tragedy of the action (policy subjective moment). As a thinker Machiavelli moral view that the policy contains a moral, i.e. there is a morality that is Christian, but in turn there is a moral policy that invites us to build strong republic. So much so, that you have to do is decide between different moral systems, so choosing one means giving up another, and then understanding that the choice involves the loss of something in the path-loss and that choice is what disturbs the human and disturbing tragedy marks us of Machiavelli in his tragedy of values. (Miller, 1997, p11-18)

For its part, the second tragedy, action, invites us to think not only about choosing between almost incompatible values but also, once elected, this choice may not be appropriate. The latter is what shows us that we can not always be assured about our choice. Hobbes, considered that political theory is not central but rather the institutions, given that they are objective when politics. (Aragay, 2005, p201-19)

While this contractual arrangement establishes that there are three phones that lead man to be at war: mistrust: to achieve security, competition, to make a profit and glory to achieve reputation in Hamlet we see that the fundamental motivations that lead the characters to be sitting in front are: justice, revenge, guilt, corruption, ignorance of itself, the boundless love, deceit, decadence, pride, inordinate desire for power, envy, tyranny, but above all, the three motifs that appear in Hamlet to kill are: life, the crown and women (a subject of dispute and desire). (Hall, 2001, p166-76)

For these reasons, Hobbes says that to the extent that there is no common power to frighten all men, they were in a state of war of all against all, who survives while the men fight because they are objects desiring they fight in nature and that is where the tragic character appears (nothing can prevent the worst outcome). Only nature can leave the state by signing the agreement, otherwise the lack of guarantee obedience worst can happen at any time. (Epstein, 2002, p1-11)

"(...) Thus, in Hamlet, the figure of the war does not serve only to characterize the situations of struggle between men, groups or nations, but also beyond or here (as a game of mirrors, typically Renaissance, which suggests to individuals, society and the cosmos as levels or dimensions of a single being, and each of them, (Hall, 2001, p166-76) therefore, as a metaphor or expression of others), to characterize, in a direction - natural or atmospheric phenomena, and to describe, on the other, the state of the soul of the protagonists. (Gelder, 2004, p9-23)

Gender theory and Hemlet

The power of family type or hierarchical structure not only the social relations within the family or operate exclusively in the social relations between the sexes, but through other related structures such as those occurring in the world, between classes, races and generations, in public services in the system judiciary and criminal law in state decision-making structures, relations between the State and society (including the State and women) Also on the background of the denial of moral autonomy, political participation and citizenship many individuals and subordinate social groups. (Ramage et al., 2000, p215-37)

Insecurity, visible not only in the Hobbesian state of nature but also in Hamlet is what leads subjects to hesitate between killing and not killing, to be between two conflicting moral imperatives. Hamlet invents every excuse not to kill, but the constitution of an enemy seems to be inevitable in the tragedies as well as political life. (Ray, 2000, p38-53)

Consider that the need to build a political criterion of moral criteria differed, aesthetic, etc., led to Carl Schmitt to find the distinction between friend and enemy, so that potential or not enemies are those who lead the moral subjects as to preserve his life and put off the choice to kill or not. (Hall, 2001, p166-76) The situation of mourning in Hamlet is what makes, among other things, the need of which we are speaking, to constitute the enemy. As an enemy took Claudio and somewhat to his own mother for the death of his father also made an enemy of Laertes, Ophelia's brother, whom disproportionate and unfairly insulted at the funeral of his beloved. (Engelhardt, 2005, p12-28)

All this can be explained if we understand the grief as an extremely painful instance of mental life. Then tell Sigmund Freud (1856-1939) "The duel intense reaction to the loss of a loved one, a member of the same painful state of mind, the cessation of interest in the outside world (...), the loss of the ability to choose a new love object (...) and the departure of any activity not connected with the memory of a loved one. "

Whether Hamlet is presented as a selfless character and policy issues in the course of the piece the established social order in Denmark, almost at the end of the work shows that he also has political aspirations, especially when not literally says that "is crazy and not hiding my madness I come to fight for power." (Ritter, 2003, p286-300)

So understand that if there is an enemy there is no political life in terms of Schmitt. Let us agree that we are speaking of enemies in a figurative sense rather, not so much as a public enemy but neither as mere opponents. (Aragay, 2005, p88-96) But understand that in Denmark there is an exceptional state, since the crimes are not solved and the truth is not anything close, which is due to the actions of Claudius, who in theory would be the sovereign Schmitt and therefore to decide on that state that has to do mainly with the temporary suspension of normality that allows the rules to be applied. (Engelhardt, 1997, p18-21)

As in Hamlet, politics is present at all times because there are men in all times and as we said before facing what confronts the man is the power that passion. Therefore, the greatest work of Shakespeare, Hamlet, not only collects "the echoes of" discovery "of the tragic nature of Machiavellian politics. It also anticipates some of the insights that half a century after the author of Leviathan develop around the fundamental problem of order.

To think that a work of art can cover many topics and they all have a point of convergence seems to be something not too easy.

However, in Hamlet we see… [END OF PREVIEW]

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