The course is entitled "Less Than. The Human, Inhuman, and Posthuman in Shakespeare".
What it means to be human, and more broadly what the human is, in our period of wars, invasions, and persecutions, is unfortunately a daily problem that challenges our consciences.
What it means to be human, and more broadly what the human is, in our period of wars, invasions, and persecutions, is a problem that often arises. The course aims to analyze this theme in Shakespeare. Violence, and the temptation to resort to it, often constitutes the occasion when Shakespearean characters not only demonstrate their humanity or desire to overcome moral barriers and become inhuman, but also the moment when what it means to be human is defined. Even comedy, as demonstrated by _Twelfth Night_, captures what it means to fall in love with another human being and thus discover one's own humanity. Yet, it also explores, through the persecution of the eccentric Malvolio, how one can become inhuman in mockery. The same applies even more to a problem play like _Measure for Measure_ The inflexible judge Angelo embodies a literal law that knows no mercy, yet in his own flesh he feels the call of desire that he would censor. Hence the shift towards the completely inhuman is easy. In a radical mode, the misanthropy of the protagonist of _Timon of Athens_ embodies a more absolute contempt for the human being, whose serious limitations, however, have been widely demonstrated, almost justifying that hatred. In _The Tempest_, the human passions of revenge and the almost divine one of forgiveness confront each other precisely around what it means to be human. Again, it is a woman, Miranda, who immediately shows the admirable faculty of empathy. Through Caliban, however, and the enchanted landscape of the island, the posthuman also emerges, which goes beyond the traditional categories of the human and its opposite.
The ultimate Shakespearean synthesis of the problem appears in _King Lear_: here madness allows us to paradoxically discover the misery of being human, and where there is simultaneously the loss of all limits and the deliberate embrace of inhumanity, and the establishment of a profoundly human pity in Cordelia.
Through comparison with contemporary sources as well, the course will first analyze the two comedies (_Twelfth Night_ and _Measure for Measure_), then move on to _Timon of Athens_ and _The Tempest_. These works constitute the first 6 CFU (42 hours). The remaining 3 CFU (21 hours), required for those taking the 9 CFU course, will involve a close reading of _King Lear_.
The works will be analysed with respect to the historical and cultural contests of the early modern period, with an emphasis on literary conventions and fashions. The texts will be also seen through their afterlife in contemporary culture (art, classical and pop music, cinema, tv, etc.).
If needed, further changes will be notified during the course.
The literary texts are to be bought; please choose the recommended editions.
ALL critical texts will be available online on the course Moodle.
What it means to be human, and more broadly what the human is, in our period of wars, invasions, and persecutions, is unfortunately a daily problem that challenges our consciences.
What it means to be human, and more broadly what the human is, in our period of wars, invasions, and persecutions, is a problem that often arises. The course aims to analyze this theme in Shakespeare. Violence, and the temptation to resort to it, often constitutes the occasion when Shakespearean characters not only demonstrate their humanity or desire to overcome moral barriers and become inhuman, but also the moment when what it means to be human is defined. Even comedy, as demonstrated by _Twelfth Night_, captures what it means to fall in love with another human being and thus discover one's own humanity. Yet, it also explores, through the persecution of the eccentric Malvolio, how one can become inhuman in mockery. The same applies even more to a problem play like _Measure for Measure_ The inflexible judge Angelo embodies a literal law that knows no mercy, yet in his own flesh he feels the call of desire that he would censor. Hence the shift towards the completely inhuman is easy. In a radical mode, the misanthropy of the protagonist of _Timon of Athens_ embodies a more absolute contempt for the human being, whose serious limitations, however, have been widely demonstrated, almost justifying that hatred. In _The Tempest_, the human passions of revenge and the almost divine one of forgiveness confront each other precisely around what it means to be human. Again, it is a woman, Miranda, who immediately shows the admirable faculty of empathy. Through Caliban, however, and the enchanted landscape of the island, the posthuman also emerges, which goes beyond the traditional categories of the human and its opposite.
The ultimate Shakespearean synthesis of the problem appears in _King Lear_: here madness allows us to paradoxically discover the misery of being human, and where there is simultaneously the loss of all limits and the deliberate embrace of inhumanity, and the establishment of a profoundly human pity in Cordelia.
Through comparison with contemporary sources as well, the course will first analyze the two comedies (_Twelfth Night_ and _Measure for Measure_), then move on to _Timon of Athens_ and _The Tempest_. These works constitute the first 6 CFU (42 hours). The remaining 3 CFU (21 hours), required for those taking the 9 CFU course, will involve a close reading of _King Lear_.
The works will be analysed with respect to the historical and cultural contests of the early modern period, with an emphasis on literary conventions and fashions. The texts will be also seen through their afterlife in contemporary culture (art, classical and pop music, cinema, tv, etc.).
If needed, further changes will be notified during the course.
The literary texts are to be bought; please choose the recommended editions.
ALL critical texts will be available online on the course Moodle.
- Docente: Rocco Coronato