Playing Nothing for Someone: Lear, Bottom, and Kenotic Integrity
Tragedy depicts harm to integrity—personal, moral, bodily, even the integrity of nature—and so offers occasions for rethinking the idea of integrity. These occasions may prompt us to set aside notions of pristine wholeness, moral perfection, and solitary authenticity for a more relational integrity,...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
2005
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| In: |
Literature and theology
Year: 2005, Volume: 19, Issue: 2, Pages: 159-180 |
| Online Access: |
Volltext (JSTOR) Volltext (lizenzpflichtig) Volltext (lizenzpflichtig) |
| Summary: | Tragedy depicts harm to integrity—personal, moral, bodily, even the integrity of nature—and so offers occasions for rethinking the idea of integrity. These occasions may prompt us to set aside notions of pristine wholeness, moral perfection, and solitary authenticity for a more relational integrity, informed by the paradigms of performance and kenosis. This essay first juxtaposes King Lear with a film by Kristian Levring, The King Is Alive, and then moves to Shakespeare's earlier A Midsummer Night's Dream. All three works are metatheatrical, and depict people playing-as-others in solicitude for others. Each in its way broaches the ethical and theological possibility of ‘kenotic integrity’. |
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| ISSN: | 1477-4623 |
| Contains: | Enthalten in: Literature and theology
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| Persistent identifiers: | DOI: 10.1093/litthe/fri018 |