Angol
How do changes in thoughts, feelings, and attitudes come about, and how can they be brought about? How can someone's most fundamental convictions be shaken? What role do moments of uncertainty, of "not knowing one's way about"- an experience omnipresent both in Shakespeareżs writings and Wittgensteinżs philosophical works - play in such alterations? What do Shakespeareżs supernatural characters - witches, fairies, ghosts - have in common with Wittgensteinżs "witch posing questions"? In what ways does Wittgensteinżs style of reasoning resemble Shakespeareżs thinking in the mode of drama? Why do Shakespeareżs plays and Wittgensteinżs philosophical writings continue to generate such an astonishing number of often contradictory interpretations? These are some of the questions that this study attempts to answer by reading Shakespeareżs dramatisations of awareness and thought in 'Much Ado About Nothing', 'Hamlet', 'Macbeth' and 'The Tempest' along lines suggested by Wittgensteinżs later philosophy.
