The figure of Hamlet haunts our culture like the Ghost haunts him. Arguably, no literary work, not even the Bible, is more familiar to us than Shakespeare’s Hamlet. Everyone knows at least six words from the play; often people know many more. Yet the play—Shakespeare’s longest—is more than “passing strange” and becomes deeply unfamiliar when considered closely. Reading Hamlet alongside other writers, philosophers, and psychoanalysts—Carl Schmitt, Walter Benjamin, Freud, Lacan, Nietzsche, Melville, and Joyce—Simon Critchley and Jamieson Webster consider the political context and stakes of Shakespeare’s play, its relation to religion, the movement of desire, and the incapacity to love.

In Hamlet in Purgatory, renowned literary scholar Stephen Greenblatt delves into his longtime fascination with the ghost of Hamlet's father, and his daring and ultimately gratifying journey takes him through surprising intellectual territory. It yields an extraordinary account of the rise and fall of Purgatory as both a belief and a lucrative institution--as well as a capacious new reading of the power of Hamlet. In the mid-sixteenth century, English authorities abruptly changed the relationship between the living and dead. Declaring that Purgatory was a false "poem," they abolished the institutions and banned the practices that Christians relied on to ease the passage to Heaven for themselves and their dead loved ones. Greenblatt explores the fantastic adventure narratives, ghost stories, pilgrimages, and imagery by which a belief in a grisly "prison house of souls" had been shaped and reinforced in the Middle Ages. He probes the psychological benefits as well as the high costs of this belief and of its demolition. With the doctrine of Purgatory and the elaborate practices that grew up around it, the church had provided a powerful method of negotiating with the dead. The Protestant attack on Purgatory destroyed this method for most people in England, but it did not eradicate the longings and fears that Catholic doctrine had for centuries focused and exploited. In his strikingly original interpretation, Greenblatt argues that the human desires to commune with, assist, and be rid of the dead were transformed by Shakespeare--consummate conjurer that he was--into the substance of several of his plays, above all the weirdly powerful Hamlet. Thus, the space of Purgatory became the stage haunted by literature's most famous ghost. This book constitutes an extraordinary feat that could have been accomplished by only Stephen Greenblatt. It is at once a deeply satisfying reading of medieval religion, an innovative interpretation of the apparitions that trouble Shakespeare's tragic heroes, and an exploration of how a culture can be inhabited by its own spectral leftovers. This expanded Princeton Classics edition includes a new preface by the author.

Theological and psychological interpretations of Shakespeare's most problematic play have been pursued as complementary to each other. In this bold reading, Walter N. King brings twentiethcentury Christian existentialism and post-Freudian psychological theory to bear upon Hamlet and his famous problems. King draws on the support of Paul Tillich, John Macquarrie, and Nicolai Beryaev, who radically reinterpreted the Christian doctrine of providence, and presents an unconventional thesis. He derives illuminating psychological insights from Erik Erikson, the pioneer in the modern study of identity, and Viktor Frankl, the founder of logotherapy.

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At the request of the editor of the North American Review, the author of this book prepared an argument in defense of the doctrine of Endless Punishment, which was published in the number of that periodical for February, 1885. It was agreed that the writer should have the right to republish it at a future time. Only the rational argument was presented in the article. The author now reproduces it, adding the biblical argument, and a brief historical sketch. Every doctrine has its day to be attacked, and defended. Just now, that of Eternal Retribution is strenuously combated, not only outside of the church, but to some extent within it. Whoever preaches it is said, by some, not "to preach to the times"--As if the sin of this time were privileged, and stood in a different relation to the law and judgment of God, from that of other times. Neither the Christian ministry, nor the Christian church, are responsible for the doctrine of Eternal Perdition. It is given in charge to the ministry, and to the church, by the Lord Christ himself, in his last commission, as a truth to be preached to every creature. Speaking generally, those who believe that there is a hell, and intelligently fear it, as they are commanded to do by Christ himself, will escape it; and those who deny that there is a hell, and ridicule it, will fall into it. Hence the minister of Christ must be as plain as Christ, as solemn as Christ, and as tender as Christ, in the announcement of this fearful truth. - Preface

A Will to Believe is a revised version of Kastan's 2008 Oxford Wells Shakespeare Lectures, providing a provocative account of the ways in which religion animates Shakespeare's plays.

Learning to Forget analyzes the evolution of US counterinsurgency (COIN) doctrine over the last five decades. Beginning with an extensive section on the lessons of Vietnam, it traces the decline of COIN in the 1970s, then the rebirth of low intensity conflict through the Reagan years, in the conflict in Bosnia, and finally in the campaigns of Iraq and Afghanistan. Ultimately it closes the loop by explaining how, by confronting the lessons of Vietnam, the US Army found a way out of those most recent wars. In the process it provides an illustration of how military leaders make use of history and demonstrates the difficulties of drawing lessons from the past that can usefully be applied to contemporary circumstances. The book outlines how the construction of lessons is tied to the construction of historical memory and demonstrates how histories are constructed to serve the needs of the present. In so doing, it creates a new theory of doctrinal development.

The clearest, boldest and most systematic statement of Simon Critchley’s influential views on philosophy, ethics, and politics, Infinitely Demanding identifies a massive political disappointment at the heart of liberal democracy. Arguing that what is called for is an ethics of commitment that can inform a radical politics, Critchley considers the possibility of political subjectivity and action after Marx and Marxism, taking in the work of Kant, Levinas, Badiou and Lacan. Infinitely Demanding culminates in an argument for anarchism as an ethical practice and a remotivating means of political organization.

Feldman's examination of Shakespeare's play from the point of view that it was written by the Earl of Oxford serves not only to shed new light on the play, but also constitutes a new argument for Oxford as Shakespeare.

The complex and sometimes contradictory expressions of love in Shakespeare's works—ranging from the serious to the absurd and back again—arise primarily from his dramatic and theatrical flair rather than from a unified philosophy of love. Untangling his witty, bawdy (and ambiguous) treatment of love, sex, and desire requires a sharp eye and a steady hand. In Shakespeare on Love and Lust, noted scholar Maurice Charney delves deeply into Shakespeare's rhetorical and thematic development of this largest of subjects to reveal what makes his plays and poems resonate with contemporary audiences. The paradigmatic star-crossed lovers of Romeo and Juliet, the comic confusions of couples wandering through the wood in A Midsummer Night's Dream, Othello's tragic jealousy, the homoerotic ways Shakespeare played with cross-dressing on the Elizabethan stage—Charney explores the world in which Shakespeare lived, and how it is reflected and transformed in the one he created. While focusing primarily on desire between young lovers, Charney also explores themes of love in marriage (Brutus and Portia) and in same-sex pairings (Antonio and Sebastian). Against the conventions of Renaissance literature, Shakespeare qualified the Platonic view that true love transcends the physical. Instead, as Charney demonstrates, love in Shakespeare's work is almost always sexual as well as spiritual, and the full range of desire's dramatic possibilities is displayed. Shakespeare on Love and Lust begins by considering the ways in which Shakespeare drew upon and satirized the conventions of Petrarchan Renaissance love poetry in plays like Romeo and Juliet, then explores how courtship is woven into the basic plot formula of the comedies. Next, Charney examines love in the tragedies and the enemies of love (Iago, for example). Later chapters cover the gender complications in such plays as Macbeth and The Taming of the Shrew as well as the homoerotic themes woven into many of the poems and plays. Charney concludes with a lively discussion of paradoxes and ambivalences about love expressed by Shakespeare's word play and sexual innuendoes.