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- By Mitchell Aboulafia, Frederick Adams, Marilyn McCord Adams, Robert M. Adams, Laird Addis, James W. Allard, David Allison, William P. Alston, Karl Ameriks, C. Anthony Anderson, David Leech Anderson, Lanier Anderson, Roger Ariew, David Armstrong, Denis G. Arnold, E. J. Ashworth, Margaret Atherton, Robin Attfield, Bruce Aune, Edward Wilson Averill, Jody Azzouni, Kent Bach, Andrew Bailey, Lynne Rudder Baker, Thomas R. Baldwin, Jon Barwise, George Bealer, William Bechtel, Lawrence C. Becker, Mark A. Bedau, Ernst Behler, José A. Benardete, Ermanno Bencivenga, Jan Berg, Michael Bergmann, Robert L. Bernasconi, Sven Bernecker, Bernard Berofsky, Rod Bertolet, Charles J. Beyer, Christian Beyer, Joseph Bien, Joseph Bien, Peg Birmingham, Ivan Boh, James Bohman, Daniel Bonevac, Laurence BonJour, William J. Bouwsma, Raymond D. Bradley, Myles Brand, Richard B. Brandt, Michael E. Bratman, Stephen E. Braude, Daniel Breazeale, Angela Breitenbach, Jason Bridges, David O. Brink, Gordon G. Brittan, Justin Broackes, Dan W. Brock, Aaron Bronfman, Jeffrey E. Brower, Bartosz Brozek, Anthony Brueckner, Jeffrey Bub, Lara Buchak, Otavio Bueno, Ann E. Bumpus, Robert W. Burch, John Burgess, Arthur W. Burks, Panayot Butchvarov, Robert E. Butts, Marina Bykova, Patrick Byrne, David Carr, Noël Carroll, Edward S. Casey, Victor Caston, Victor Caston, Albert Casullo, Robert L. Causey, Alan K. L. Chan, Ruth Chang, Deen K. Chatterjee, Andrew Chignell, Roderick M. Chisholm, Kelly J. Clark, E. J. Coffman, Robin Collins, Brian P. Copenhaver, John Corcoran, John Cottingham, Roger Crisp, Frederick J. Crosson, Antonio S. Cua, Phillip D. Cummins, Martin Curd, Adam Cureton, Andrew Cutrofello, Stephen Darwall, Paul Sheldon Davies, Wayne A. Davis, Timothy Joseph Day, Claudio de Almeida, Mario De Caro, Mario De Caro, John Deigh, C. F. Delaney, Daniel C. Dennett, Michael R. DePaul, Michael Detlefsen, Daniel Trent Devereux, Philip E. Devine, John M. Dillon, Martin C. Dillon, Robert DiSalle, Mary Domski, Alan Donagan, Paul Draper, Fred Dretske, Mircea Dumitru, Wilhelm Dupré, Gerald Dworkin, John Earman, Ellery Eells, Catherine Z. Elgin, Berent Enç, Ronald P. Endicott, Edward Erwin, John Etchemendy, C. Stephen Evans, Susan L. Feagin, Solomon Feferman, Richard Feldman, Arthur Fine, Maurice A. Finocchiaro, William FitzPatrick, Richard E. Flathman, Gvozden Flego, Richard Foley, Graeme Forbes, Rainer Forst, Malcolm R. Forster, Daniel Fouke, Patrick Francken, Samuel Freeman, Elizabeth Fricker, Miranda Fricker, Michael Friedman, Michael Fuerstein, Richard A. Fumerton, Alan Gabbey, Pieranna Garavaso, Daniel Garber, Jorge L. A. Garcia, Robert K. Garcia, Don Garrett, Philip Gasper, Gerald Gaus, Berys Gaut, Bernard Gert, Roger F. Gibson, Cody Gilmore, Carl Ginet, Alan H. Goldman, Alvin I. Goldman, Alfonso Gömez-Lobo, Lenn E. Goodman, Robert M. Gordon, Stefan Gosepath, Jorge J. E. Gracia, Daniel W. Graham, George A. Graham, Peter J. Graham, Richard E. Grandy, I. Grattan-Guinness, John Greco, Philip T. Grier, Nicholas Griffin, Nicholas Griffin, David A. Griffiths, Paul J. Griffiths, Stephen R. Grimm, Charles L. Griswold, Charles B. Guignon, Pete A. Y. Gunter, Dimitri Gutas, Gary Gutting, Paul Guyer, Kwame Gyekye, Oscar A. Haac, Raul Hakli, Raul Hakli, Michael Hallett, Edward C. Halper, Jean Hampton, R. James Hankinson, K. R. Hanley, Russell Hardin, Robert M. Harnish, William Harper, David Harrah, Kevin Hart, Ali Hasan, William Hasker, John Haugeland, Roger Hausheer, William Heald, Peter Heath, Richard Heck, John F. Heil, Vincent F. Hendricks, Stephen Hetherington, Francis Heylighen, Kathleen Marie Higgins, Risto Hilpinen, Harold T. Hodes, Joshua Hoffman, Alan Holland, Robert L. Holmes, Richard Holton, Brad W. Hooker, Terence E. Horgan, Tamara Horowitz, Paul Horwich, Vittorio Hösle, Paul Hoβfeld, Daniel Howard-Snyder, Frances Howard-Snyder, Anne Hudson, Deal W. Hudson, Carl A. Huffman, David L. Hull, Patricia Huntington, Thomas Hurka, Paul Hurley, Rosalind Hursthouse, Guillermo Hurtado, Ronald E. Hustwit, Sarah Hutton, Jonathan Jenkins Ichikawa, Harry A. Ide, David Ingram, Philip J. Ivanhoe, Alfred L. Ivry, Frank Jackson, Dale Jacquette, Joseph Jedwab, Richard Jeffrey, David Alan Johnson, Edward Johnson, Mark D. Jordan, Richard Joyce, Hwa Yol Jung, Robert Hillary Kane, Tomis Kapitan, Jacquelyn Ann K. Kegley, James A. Keller, Ralph Kennedy, Sergei Khoruzhii, Jaegwon Kim, Yersu Kim, Nathan L. King, Patricia Kitcher, Peter D. Klein, E. D. Klemke, Virginia Klenk, George L. Kline, Christian Klotz, Simo Knuuttila, Joseph J. Kockelmans, Konstantin Kolenda, Sebastian Tomasz Kołodziejczyk, Isaac Kramnick, Richard Kraut, Fred Kroon, Manfred Kuehn, Steven T. Kuhn, Henry E. Kyburg, John Lachs, Jennifer Lackey, Stephen E. Lahey, Andrea Lavazza, Thomas H. Leahey, Joo Heung Lee, Keith Lehrer, Dorothy Leland, Noah M. Lemos, Ernest LePore, Sarah-Jane Leslie, Isaac Levi, Andrew Levine, Alan E. Lewis, Daniel E. Little, Shu-hsien Liu, Shu-hsien Liu, Alan K. L. Chan, Brian Loar, Lawrence B. Lombard, John Longeway, Dominic McIver Lopes, Michael J. Loux, E. J. Lowe, Steven Luper, Eugene C. Luschei, William G. Lycan, David Lyons, David Macarthur, Danielle Macbeth, Scott MacDonald, Jacob L. Mackey, Louis H. Mackey, Penelope Mackie, Edward H. Madden, Penelope Maddy, G. B. Madison, Bernd Magnus, Pekka Mäkelä, Rudolf A. Makkreel, David Manley, William E. Mann (W.E.M.), Vladimir Marchenkov, Peter Markie, Jean-Pierre Marquis, Ausonio Marras, Mike W. Martin, A. P. Martinich, William L. McBride, David McCabe, Storrs McCall, Hugh J. McCann, Robert N. McCauley, John J. McDermott, Sarah McGrath, Ralph McInerny, Daniel J. McKaughan, Thomas McKay, Michael McKinsey, Brian P. McLaughlin, Ernan McMullin, Anthonie Meijers, Jack W. Meiland, William Jason Melanson, Alfred R. Mele, Joseph R. Mendola, Christopher Menzel, Michael J. Meyer, Christian B. Miller, David W. Miller, Peter Millican, Robert N. Minor, Phillip Mitsis, James A. Montmarquet, Michael S. Moore, Tim Moore, Benjamin Morison, Donald R. Morrison, Stephen J. Morse, Paul K. Moser, Alexander P. D. Mourelatos, Ian Mueller, James Bernard Murphy, Mark C. Murphy, Steven Nadler, Jan Narveson, Alan Nelson, Jerome Neu, Samuel Newlands, Kai Nielsen, Ilkka Niiniluoto, Carlos G. Noreña, Calvin G. Normore, David Fate Norton, Nikolaj Nottelmann, Donald Nute, David S. Oderberg, Steve Odin, Michael O’Rourke, Willard G. Oxtoby, Heinz Paetzold, George S. Pappas, Anthony J. Parel, Lydia Patton, R. P. Peerenboom, Francis Jeffry Pelletier, Adriaan T. Peperzak, Derk Pereboom, Jaroslav Peregrin, Glen Pettigrove, Philip Pettit, Edmund L. Pincoffs, Andrew Pinsent, Robert B. Pippin, Alvin Plantinga, Louis P. Pojman, Richard H. Popkin, John F. Post, Carl J. Posy, William J. Prior, Richard Purtill, Michael Quante, Philip L. Quinn, Philip L. Quinn, Elizabeth S. Radcliffe, Diana Raffman, Gerard Raulet, Stephen L. Read, Andrews Reath, Andrew Reisner, Nicholas Rescher, Henry S. Richardson, Robert C. Richardson, Thomas Ricketts, Wayne D. Riggs, Mark Roberts, Robert C. Roberts, Luke Robinson, Alexander Rosenberg, Gary Rosenkranz, Bernice Glatzer Rosenthal, Adina L. Roskies, William L. Rowe, T. M. Rudavsky, Michael Ruse, Bruce Russell, Lilly-Marlene Russow, Dan Ryder, R. M. Sainsbury, Joseph Salerno, Nathan Salmon, Wesley C. Salmon, Constantine Sandis, David H. Sanford, Marco Santambrogio, David Sapire, Ruth A. Saunders, Geoffrey Sayre-McCord, Charles Sayward, James P. Scanlan, Richard Schacht, Tamar Schapiro, Frederick F. Schmitt, Jerome B. Schneewind, Calvin O. Schrag, Alan D. Schrift, George F. Schumm, Jean-Loup Seban, David N. Sedley, Kenneth Seeskin, Krister Segerberg, Charlene Haddock Seigfried, Dennis M. Senchuk, James F. Sennett, William Lad Sessions, Stewart Shapiro, Tommie Shelby, Donald W. Sherburne, Christopher Shields, Roger A. Shiner, Sydney Shoemaker, Robert K. Shope, Kwong-loi Shun, Wilfried Sieg, A. John Simmons, Robert L. Simon, Marcus G. Singer, Georgette Sinkler, Walter Sinnott-Armstrong, Matti T. Sintonen, Lawrence Sklar, Brian Skyrms, Robert C. Sleigh, Michael Anthony Slote, Hans Sluga, Barry Smith, Michael Smith, Robin Smith, Robert Sokolowski, Robert C. Solomon, Marta Soniewicka, Philip Soper, Ernest Sosa, Nicholas Southwood, Paul Vincent Spade, T. L. S. Sprigge, Eric O. Springsted, George J. Stack, Rebecca Stangl, Jason Stanley, Florian Steinberger, Sören Stenlund, Christopher Stephens, James P. Sterba, Josef Stern, Matthias Steup, M. A. Stewart, Leopold Stubenberg, Edith Dudley Sulla, Frederick Suppe, Jere Paul Surber, David George Sussman, Sigrún Svavarsdóttir, Zeno G. Swijtink, Richard Swinburne, Charles C. Taliaferro, Robert B. Talisse, John Tasioulas, Paul Teller, Larry S. Temkin, Mark Textor, H. S. Thayer, Peter Thielke, Alan Thomas, Amie L. Thomasson, Katherine Thomson-Jones, Joshua C. Thurow, Vzalerie Tiberius, Terrence N. Tice, Paul Tidman, Mark C. Timmons, William Tolhurst, James E. Tomberlin, Rosemarie Tong, Lawrence Torcello, Kelly Trogdon, J. D. Trout, Robert E. Tully, Raimo Tuomela, John Turri, Martin M. Tweedale, Thomas Uebel, Jennifer Uleman, James Van Cleve, Harry van der Linden, Peter van Inwagen, Bryan W. Van Norden, René van Woudenberg, Donald Phillip Verene, Samantha Vice, Thomas Vinci, Donald Wayne Viney, Barbara Von Eckardt, Peter B. M. Vranas, Steven J. Wagner, William J. Wainwright, Paul E. Walker, Robert E. Wall, Craig Walton, Douglas Walton, Eric Watkins, Richard A. Watson, Michael V. Wedin, Rudolph H. Weingartner, Paul Weirich, Paul J. Weithman, Carl Wellman, Howard Wettstein, Samuel C. Wheeler, Stephen A. White, Jennifer Whiting, Edward R. Wierenga, Michael Williams, Fred Wilson, W. Kent Wilson, Kenneth P. Winkler, John F. Wippel, Jan Woleński, Allan B. Wolter, Nicholas P. Wolterstorff, Rega Wood, W. Jay Wood, Paul Woodruff, Alison Wylie, Gideon Yaffe, Takashi Yagisawa, Yutaka Yamamoto, Keith E. Yandell, Xiaomei Yang, Dean Zimmerman, Günter Zoller, Catherine Zuckert, Michael Zuckert, Jack A. Zupko (J.A.Z.)
- Edited by Robert Audi, University of Notre Dame, Indiana
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- The Cambridge Dictionary of Philosophy
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- 05 August 2015
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- 27 April 2015, pp ix-xxx
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Mark Eccles. Shakespeare in Warwickshire. Madison: The University of Wisconsin Press, 1961. viii+182 pp. 4 pl. 2 maps. $4.50.
- Hardin Craig
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- Journal:
- Renaissance News / Volume 14 / Issue 4 / Winter 1961
- Published online by Cambridge University Press:
- 20 November 2018, pp. 284-287
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- Winter 1961
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Shakespeare and the Here and Now
- Hardin Craig
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- PMLA / Publications of the Modern Language Association of America / Volume 67 / Issue 1 / February 1952
- Published online by Cambridge University Press:
- 02 December 2020, pp. 87-94
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- February 1952
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Like many American scholars I have been interested in the issue between science and the humanities in higher education. I have heard lectures and read books that praised the humanities and made reasoned presentations of the claims of literature and the arts in the dissemination of the best and most effective culture. I have been gratified by such discourses. The inference has been that students of science and technology should be urged and persuaded to devote at least some time to history, philosophy, literature, and the arts, and to this I have no objection; but it has seemed to me that we were taking hold of the matter from exactly the wrong end. It is perhaps important for scientists to know the humanities, but it has seemed to me essential that humanists should know the sciences. I presume my acquaintance with the Renaissance has led me to adopt the view that the truths of science, as well as those of history, philosophy, arts and letters, are within the domain of humanism. I need not mention the names of great Renaissance humanists—Erasmus, Spenser, Shakespeare, Bacon, Milton, Rabelais, Montaigne, Ariosto, and Cervantes. We still have, however, a thrill of surprise when we hear Bacon say, “I have taken all knowledge to be my province,” although Bacon is merely expressing the professed doctrine of Renaissance humanism. The truth of the matter is that all Renaissance humanists, with due allowance for the indulgence of special aptitudes, did precisely that.
Motivation in Shakespeare’s Choice of Materials
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- By Hardin Craig
- Edited by Allardyce Nicoll
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- Shakespeare Survey
- Published online:
- 28 March 2007
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- 02 January 1951, pp 26-34
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Summary
The field of study which I propose for consideration has to do with Shakespeare’s plots in two aspects, the general and the detailed. When he utters the familiar lines in A Midsummer Night’s Dream,
And as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes and gives to airy nothing
A local habitation and a name,
he gives a perfect description of the most fundamental operation of the human mind. As the possessor of one of the greatest minds on record, he is at the same time describing his own transcendent skill.
There is usually to be discovered in Shakespeare's plays a form or pattern, sometimes easily identified, sometimes not; sometimes apparently consciously developed, sometimes seemingly almost accidental. These are "the forms of things unknown". The power of determining forms, that is, of regarding as irrelevant all attending circumstances except a certain conceptual form that controls the complex of events, is the most characteristic mental trait of mankind, and in the recognition of significant form in any configuration presented to experience Shakespeare excelled.
Trend of Shakespeare Scholarship
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- By Hardin Craig
- Edited by Allardyce Nicoll
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- Shakespeare Survey
- Published online:
- 28 March 2007
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- 02 January 1949, pp 107-114
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In the year 1636 René Descartes published his Discourse on Method, and thereby succeeded in dividing the new world from the old.
Shakespeare lived in a Pre-Cartesian world, that is, a world which had in it little uncertainty as to the nature of things and little idea as to the importance of research. Descartes began with universal doubt, and it is the presence of doubt that chiefly distinguishes our world from that of Shakespeare. Descartes discarded tradition (doubted its truth), and he and his followers have subjected all moral, religious, and intellectual ideas and beliefs to scientific investigation. Modern science has, however, made only a partial conquest of the world, partly because many people have continued to accept tradition and authority, and, partly, because there seem to be some regions into which science cannot enter or can enter only in an unconvincing way. Nevertheless there is no doubt that the scientific method and attitude have deeply affected all the life of the mind. The Pre-Cartesian world is thus in some measure a lost world to modern learned culture. Fragments of it, even large fragments, are continually being found by scholars, but they seem usually to remain fragments. The spirit and temper, the essence, of that world before the age of reason and science apparently make themselves known only to a few wise, patient and imaginative scholars and critics. The difficult quest for the spirit of Shakespeare and his age goes on, but with varying success, and most intellectuals are perhaps the dupes of literature as well as of science. Clearly, if we are to escape into the Pre-Cartesian world, we must not, although we carry our present with us, make over that past into the likeness of our present. We are tempted to do this very thing by the circumstance that human nature, although affected and no doubt in some measure controlled by the characteristics and consequential ideas of each particular time, is proverbially always the same.
When, however, we behold our shortcomings as Post-Cartesians, we cannot justly declare war against ourselves, for it must be admitted that the age of science rediscovered Shakespeare and has been busy for generations in making his greatness manifest.
Shakespeare’s Bad Poetry
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- By Hardin Craig
- Edited by Allardyce Nicoll
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- Shakespeare Survey
- Published online:
- 28 March 2007
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- 02 January 1948, pp 51-56
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Summary
[A paper read at the Shakespeare Conference, Stratford-upon-Avon, August 1947. Two portions delivered on that occasion have been omitted.]
In my book, The Enchanted Glass, I endeavoured to emphasize the intense expressiveness of the English Renaissance, in accordance with the belief current at that time in the power of expressed truth. If these opinions should be called in question, it is only necessary to point out that rhetoric was the central core of Renaissance education and the very foundation of virtue. The power of speech distinguished men from the brutes, and rhetoric was the symbol of man’s dignity. We know that the persuasive aim of ancient rhetoric had also been transferred to poetry. The object of humanistic education, as stated by my pupil Dr Madeleine Doran, was to prepare men to use rational discourse and persuasive eloquence in the service of truth and the public good. In this aim rhetoric and poetry came together. Poetry sought to teach with delight and to move men to great achievement, and, since the medieval conception of rhetoric as merely the ornamental aspect of discourse still prevailed, poetry in some sense superseded rhetoric, inherited the ancient estate of rhetoric, and itself became a primary agent for moving men to rational thought and virtuous action. The word itself was irresistible. Of course schools fell far short of their ideals, and rhetorical doctrine suffered mechanization. The whole paraphernalia of the divisions and patterns of oratory were ruthlessly applied to all discourse—to the composition of letters, to the writing of history, and even to the writing of poetry itself. Thus rhetoricians, or general teachers, saw the problem of drama, epic, and lyric in terms of oratory, its divisions and its style.
Third Session, Thursday Afternoon at 4:30
- H. M. Belden, Hardin Craig, Robert J. Menner, R. S. Crane, Otto Müller, A. B. Faust, H. G. Doyle, James W. Bright., H. C. G. von Jagemann., Henry Alfred Todd
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 39 / Issue S1 / December 1924
- Published online by Cambridge University Press:
- 26 February 2021, pp. xvi-xxvi
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- December 1924
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XXV.—The Lincoln Cordwainers' Pageant
- Hardin Craig
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 32 / Issue 4 / 1917
- Published online by Cambridge University Press:
- 02 December 2020, pp. 605-615
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- 1917
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In determining whether the Lincoln mystery plays were processional like those of York and Chester or were acted on a fixed stage, it is important to know whether the St. Anne's Day Sights, about which there is a considerable amount of information, were merely floats or real plays. They are regarded as plays by Mr. Chambers and by Mr. A. F. Leach. A recently discovered account book of the Lincoln Cordwainers' Company, preserved in the Free Public Library, indicates what part the Cordwainers took in the St. Anne's day celebration and what the nature of the spectacle was. The Cordwainers were to maintain and send forth annually in the procession of St. Anne's day a pageant, called the Pageant of Bethlehem. This was not a play, and there is no evidence to show that they were responsible for a play at any season of the year. Their entries of expenses indicate a very different form of dramatic activity from that of the Weavers of Coventry and other companies in that city where the companies maintained plays.