Reading and performing at once: Ophelia

Since Max Patrick (1953) called them as ‘sentimental’ and ‘erotical’, two kinds of opposite critical appreciations about Ophelia may be recognized in Hamlet, as a play where nothing seems to be exactly what it seems. The first appreciation (also called ‘traditional’), presents Ophelia as an instrume...

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Autores principales: Levstein, Ana, Calviño, María
Formato: Artículo revista
Lenguaje:Español
Publicado: Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2018
Materias:
Ofelia
Shakespeare
Derrida
Ophelia
Acceso en línea:https://revistas.unc.edu.ar/index.php/etcetera/article/view/22671
Aporte de:
Etcétera. Revista del Área de Ciencias Sociales del CIFFyH de Universidad Nacional de Córdoba
id I10-R300-article-22671
record_format ojs
spelling I10-R300-article-226712019-12-16T20:10:35Z Reading and performing at once: Ophelia Ofelia: lecturas y escenarios Levstein, Ana Calviño, María Ofelia Shakespeare Derrida Ophelia Shakespeare Derrida Since Max Patrick (1953) called them as ‘sentimental’ and ‘erotical’, two kinds of opposite critical appreciations about Ophelia may be recognized in Hamlet, as a play where nothing seems to be exactly what it seems. The first appreciation (also called ‘traditional’), presents Ophelia as an instrument for the plot by her father Polonius to keep his power and influence in the court of King Claudius, being inconditional.  The second one (also mentioned as ‘romantic’) shows Ophelia as a young woman who decides to be free from his father’s tirany living her true love for Hamlet, in flesh and blood. Indeed, in her silence of madness and death, she gives effective reality to the virtual content by Prince Hamlet in his soliloquies.So a tragic Ophelia, far from being version of a universal archetype reproducing patriarchal values, may be also read as the place where indecidibles (in Derridean word) are put in tension without fixed resolution. Because Ophelia as a character cannot be considered ‘as a whole’; there is no concept for her presence or absence in the scenes of the play. She is the Otherness/Alterity from a spectral phenomenology (Derrida again), reacting against every trying to get at her.  If -since her flowers, poems and puns- we could think about Ophelia as an artifact in a foucaultian sense, she would be a girl who, far from feminine stereotypes, becomes the place where the subjectivation process begins, opening new ways to the sense multiplicity, proliferating. Con relación al personaje de Ofelia, la crítica canónica circula por dos tipos de apreciaciones opuestas, las cuales siguiendo a Max Patrick (1953) se designan como “sentimentales” y “eróticas”. Mientras que estas últimas suponen que Ofelia y Hamlet han tenido relaciones sexuales y hasta -en algunos casos- que ella pueda estar embarazada, la primera es la lectura más “tradicional”, donde ella es instrumento de su padre  y pieza clave para activar el ascenso de Polonio en la corte. En este esquema predomina una mirada pasiva de Ofelia, con las emociones clausuradas (también las de Hamlet, en menor medida). Esta lectura destaca el contraste entre la lógica cortesana maquiavélica y pragmática de la Dinamarca de Claudio con la de Hamlet y su padre, más conservadores (o medievales) en relación con los temas de la sucesión del trono.  Recordemos que la obra comienza en una especie de estado de sitio, porque las tensiones entre el príncipe Hamlet con el rey Claudio (su tío), alientan las ambiciones de Fortimbras, el joven sobrino del monarca noruego, al trono danés. Así, una Ofelia trágica, lejos de ser una versión del arquetipo universal que reproduce valores patriarcales, puede también leer el lugar donde los indecidibles (palabra derridiana) se ponen en tensión sin resolución fija. Debido a que Ofelia es un personaje no puede ser considerado “como un todo”; no hay un concepto de su presencia o ausencia en las escenas del juego. Ella es la Alteridad de una fenomenología espectral (Derrida otra vez), reaccionando contra cada intento de llegar a ella. Si desde sus flores, poemas y juegos de palabras pudiéramos pensar en Ofelia como un artefacto en un sentido foucaultiano, sería una chica que, lejos de los estereotipos femeninos, se convierte en el lugar donde comienza el proceso de subjetivación, abriendo nuevos caminos al sentido, su multiplicidad y proliferación. Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2018-12-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/etcetera/article/view/22671 Etcétera. Revista del Área de Ciencias Sociales del CIFFyH; Núm. 1 (2017) 2618-4281 spa https://revistas.unc.edu.ar/index.php/etcetera/article/view/22671/22612
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-300
container_title_str Etcétera. Revista del Área de Ciencias Sociales del CIFFyH
language Español
format Artículo revista
topic Ofelia
Shakespeare
Derrida
Ophelia
Shakespeare
Derrida
spellingShingle Ofelia
Shakespeare
Derrida
Ophelia
Shakespeare
Derrida
Levstein, Ana
Calviño, María
Reading and performing at once: Ophelia
topic_facet Ofelia
Shakespeare
Derrida
Ophelia
Shakespeare
Derrida
author Levstein, Ana
Calviño, María
author_facet Levstein, Ana
Calviño, María
author_sort Levstein, Ana
title Reading and performing at once: Ophelia
title_short Reading and performing at once: Ophelia
title_full Reading and performing at once: Ophelia
title_fullStr Reading and performing at once: Ophelia
title_full_unstemmed Reading and performing at once: Ophelia
title_sort reading and performing at once: ophelia
description Since Max Patrick (1953) called them as ‘sentimental’ and ‘erotical’, two kinds of opposite critical appreciations about Ophelia may be recognized in Hamlet, as a play where nothing seems to be exactly what it seems. The first appreciation (also called ‘traditional’), presents Ophelia as an instrument for the plot by her father Polonius to keep his power and influence in the court of King Claudius, being inconditional.  The second one (also mentioned as ‘romantic’) shows Ophelia as a young woman who decides to be free from his father’s tirany living her true love for Hamlet, in flesh and blood. Indeed, in her silence of madness and death, she gives effective reality to the virtual content by Prince Hamlet in his soliloquies.So a tragic Ophelia, far from being version of a universal archetype reproducing patriarchal values, may be also read as the place where indecidibles (in Derridean word) are put in tension without fixed resolution. Because Ophelia as a character cannot be considered ‘as a whole’; there is no concept for her presence or absence in the scenes of the play. She is the Otherness/Alterity from a spectral phenomenology (Derrida again), reacting against every trying to get at her.  If -since her flowers, poems and puns- we could think about Ophelia as an artifact in a foucaultian sense, she would be a girl who, far from feminine stereotypes, becomes the place where the subjectivation process begins, opening new ways to the sense multiplicity, proliferating.
publisher Centro de Investigaciones de la Facultad de Filosofía y Humanidades
publishDate 2018
url https://revistas.unc.edu.ar/index.php/etcetera/article/view/22671
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first_indexed 2024-09-03T20:21:45Z
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