Tom Stoppard is one of the most interesting British playwrights and indeed one of the most philosophical. On his stage it is quite easy to find philosophers such as Zenone, Hobbes, Wittgenstein, Russell, Moore, Ayer, Ryle and many others, and discussions about the quantum mechanics (Hapgood, 1988), the chaos theory (Arcadia, 1993), the law of probability (Rosencrantz and Guildenstern Are Dead, 1967) or the existence of God (Jumpers, 1972). Among his philosophical interests Stoppard shows a peculiar predilection for analytic philosophy (Jumpers, 1972) and Ludwig Wittgenstein - especially for the Wittgenstein of Philosophical Investigations. On the one hand, the playwright is deeply influenced by Wittgenstein’s investigations on the functioning of language and by his notion of “linguistic game”; on the other hand, he makes a political use of the Austrian philosopher’s reflections on language; in his Dogg’s Hamlet, Cahoot’s Macbeth (1979) the linguistic analysis and the “linguistic game” become therefore tools to unmask every kind of abuse of power - non least, those imposed by authoritarian regimes.
|Titolo:||Giochi linguistici e acrobazie filosofiche nel teatro di Tom Stoppard|
CAVECCHI, MARIACRISTINA (Primo)
|Parole Chiave:||Tom Stoppard; filosofia; Ludwig Wittgenstein; giochi linguistici.|
|Settore Scientifico Disciplinare:||Settore L-LIN/10 - Letteratura Inglese|
|Data di pubblicazione:||mag-2010|
|Tipologia:||Book Part (author)|
|Appare nelle tipologie:||03 - Contributo in volume|