Ontology of evil in William Shakespeare's tragedies: King Lear, Hamlet, Othello, and Macbeth Онтология зла в трагедиях Уильяма Шекспира: Король Лир, Гамлет, Отелло и Макбет : doctoral dissertation докторская диссертация

[A. V. .Joličić]

158 str.

Nauka o književnosti - Engleska književnost / Literature - English literature

Predmet istraživanja ove doktorske disertacije jeste analiza fenomena zla u Šekspirovim tragedijama Hamlet, Magbet, Kralj Lir i Otelo. S obzirom na složenost i višedimenzionalnost koncepta zla, koji zahteva interdisciplinarni pristup, fenomen je proučavan kroz književne, filozofske, etičke, teološke, psihološke i umetničke aspekte. Specifičnost Šekspirovog tretmana zla zahteva primenu različitih metodoloških pristupa, među kojima su posebno istaknute komparativna analiza, novi istoricizam i psihoanalitička teorija. Na osnovu pomenutih pristupa, istraživanje pruža detaljno razmatranje motiva, izvora i manifestacija zla kod centralnih likova u navedenim tragedijama, kao i objašnjenje njihovih postupaka i psiholoških stanja. Poseban fokus stavljen je na pojam „ontologija zla“ koji je u disertaciji teorijski razrađen i definisan. Ontologija je filozofska disciplina koja proučava biće kao takvo. Biće može imati svojstva jedinstva, lepote i sklada, ali i suprotna svojstva kao što su rascep, ružnoća i konflikt. Ne-biće predstavlja odsustvo postojanja. Kada se pitamo šta je ontologija zla, pitamo se kakva je prava priroda zla – ima li zlo sopstveno biće ili je samo odsustvo dobra – i kakva mu je uloga. Razvoj značenja zla od tradicionalnih tumačenja, koja su zlo prepoznavala kao spoljnu silu, pa sve do savremenih shvatanja koja ga vide kao integralni deo ljudskog karaktera, detaljno je analiziran. Filozofski kontekst istraživanja dopunjen je stavovima značajnih mislilaca poput Serena Kjerkegora, koji koren zla pronalazi u dosadi, ali i drugih filozofa i teoretičara koji ističu prisutnost zla u različitim vidovima međuljudskih konflikata. Problem zla u filozofiji nije samo ontološko ili teološko pitanje, već i etička, psihološka i književna tema koja se proteže kroz istoriju ljudskog mišljenja. Šekspir, u ovom kontekstu, nije samo dramski pesnik već i filozof moralnih dilema, čija dela nude plodno tlo za razmatranje večnog sukoba između dobra i zla. Ontologija zla zapravo je priroda zla. Sam naziv teze „Ontologija zla“ objašnjava se na sledeći način: U proučavanim tragedijama, zlo se manifestuje kroz različite oblike poput preterane ambicije, ljubomore, neodlučnosti, posesivne roditeljske ljubavi i prezaštićenosti. Šekspir, kao majstor književne psihologije, prikazuje čoveka kao slobodno biće čije moralne padove često izaziva upravo prisilno nametanje tuđe volje. Rad istražuje Šekspirovu sposobnost da kroz svoje junake ilustruje unutrašnju borbu čoveka između dobra i zla, bez zauzimanja konačnog moralnog stava, čime postiže univerzalnost i bezvremenost svog dela. Razvoj renesansne drame duboko je ukorenjen u srednjovekovnim pozorišnim tradicijama, posebno u mirakulima (miracle plays) i moralitetima (morality plays). Ove dramske forme nisu posmatrale zlo samo kao apstraktan moralni koncept, već kao aktivnu, personifikovanu silu koja kroz iskušenja, obmane i manipulaciju odvraća junake od puta spasenja. Ovakav pristup zlu značajno je uticao na narativne i psihološke slojeve zla u dramama renesansnih autora, među kojima su najistaknutiji Kristofer Marlo i Vilijam Šekspir. Tokom renesanse, dramaturško razumevanje zla značajno se razvijalo. Zadržavajući elemente mirakula i moraliteta, renesansni autori pružaju dublju psihološku perspektivu, istražujući kako zlo nije samo spoljni fenomen, već i unutrašnji poriv junaka, proizvod njihovih sopstvenih slabosti, ambicija ili psiholoških stanja. Šekspir, posebno, pruža detaljne portrete likova poput Ričarda III, Jaga, Magbeta i Edmunda, čija unutrašnja priroda postaje primarni izvor njihovog pada i tragičnih ishoda. U ovom kontekstu, Šekspirove tragedije produbljuju renesansno poimanje zla, prikazujući ga ne kao jednostavnu moralnu opoziciju, već kao kompleksnu i nijansiranu manifestaciju unutrašnjih psiholoških konflikata i društvenih dinamika. Ove tragedije nisu samo literarna dela, već služe kao ogledala hrišćanskog moralnog učilišta. Kroz svoje likove, Šekspir istražuje unutrašnju borbu sa zlom, pokajanjem, moralnom odgovornošću i sudbinom, što sve odražava duboke teološke i filozofske dileme koje su bile prisutne u hrišćanskoj misli tog vremena. Zlo u Šekspirovim delima nije samo nešto što je spoljašnje, već je i unutrašnja borba, i ta borba je u skladu sa hrišćanskom idejom da svakom čoveku data slobodna volja, ali i odgovornost za izbor između dobra i zla. Disertacija pokazuje da je snaga Šekspirovog opusa upravo u njegovom odbijanju da ponudi jednoznačne odgovore ili moralne pouke. Njegove tragedije predstavljaju kompleksne studije ljudske prirode u kojima ljubav može biti istovremeno uzvišena i destruktivna, ambicija motivišuća i pogubna, a ljubomora prirodna koliko i fatalna. Poseban akcenat stavljen je na analizu ženskih likova i njihove reprezentacije, kao i na dinamiku porodičnih odnosa, koji imaju ključnu ulogu u razumevanju tragedije i porekla zla kod junaka. Naposletku, rad istražuje kako Šekspir kroz solilokvije i introspektivne monologe uspešno zadire u dubine ljudske psihe, opravdavajući tragične ishode kao neophodan preduslov za rađanje novog, pravednijeg društvenog i moralnog poretka. Tragični kraj njegovih junaka nije prikazan kao besmislen, već kao simbolički početak obnove i moralnog preobražaja. Zaključak rada potvrđuje trajnu relevantnost Šekspirovih tragedija, koje i nakon više od četiri veka pružaju dragocena saznanja o ljudskoj prirodi i ontološkoj dimenziji zla. Rad pruža novi uvid u analizu Šekspirovih likova, nudeći mogućnosti primene stečenih znanja za bolje razumevanje i prevazilaženje moralnih dilema koje su i danas aktuelne.

The subject of this doctoral dissertation is an analysis of the phenomenon of evil in Shakespeare’s tragedies Hamlet, Macbeth, King Lear, and Othello. Given the complexity and multidimensionality of the concept of evil, which requires an interdisciplinary approach, the phenomenon is examined from literary, philosophical, ethical, theological, psychological, and artistic perspectives. The specificity of Shakespeare’s treatment of evil requires the application of various methodological approaches, with special emphasis on comparative analysis, New Historicism, and psychoanalytic theory. Based on these approaches, the research provides a detailed examination of the motives, sources and manifestations of evil in the central characters of the aforementioned tragedies, as well as an explanation of their actions and psychological states. Particular focus is given to the concept of the “ontology of evil” which is theoretically developed and defined within the dissertation. Ontology is a philosophical discipline that studies a being as such. A being may possess qualities of unity, beauty, and harmony, but also opposing traits such as fragmentation, ugliness and conflict. A non-being represents the absence of existence. When we ask what the ontology of evil is, we inquire into the true nature of evil —whether it has a being of its own or is merely the absence of good — and what its role is. The evolution of the meaning of evil, from traditional interpretations that saw evil as an external force, to contemporary understandings that view it as an integral part of human character, is analyzed in detail. The philosophical context of the research is complemented by the views of major thinkers such as Søren Kierkegaard, who identifies the root of evil in boredom, as well as other philosophers and theorists who highlight the presence of evil in various forms of interpersonal conflict. The problem of evil in philosophy is not only an ontological or theological issue, but also an ethical, psychological, and literary theme that runs through the history of human thought. In this context, Shakespeare is not merely a playwright, but a philosopher of moral dilemmas, whose works provide fertile ground for contemplating the eternal conflict between good and evil. Ontology of evil, in fact, is the nature of evil. The very title of this thesis, “Ontology of Evil,” is explained as follows: In the tragedies examined, evil manifests in various forms such as excessive ambition, jealousy, indecision, possessive parental love and overprotection. Shakespeare, as a master of literary psychology, portrays a man as a free being whose moral downfall is often caused by the imposition of another’s will. The dissertation explores Shakespeare’s ability to illustrate, through his characters, the inner struggle between good and evil without adopting a definitive moral stance, thus achieving the universality and timelessness of his work. The development of Renaissance drama is deeply rooted in medieval theatrical traditions, especially miracle plays and morality plays. These dramatic forms did not treat evil solely as an abstract moral concept, but as an active, personified force that leads characters astray through temptation, deceit and manipulation. This approach to evil significantly influenced the narrative and psychological dimensions of evil in the works of Renaissance authors, most notably Christopher Marlowe and William Shakespeare. During the Renaissance, the dramaturgical understanding of evil evolved significantly. Retaining elements of miracle and morality plays, Renaissance authors offered a deeper psychological perspective, exploring evil not merely as an external phenomenon but also as an internal drive within characters, a product of their own weaknesses, ambitions, or psychological states. Shakespeare, in particular, provides detailed portraits of characters such as Richard III, Iago, Macbeth, and Edmund, whose inner nature becomes the primary source of their downfall and tragic outcomes. In this context, Shakespeare’s tragedies deepen the Renaissance perception of evil, portraying it not as a simple moral opposition, but as a complex and nuanced manifestation of internal psychological conflicts and social dynamics. These tragedies are not merely literary works but serve as mirrors of Christian moral teachings. Through his characters, Shakespeare explores the inner struggle with evil, repentance, moral responsibility and destiny — all of which reflect the deep theological and philosophical dilemmas present in Christian thought of the time. Evil in Shakespeare’s works is not only an external force, but also an internal battle, consistent with the Christian idea that every human being is endowed with free will and thus, responsibility for choosing between good and evil. The dissertation demonstrates that the strength of Shakespeare’s opus lies precisely in his refusal to provide unequivocal answers or moral lessons. His tragedies are complex studies of human nature, in which love can be both sublime and destructive, ambition both motivating and ruinous, and jealousy both natural and fatal. Special attention is given to the analysis of female characters and their representations, as well as the dynamics of family relationships, which play a key role in understanding the tragedy and origins of evil in the protagonists. Ultimately, the work explores how Shakespeare, through soliloquies and introspective monologues, penetrates the depths of the human psyche, presenting tragic outcomes as a necessary precondition for the birth of a new, more just moral and social order. The tragic end of his characters is not portrayed as meaningless, but as a symbolic beginning of renewal and moral transformation. The conclusion of the dissertation confirms the enduring relevance of Shakespeare’s tragedies, which, even more than four centuries later offer valuable insights into human nature and the ontological dimension of evil. The work provides a new perspective on the analysis of Shakespearean characters, offering possibilities for applying this knowledge to better understand and overcome moral dilemmas that remain relevant today.

Vilijam Šekspir, hrišćanstvo, ontologija, zlo, dobro, renesansa, tragedija.

William Shakespeare, Christianity, ontology, evil, good, Renaissance, tragedy

821.111.09-21:111.84 Shakespeare W.(043.3)

Tekst