"Modest doubt is called the beacon of the wise"-Incorporating uncertainty in risk analysis from Shakespeare to today.

"Modest doubt is call'd the beacon of the wise."-William Shakespeare, Troilus and Cressida. Although the character Hector warns his fellow Trojans with this line not to engage in war against the Greeks, Shakespeare's works are replete with characters who do not incorporate modest doubt, or any consideration of uncertainty, in their risk decisions. Perhaps Shakespeare was simply a keen observer of human nature. Although risk science has developed tremendously over the last five decades (and scientific inquiry over five centuries), the human mind still frequently defaults to conviction about certain beliefs, absent sufficient scientific evidence-which has effects not just on individual lives, but on policy decisions that affect many. This perspective provides background on the Shakespearean quote in its literary and historical context. Then, as this quote is the theme of the 2023 Society for Risk Analysis Annual Meeting, we describe how "modest doubt"-incorporating the notion of uncertainty into risk analysis for individual and policy decisions-is still the "beacon of the wise" today.

Bertie y Hamlet, dos príncipes en abismo / Two Princes in Abyss

El recurso de la narrativa literaria permite analizar el film "El discurso del Rey" desde una perspectiva diferente a las disponibles. Se trata de leerlo a partir del concepto de puesta en abismo (mis en abyme), encontrando una escena dentro de la escena, en la que la segunda ofrece las pistas para inteligir claves de la primera. Este recurso se aplica a dos pasajes clave del film, permitiendo así analizarlo como una ficción clínica y comprender mejor las vicisitudes psicológicas del personaje y sus posibles salidas

The resource of literary narrative allows us to analyze the film "The King's Speech" from a different perspective than those currently available. It is a matter of reading it from the concept of "mis en abyme", finding a scene within the scene, in which the second offers the clues to understand the keys of the first. This resource is applied to two key passages of the film, thus allowing it to be analyzed as a clinical fiction and to better understand the psychological vicissitudes of the character and the possible ways out of it

Drawing data for a 3D historical reconstruction of Shakespeare's first Globe Theatre.

The first Globe Theatre was one of the main outdoor playhouses in London in the early 17th century. Although it was built in 1599 and was destroyed in a fire in 1613, its history has survived to the present day as the theatre that was able to accommodate most of William Shakespeare's plays. Extensively studied during the last century, it has been attempted to be reconstructed several times in different parts of the world, although the information present does not allow for an exact reconstruction. The data presented here have been collected from the various interpretations offered in literature by the main scholars of the first Globe Theatre and re-elaborated according to criteria of coherence with vernacular building techniques and ease and feasibility of construction. What is presented is the methodology probably used by the Globe's carpenter Peter Street to draw the plan and then build the theatre. The data presented were used to provide a virtual reconstruction of the first Globe Theatre, featured in the article " Towards reconstructing the Shakespeare's first Globe Theatre: A virtual model for research and development", published in the Frontiers of Architectural Research by the same authors [1]. The data can be used to confirm, improve, or reconstruct the first Globe, as well as most Elizabethan theatres, similar in type and form.

Hamlet and radiology.

After I started my radiology training, searching for art in radiology became a passion for me. One of the most concrete examples of my search was a case of CT-guided biopsy we encountered recently. In a patient with metastatic cancer, we searched for the primary lesion. PET/CT showed a focus in the upper lobe of the right lung. During the CT-guided biopsy, this lesion was like a smiling face in shape. The fact that this cute-looking mass was metastatic cancer reminded me of a character from Hamlet. In William Shakespeare's famous work, Prince Hamlet refers to Claudius as a 'smiling villain' and draws attention to the evil behind his smile. In this article, we discuss the similarity of our daily practice with Hamlet through a case.

Chekhov's Oedipal Journey.

In this paper, I posit that Chekhov, in composing his plays, came to master the oedipal tensions and conflicts embodied by his psychic image of his mother and biological father as well as of his artistic father, Shakespeare. Chekhov framed his feelings about his parents through his many versions of the Hamlet closet scene, in which Hamlet kills Polonius and upbraids his mother for having married Claudius. Chekhov eventually transformed that scene to embody his new post-oedipal vision of his parents and of himself. In the process, he created a new scenic structure for dramatizing oedipal strivings.

William Shakespeare y la medicina / William Shakespeare and medicine

Si repensamos a escritores que se ocuparon de la medicina, el presente trabajo pretende destacar a William Shakespeare, como un escritor que prácticamente en toda su obra describe en sus personajes problemas de salud de todo tipo. Se harán ciertas referencias de los aspectos médicos desarrollados en la obra del escritor, advirtiendo que son sólo una parte de su extensa producción. (AU)

If we rethink writers who dealt with medicine, this paper intends to highlight William Shakespeare, as a writer who practically describes all kinds of health problems in his characters. Certain references will be made of the medical aspects developed in the writer's work, warning that they are only part of his extensive production. (AU)

Inventing the Grand Banks: A deep chart: Humanities GIS, Cartesian, and literary perceptions of the north-west Atlantic fishery ca 1500-1800.

As a feature of the Fish Revolution (1400-1700), the early modern "invention" of the Grand Banks in literary and cartographical documents facilitated a massive and unprecedented extraction of cod from the waters of the north Atlantic and created the Cod/Sack trade Triangle. This overlapped with the southern Atlantic Slave, Sugar, and Tobacco Triangle to capitalise modern European and North American societies. In 1719, Pierre de Charlevoix claimed that the Grand Banks was "properly a mountain, hid under water," and noted its cod population "seems to equal that of the grains of sand which cover this bank." However, two centuries later in 1992, in the face of the collapse of the fishery, and fearing its extinction, a moratorium was placed on five centuries of harvesting Grand Banks cod. The invention and mining of its waters serves as a bellwether for the massive resource extractions of modernity that drive the current leviathan and "wicked problem" of global warming. The digital environmental humanities narrative of this study is parsed together from 83 pieces of Grand Banks charting from 1504 to 1833, which are juxtaposed through Humanities GIS applications with English and French cod-catch records kept between 1675 and 1831, letters regarding Cabot's 1497 voyage, Shakespeare's The Tempest (1611) and scientific essays by De Brahms (1772) and Franklin (1786).

The Merchant of Venice in Auschwitz: Taking Apart Shylock Using the SCM and BIAS Map.

In response to Frontiers' 2020 Call for Papers on "Stereotypes and Intercultural Relations: Interdisciplinary Integration, New Approaches, and New Contexts," my paper integrates the scientific study of stereotypes with a literary-theatrical exploration of stereotyping. The focus is on Tibor Egervari's post-Auschwitz adaptation of Shakespeare's anti-Semitic comedy The Merchant of Venice, with a very brief look at his related work on Christopher Marlowe's The Jew of Malta and his 1998 collaboration with conductor Georg Tintner on a touring production of composer Viktor Ullmann's and librettist Peter Kien's one-act opera, The Emperor of Atlantis, or Death's Refusal, composed in the "model" concentration camp Terezín (Theresienstadt), in 1943-1944. Egervari's theater art critically deconstructs what he calls "the Old Jew" stereotype in specific ways highly readable using the Stereotype Content Model (SCM) and Behavior from Intergroup Affect and Stereotypes (BIAS) map. Theater performance can sometimes embody the forceful dynamic traced by the BIAS map, from cognition to affect to behavior. Egervari's original adapation, which sets The Merchant of Venice in Auschwitz, reveals this dynamic clearly. My interdisciplinary study of Egervari's theatrical-cultural work validates the SCM and BIAS map for literary studies and interprets the Shylock stereotype in the terms of those models and through the lens of Egervari's anti-Nazi adaptation of Shakespeare's Merchant.

"England Hath Long Been Mad": Declamatory Outcry and Prescient Dream in Richard III.

This paper continues the discussion of the role of the conscience in Richard III put forward in an earlier paper and explores the backdrop of ruthlessness in the play and the response in royal persons of adopting the role of conscience. The eerie ambience throughout the drama results in part from the taking of the role of conscience in the use of blessings, curses, prophecies, and dreams. I shall emphasize the importance of underlying shame dynamics. In the play blessings, curses, and prophecies take the form of declamatory proclamations made only by widowed women who were, had been in line to be, or had been, queens of England. The wish for magical revenge conveyed by their blessings, curses, and prophecies assumes a wishfully omnipotent stance on the part of the helpless widowed royal women, who deploy them. Additionally, after-worldly innuendos marking many speeches in the play add to its sinister ambience as it relates to the tottering world of England during the War of the Roses and its resolution by the accession of the House of Tudor. The ambience created by the wishfully omnipotent blessing and curses imparts a powerful sense of the uncanny not only on those receiving the blessing or curse, but on the audience experiencing the play. Dreams, which seem prescient only after the dream is dreamt, are reported by all the men of royal blood: King Edward IV, George, Duke of Clarence, Richard, Duke of Gloucester (later, King Richard III) and Lord Stanley, father-in-law of the Earl of Richmond, later King Henry VII. These blessings, curses, prophecies, and dreams cloak the play in an after-worldly and pervasive, omnipotent, and sinister ambience.

[Implicaciones psiquiátricas y neurológicas en la literatura shakespeariana. Breve análisis].

William Shakespeare (1564-1616) is with no doubt one of the most prolific literary artists of all times; in addition to being an eminent playwright, his works reflect arguments that express medical knowledge, allude to concise descriptions that are relevant to medical practice of that time, and even to current medicine. He wrote between 35 and 38 plays, six lyric works and 154 sonnets (approximately) where finding little more than 700 references to medicine of those days is possible. For this reason, different scholars have analyzed the medical concepts within the Shakespearean literature; some agree that these may be the result of studies of his own, while others suggest that Shakespeare repeated the medical knowledge of some "men of wisdom" of his time. It should be mentioned that the author's contemporary London society lived in an overpopulated, nauseating, sexually promiscuous city that was plagued by pests and waste and continually besieged by epidemics whose treatments many times caused greater evil than benefit (for example, lead-based make-up). Some biographers credit syphilis, alcohol, and depression as the source of Shakespeare's creative production. Despite the myriad of authors who have analyzed the insinuations about medicine in Shakespeare's dramatic accounts, Sigmund Freud (1856-1939) is perhaps the most important; throughout his career he carried out a substantial analysis of the English playwright's works owing to his passion for literature and for this author.

William Shakespeare (1564-1616) es sin duda uno de los artistas literarios más prolíficos de todos los tiempos. Además de ser un dramaturgo eminente, en sus obras podemos encontrar descripciones relativas a la práctica médica de la época e incluso de la medicina actual. Escribió entre 35 y 38 piezas teatrales, seis obras líricas y 154 sonetos (aproximadamente), en los que es posible encontrar poco más de 700 referencias a la medicina de su tiempo. Por tal motivo, diversos estudiosos han analizado los conceptos médicos en la literatura shakesperiana; algunos coinciden en que puede ser el resultado de su estudio, mientras que otros indican que Shakespeare repitió el conocimiento médico de algunos "hombres de saber" de su tiempo. Cabe mencionar que la sociedad londinense contemporánea al autor vivía en una ciudad sobrepoblada, nauseabunda, sexualmente promiscua y atestada de plagas y desechos, que continuamente era asediada por epidemias, cuyos tratamientos muchas veces ocasionaban un mal mayor a su beneficio (por ejemplo, el maquillaje de plomo). Algunos biógrafos dan crédito a la sífilis, el alcohol y la depresión como origen de la producción creativa de Shakespeare. Aun cuando un sinfín de autores se han dado a la tarea de examinar las alusiones sobre medicina en los relatos dramáticos de Shakespeare, Sigmund Freud (1856-1939) fue quizás el más importante; a lo largo de su carrera elaboró un análisis sustancial de las obras del dramaturgo inglés debido a su pasión por la literatura y hacia este artista.

Hamlet and psychiatry intertwined.

OBJECTIVES:: This article considers selected landmarks in the history of psychiatry and their impact on Hamlet productions, including Burton's Anatomy of Melancholia, Emil Kraepelin's manic-depression, Freud's oedipal complex and R.D. Laing's 'divided self'. Additionally, this article considers the way Shakespeare's Hamlet has influenced the course of psychiatry. CONCLUSION:: The linkages between psychiatry and Hamlet have existed since the 17th century, and perhaps Shakespeare's Hamlet should have a place on every psychiatrist's shelf.

Being Mad in Early Modern England.

It has become almost a rule that the birth of scientific psychiatry and what we today term clinical psychology took place in the short period between the last decade of the XVIII century and the 1820s. Everything that happened before that period-every description, diagnosis, and therapy-has been considered "pre-scientific," outdated, in a way worthless. In this paper, however, I am providing the argument that, first, the roots of contemporary psychiatry reach at least to England of the early modern period, and that, second, it may still turn out that in the field of mental health care historical continuities are more numerous and persistent than discontinuities. Thus, I briefly review the most important surviving documents about the treatment of mental disorders in England of Elizabethan and Jacobian period, organizing the argument around the well-known markers: diagnostics and etiology, therapy, organization of the asylum, the public image of the mentally ill.

Somnambulism in Verdi's Macbeth and Bellini's La Sonnambula: opera, sleepwalking, and medicine.

The arts can provide unique ways for determining how people not directly involved in medicine were viewing and informing others about physical and mental disorders. With operas, one need only think about how various perturbations of madness have been portrayed. Somnambulism has long been a particularly perplexing disorder, both to physicians and the laity, and it features in a number of operas. Two mid-nineteenth-century masterpieces are examined in detail in this contribution: Verdi's Macbeth and Bellini's La Sonnambula. In the former, the sleepwalking scene is faithful to what Shakespeare's had written early in the seventeenth century, a time of witchcraft, superstition, and the belief that nocturnal wanderings might be caused by guilt. In Bellini's opera, in contrast, the victim is an innocent girl who suffers from a quirk of nature, hence eliciting sympathy and compassion. By examining the early literature on somnambulism and comparing this disorder in these operas, we can see how thinking about this condition has changed and, more generally, how music was helping to generate new ways of thinking about specific diseases and medicine.

Mourning in the psychoanalytic situation and in Shakespeare's The Tempest.

Recognizing that mourning builds psychic structure, the author highlights the ubiquitous and essential nature of mourning in the psychoanalytic situation. Reality testing is intimately connected to mourning and is the warp on which psychic structure is woven in the analytic situation. Reality testing necessarily involves opportunities for mourning and thus will be present in every analytic hour. The confrontation with reality is the basis for all processes of mourning, or for creating defenses against this painful experience. The author views mourning as fundamentally a transformational process, and Shakespeare's The Tempest is used to illustrate this aspect of mourning.

William Shakespeare's neurology.

Many of Shakespeare's plays contain characters who appear to be afflicted by neurological or psychiatric disorders. Shakespeare, in his descriptive analysis of his protagonists, was contributing to the understanding of these disorders. In fact, Charcot frequently used Shakespearean references in his neurological teaching sessions, stressing how acute objective insight is essential to achieving expert clinical diagnosis. Charcot found in Shakespeare the same rigorous observational techniques for which he himself became famous. This chapter describes many of Shakespearean characters suffering from varied neurological disorders, including Parkinsonism, epilepsy, sleeping disturbances, dementia, headache, prion disease, and paralyses.

La desafiliación en la obra inca “Apu Ollantay” / The disaffiliation in the Inca play “Apu Ollantay”

Se intenta un análisis psicológico de aspectos fundamentales del dramaApu Ollantay escrito en quechua durante la era colonial en el Perú, comparando profundidad artística y temas de su argumento con los de dos clásicas obras de Shakespeare. Luego de breves referencias históricas en torno a fecha de publicación, traducción y primera presentación de Apu Ollantay , se identifica claramente, aún con comprensibles diferencias de énfasis, el tema de desafiliaciónfamiliar hasta en dos generaciones, así como el desenlace del reconocimientoa través de gestos de generosidad, perdón y perspectivas nuevas de convivencia social y familiar. Las diferencias de tiempo e historia seesfuman al conjuro de poesía sugerente y teatralidad profunda.

A psychological analysis of fundamental aspects of the Inca drama Apu Ollantay, written in Quechua during the colonial era in Peru, is attempted, comparing artistic depth and themes of its plot with two classic plays from Shakespeare. After brief historical references to publication date, translation and first performance of Apu Ollantay, two themes are clearly identified even with understandable differences in emphasis: family disaffiliation extended to two generations, and recognition as an outcome materialized through gestures of generosity, forgiveness and new perspectives of social and familial co-existence. Time-related and historical differences fade away in the midst of suggestive poetry and profound theatrical playing.

Passeios psicanalíticos de André Green através da literatura, especialmente Shakespeare

A autora busca transmitir algo do muito que André Green escreveu, durante 40 anos, de maneira profunda e complexa, sobre Psicanálise aplicada, principalmente à Literatura. Procura despertar o interesse por uma parte pouco estudada da obra desse autor, embora ele a considerasse tão importante quanto a Psicanálise pura. Acrescentou o subtítulo especialmente Shakespeare porque, como escreveu Green: "O autor que mais me influenciou foi sem dúvida Shakespeare. Ele desempenhou certamente um papel de analista para mim. Foi ele quem me permitiu prosseguir minha autoanálise em muitos domínios". Green, 1994 (p.122). Ao reler essa obra fascinante, a autora procurava, através do enfoque de Green, enriquecer a leitura com o que a psicanálise pode alcançar de mais profundo e transmitir, a respeito do que Shakespeare percebeu intuitivamente acerca da natureza humana, e revelou de seu próprio inconsciente.(AU)

The author seeks to convey something of much that André Green wrote, for 40 years, so deep and complex, on applied psychoanalysis, particularly to the literature. She seeks to interest on a little studied part of the work of this author, even though he considered as important as pure psychoanalysis. She added the subtitle especially Shakespeare because, as Green wrote: "The author who influenced me most was undoubtedly Shakespeare. He certainly played a role as an analyst for me. It was he who allowed me to pursue my self-analysis in many areas." Green, 1994 (p. 122). Rereading this fascinating work, the author sought through the focus of Green, enrich the reading with what psychoanalysis can reach deeper and convey about what Shakespeare knew intuitively about human nature and revealed of his own unconscious.(AU)

Shakespeare: transformações em imagens / Shakespeare: transformaciones en imágenes / Shakespeare: transformations into images

No presente trabalho os autores procuram compreender a atividade criativa de Shakespeare à luz da teoria das transformações, de Bion. Atribuem a criatividade e atualidade da obra do poeta e dramaturgo às transformações de emoções e sensações humanas em imagens, representadas por seus personagens, que enfrentam as questões da vida e da morte. Buscando as raízes desta capacidade, creem ser a principal delas o fato de, cedo na vida, ter-se defrontado com a morte devido à peste que assolou a Europa e com a vida graças ao amor extremo de sua mãe. Algumas passagens da obra de Shakespeare são citadas para ilustrar os pontos de vista dos autores

In this paper the authors try to understand Shakespeare’s creative activity utilizing Bion’s transformation theory. They attribute the creativity and current content of the poet and playwright’s work to the transformations of human emotions and sensations into images, represented by his characters, which face the issues of life and death. Searching the roots of such capacity, they believe that the main fact was that, early in life, Shakespeare was confronted with death due to the pest which devastated Europe, and with life due to the extreme love from his mother. Some passages of Shakespeare’s work are mentioned to illustrate the authors’ vantage points

En el presente trabajo, la autors busca comprender la actividad creadora de Shakespeare a la luz de la teoría de las transformaciones, de Bion. Asigna la creatividad y actualidad de la obra del poeta y dramaturgo a las transformaciones de emociones y sensaciones humanas en imágenes, representadas por sus personajes, que enfrentan las cuestiones de la vida y de la muerte. Buscando las raíces de esta capacidad, cree ser la principal de ellas el hecho de, cedo en la vida, haberse enfrentado con la muerte debido a la peste que asoló a Europa y con la vida por el amor extremo de su madre. Algunos pasajes de la obra de Shakespeare son citadas para demostrar las miradas de la autora

O Bem, o Mal ­ é tudo igual? O drama das palavras e paixões em Macbeth de Shakespeare / Good, evil ­ are they all the same? The drama of the words and passions in Shakespeare's Macbeth

Partindo de uma experiência de leitura e reflexão do drama de Shakespeare, Macbeth, no Laboratório de Humanidades do Centro de História e Filosofia das Ciências da Saúde da Escola Paulista de Medicina da Universidade Federal de São Paulo, este artigo procura problematizar a questão do poder das palavras. Dialogando com filósofos antigos, modernos e contemporâneos, procuramos, no itinerário delineado por Shakespeare em sua peça, analisar as qualidades, força e efeitos da palavra no âmbito das paixões, dos atos e da ética humana.(AU)

Starting from an experience of reading and reflection of the drama of Shakespeare, Macbeth, in the Laboratory of Humanities of the Center of History and Philosophy of Paulista Medical School of Federal University of São Paulo, this article aims at problematizing the question of the power of words. Dialoguing with ancient, modern and contemporary philosophers, this article seeks, by the itinerary outlined in Shakespeare's play, to analyse the qualities, power and effects of the word in the scope of human passions, acts, and Ethics.(AU)