Staging Nothing: Hamlet and Cognitive Science

Abstract

In Hamlet, few things are as powerful as nothing. Nothing is seen by the watchman Barnardo at the start of the play. Nothing lies between Ophelia's legs. Nothing makes the player king weep for Hecuba. Nothing is the thing that makes up the king. Nothing comes up thirty times in Hamlet. 2 The presence of nothing in the text calls attention to the absence that nothing is supposed to stand for. Cognitive linguistics challenges a stable definition of nothing, illuminating the things from which no things spring. In performance, Hamlet's destabilization of nothing goes even further, pointing to the something that each particular nothing is. Staging nothing both sheds light on a major debate within cognitive linguistics and calls attention to the traditional assumption of a suspension of disbelief. The Way We Think In a 2001 issue of SubStance, a Dialogue took place between Ellen Spolsky on one side and John Tooby and Leda Cosmides on the other, regarding the ways literature may be evolutionarily adaptable. While both sides agreed on the value of literature, and used science to make an argument for it, the gulf between the two theories turned out to be fairly wide. Tooby and Cosmides follow a computational model of the brain derived from the work of Noam Chomsky and Steven Pinker; Spolsky argues with cognitive scientists such as Eleanore Rosch and George Lakoff for an embodied brain. The paradigm shift between seeing the brain as a computer, with input undergoing algorithmic processing, and viewing it more as an organism, shaping and being shaped by its environment, is beginning to have profound impact on various fields. Until the debate is settled, any application of cognitive science to the humanities should foreground the paradigm in which it operates. Rather than rehearse the