King Lear is a timeless exposition of humankind\'s attempt to find meaning amidst the ceaseless turbulence of existence. This entails navigating the disintegrating pulls of nature and harmful human action that exist alongside affiliative, life-promoting gestures shown toward one another. As the predictability and safety afforded by social and two-dimensional psychic constructs collapse, several characters in this play are forced to reckon with the untamed, less organized realms of the mind and natural world. This leads to movements toward psychic paralysis and disintegration, as well as toward growth and interpersonal healing, dynamics that hinge on the characters\' internal structuring.

\"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.

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.

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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.

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.

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.

UNASSIGNED: 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.
UNASSIGNED: 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.

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.

Drama, at least according to the Aristotelian view, is effective inasmuch as it successfully mirrors real aspects of human behavior. This leads to the hypothesis that successful dramas will portray fictional social networks that have the same properties as those typical of human beings across ages and cultures. We outline a methodology for investigating this hypothesis and use it to examine ten of Shakespeare\'s plays. The cliques and groups portrayed in the plays correspond closely to those which have been observed in spontaneous human interaction, including in hunter-gatherer societies, and the networks of the plays exhibit \"small world\" properties of the type which have been observed in many human-made and natural systems.