Pedro Calderon de la Barca's La vida es sueno: Philosophical Crossroads. Ed. Andres Lema-Hincapie and Conxita Domenech. Newark, DE: Juan de la Cuesta, 2014. 191 ppTheeditors' introduction to this collection of essays lays out the ambitious project of challenging the entrenched perception that rberia's Catholic orthodoxy and geographic isolation prevented the modern philosophical currents of Western Europe from taking root on the peninsula. To confront this contention, an eclectic group of philosophers and Hispanists demonstrates the interaction of philosophy with one symbolic Spanish text, La vida es sueno. As a point of departure, the focus on this play unifies what might otherwise be an incongruent volume in its consideration of philosophy written both on and off the peninsula before, during, and after the time of Calderon.Philosophers will find of great interest those essays that employ the play as a test case to examine modern philosophical arguments. The choice of this emblematic work of literature to evaluate Iberian philosophy immediately engages the book with a question answered valiantly by philosopher Jorge J. E. Gracia: "Is La vida es sueno philosophy or literature?" (65). His answer (spoiler alert: it is literature) relies on demonstrating the difficulty of adequately translating literary works, exemplified by La vida es sueno. Along similar lines, philosopher C. Ulises Moulines uses Segismundo and his fabricated dream experience as a thought experiment to answer the twentieth-century philosophical question of realism, that is, "whether the external world is real" (21). While the literary scholar may wish for greater attention to the established body of critical theory, these philosophical studies expand the interpretative possibilities of the play, giving ample food for thought as to its early modern and even modern philosophical undercurrents.The literary scholar will feel more at home in the chapters in which works of post-Calderon philosophy are used in more traditional hermeneutic analysis of the work. Philosopher Daniele Letocha demonstrates that a Hegelian reading of Segismundo distinguishes his character from the oft-compared Don Rodrigue from contemporary French playwright Pierre Corneille's Le Cid. Literary scholar Nelson R. Orringer drawls a comparison between the self-perception of Segismundo and the personal reality of Miguel de Unamuno, both of whom increasingly came to view their lives as dreams.Of particular note are those chapters that examine the sixteenth- and seventeenth-century philosophical underpinnings that may have influenced the composition of the play. Andres Lema-Hincapie, versant in both literary studies and philosophy, investigates the similarities between Calderon's and Descartes's theories of doubt and sleep/wakefulness. Hispanists Conxita Domenech and Jennifer Brady interpret Segismundo as neither the ideal Christian nor the pure Machiavellian ruler, but the perfect Baroque prince according to the ideas of contemporary essayists, among them Baltasar Gracian. …

中文翻译：

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Pedro Calderón de la Barca 的 La vida es sueño: Philosophical Crossroads ed。作者：Andrés Lema-Hincapié 和 Conxita Domènech

Pedro Calderon de la Barca 的 La vida es sueno：哲学十字路口。埃德。Andres Lema-Hincapie 和 Conxita Domenech。德州纽瓦克：Juan de la Cuesta，2014 年。191 页编辑对这本论文集的介绍提出了一项雄心勃勃的计划，即挑战根深蒂固的观念，即 rberia 的天主教正统观念和地理隔离阻止了西欧的现代哲学潮流在欧洲扎根。半岛。为了对抗这一论点，一群折衷的哲学家和西班牙主义者展示了哲学与一个象征性的西班牙文本 La vida es sueno 的相互作用。作为一个出发点，对这部戏剧的关注统一了一部可能不一致的书，因为它考虑了在卡尔德隆时代之前、之中和之后写在半岛内外的哲学。哲学家们会发现那些以戏剧为测试案例来检验现代哲学论点的论文非常感兴趣。选择这部具有象征意义的文学作品来评估伊比利亚哲学，这本书立即引发了哲学家豪尔赫·耶·格拉西亚 (Jorge JE Gracia) 英勇回答的一个问题：“生命是哲学还是文学？” (65)。他的回答（剧透警告：它是文学）依赖于证明充分翻译文学作品的难度，以 La vida es sueno 为例。沿着类似的思路，哲学家 C. Ulises Moulines 使用 Segismundo 和他捏造的梦想经验作为思想实验来回答 20 世纪现实主义的哲学问题，即“外部世界是否真实”（21）。虽然文学学者可能希望更多地关注既定的批判理论体系，但这些哲学研究扩展了该剧的解释可能性，为其早期现代甚至现代哲学暗流提供了充足的思考。在家里的章节中，后卡尔德隆哲学的作品被用于更传统的解释学分析。哲学家丹尼尔·莱托查 (Daniele Letocha) 证明，黑格尔对塞吉斯蒙多 (Segismundo) 的解读将他的性格与经常被比较的当代法国剧作家皮埃尔·科内耶 (Pierre Corneille) 的《勒西德》中的唐·罗德里格 (Don Rodrigue) 区分开来。文学学者 Nelson R. Orringer 将 Segismundo 的自我认知与 Miguel de Unamuno 的个人现实进行了比较，他们两人都越来越多地将自己的生活视为梦想。特别值得注意的是，那些探讨了可能影响了戏剧构成的 16 世纪和 17 世纪哲学基础的章节。Andres Lema-Hincapie 精通文学研究和哲学，研究了卡尔德隆和笛卡尔的怀疑和睡眠/觉醒理论之间的相似之处。西班牙主义者康西塔·多梅内克 (Conxita Domenech) 和詹妮弗·布雷迪 (Jennifer Brady) 将塞吉斯蒙多 (Segismundo) 解释为既不是理想的基督徒也不是纯粹的马基雅维利统治者，而是根据当代散文家的思想，完美的巴洛克王子，其中包括巴尔塔萨·格雷西安 (Baltasar Gracian)。… 精通文学研究和哲学，研究卡尔德隆和笛卡尔的怀疑和睡眠/觉醒理论之间的相似之处。西班牙主义者康西塔·多梅内克 (Conxita Domenech) 和詹妮弗·布雷迪 (Jennifer Brady) 将塞吉蒙多 (Segismundo) 解释为既不是理想的基督徒也不是纯粹的马基雅维利统治者，而是根据当代散文家的思想，完美的巴洛克王子，其中包括巴尔塔萨·格雷西安。… 精通文学研究和哲学，研究卡尔德隆和笛卡尔的怀疑和睡眠/觉醒理论之间的相似之处。西班牙主义者康西塔·多梅内克 (Conxita Domenech) 和詹妮弗·布雷迪 (Jennifer Brady) 将塞吉斯蒙多 (Segismundo) 解释为既不是理想的基督徒也不是纯粹的马基雅维利统治者，而是根据当代散文家的思想，完美的巴洛克王子，其中包括巴尔塔萨·格雷西安 (Baltasar Gracian)。…