After Magritte, After Carroll, After Wittgenstein: What Tom Stoppard's Tortoise Taught Us

Abstract

The noble tortoise occupies an important place in the history of philosophy, in the history of the moral fable, not to mention, naturally, the history of zoology in its testudinal branch. If it has yet to leave its claw print on the history of theatre (with episodic exceptions such as a couple of passing and not very flattering references in Shakespeare, or a burlesque reduction to its shell in Jonson), this might be put down to the animal's fabled slowness and timidity rather than to any innate lack of theatricality. Indeed there are signs, as we shall see, that the said chelonian beast may finally be clambering its comical reptilian way onto the boards.

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 6 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.