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Death in literature

‘ Tis now the very witching time of night’: Halloween horror and the memento mori in Hamlet (2000)

Cet essai revient sur le processus de creation d’une forme courte sise entre le theâtre, le cirque contemporain et l’installation sonore, Hamlet sur le fil. L’adaptation de la piece-monument du repertoire occidental en contexte circassien a revele a son auteur a quel point le brouillage des roles et des ecritures allait reposer sur les tensions entre texte, textualites et textures. Ce flou ontologique aura permis la creation d’une oeuvre hybride reposant a la fois sur le geste assume du desequilibre acrobatique et sur un soliloque canonique compose d’acrobaties intellectuelles face a la recherche d’un equilibre. Il aura egalement permis d’envisager la figure d’Hamlet en funambule et en chercheur-createur. L’essai offre un regard intime sur les processus de traduction, d’adaptation et de transposition d’une figure, d’un geste impossible et d’une parole canonique ayant pour caracteristique de mettre en scene le doute et la valse-hesitation devant la prise de risque redemptrice.

Hamlet : écrire ou ne pas avoir écrit pour le fil de fer

This volume is the first collection of essays ever to view Shakespeare’s plays from the prospect of the premodern death arts, not only the ars moriendi tradition but also the plurality of cultural expressions of memento mori, funereal rituals, commemorative activities, and rhetorical techniques and strategies fundamental to the performance of the work of dying, death, and the dead. The volume is divided into two sections: first, critically nuanced examinations of Shakespeare’s corpus and then, second, of Hamlet exclusively as the ultimate proving ground of the death arts in practice. This book revitalizes discussion around key and enduring themes of mortality by reframing Shakespeare’s plays within a newly conceptualized historical category that posits a cultural divide—at once epistemological and phenomenological—between premodernity and the Enlightenment. 

Introduction

Shakespeare’s Hamlet in an Era of Textual Exhaustion examines how postmodern audiences continue to reengage with Hamlet in spite of our culture’s oversaturation with this most canonical of texts. Combining adaptation theory and performance theory with examinations of avantgarde performances and other unconventional appropriations of Shakespeare’s play, this volume examines Shakespeare’s Hamlet as a central symbol of our era’s “textual exhaustion,” a state in which the reader/ viewer is bombarded by text—printed, digital, and otherwise.

Sonya Freeman Loftis

Papers

Shakespeare’s hamlet in an era of textual exhaustion