The late 1990s were a key turning point in the history of anime. Its global reach was fully achieved in North America with the Pokemon television series, card game, and video games. Hayao Miyazaki’...

...................................................................................................................................... 5 Statements of authorship attribution and originality .................................................................. 7 Acknowledgements .................................................................................................................... 8 A note on editions and citations ................................................................................................. 9 Introduction: French English .................................................................................................... 12 Part I: Sources ........................................................................................................................... 24 1. The First Quarto and the Fool ................................................................................... 26 2. Un-Englishing Shakespeare’s Montaigne ................................................................ 64 Part II: Synchronisation ............................................................................................................ 87 3. “Make assay”: death and repentance à la borde d’anglais ........................................ 89 4. “Yet what I shall choose I wot not”: dubitatio and an apology for Horatio ........... 110 Part III: Stories ........................................................................................................................ 135 5. Anatomising Hamlet’s “shreds and patches” ......................................................... 137 6. “To tell my story”: Montaignian editing and the tragic sense of ending ................ 169 Conclusion: A further edge ..................................................................................................... 199 Bibliography ........................................................................................................................... 207 Shakespeare’s French: Reading Hamlet at the Edge of English 5 Abstract Shakespeare’s French: Reading Hamlet at the Edge of English argues that Hamlet is not written in English. Instead, Shakespeare’s working knowledge of French produces what I call a French English dialect in the three Hamlet texts. My thesis argues that two French language sources influenced Hamlet: the Amleth myth as translated by François de Belleforest and Les Essais by Michel de Montaigne. I begin by establishing extant scholarship on the relationships between Belleforest’s tale, Montaigne’s essays, and the Hamlet texts. My first chapter considers the French text of the Amleth narrative alongside the Hamlet texts. The second chapter considers the history of Montaigne’s essays being mediated in Shakespeare studies by John Florio’s English translation in 1603. I address ways in which this mediating text is an inadequate source for the three Hamlet texts. Referring to the short essay “De l’Âge”, I show how source study can produce an alternative chronology for Hamlet. In the middle two chapters of my thesis I use ideas about diachronic and synchronic source study to inform my analysis of the shared philosophical concerns between Montaigne and Shakespeare’s respective texts. The third chapter focuses on each text’s interest in philosophy and repentance, exploring how Montaigne’s discussion of those ideas can be found in the different Hamlet texts. The fourth triangulates ideas about faith, fellowship, and doubt, comparing Shakespeare and Montaigne’s synchronic responses to early modern concerns about classical and Christian fellowship. My final two chapters argue that Montaigne’s ideas about textual and editorial fragmentation can also be located in the Hamlet texts and their critical history. In my fifth chapter I compare Montaigne and Shakespeare’s use of terms like “pieces”, “patches”, “shreds”, and “flaps”, and how they capture ideas about the fragmentary nature of theatre. My final chapter then develops from their shared terminology about fragmentation to the editorial practices that frame any reading of their texts. Using Montaigne’s own editorial theory, I suggest that the Hamlet texts can be Shakespeare’s French: Reading Hamlet at the Edge of English 6 productively read as essays. Each of my comparative chapters draws attention to the borders between languages and texts. By redefining Shakespeare’s language in Hamlet as French English, I ask how readings of Hamlet might change if divorced, or at least estranged, from English and Englishness. Shakespeare’s French: Reading Hamlet at the Edge of English 7 Statements of authorship attribution and originality This thesis contains material due to be published as “Hamlet’s French philosophy à la borde d’anglais” in On the Edge in Early Modern English Drama, edited by Mark Houlahan and Aidan Norrie (Kalamazoo, MI: MIP University Press). Chapter 3 of this thesis largely corresponds with this forthcoming material, and some parts of the Introduction also touch on its ideas. The introduction to this thesis contains material published as “To English, or not to English? Shakespeare as a translator” for a guest contribution on the Multilingual Locals and Significant Geographies project website (http://mulosige.soas.ac.uk). The MULOSIGE project is based in the School of Oriental & African Studies at the University of London. I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing it has been acknowledged. This thesis has not been submitted for any degree or other purposes. Jennifer Ellen Nicholson Shakespeare’s French: Reading Hamlet at the Edge of English 8 Acknowledgements My first thanks must go to my supervisor, Huw Griffiths, whose supervision was invaluable throughout this project. Thank you for your encouragement, advice, generosity, patience, wisdom, and feedback, and for the hours you spent helping me turn my questions into answers. I also must give my thanks to Liam Semler. Thank you for your advice on parts of my project via honorary supervision early in 2018, and for your perspective and support on this thesis and my academic work more broadly. Many other colleagues also provided feedback, asked questions, or suggested new directions, when I presented my work at seminars and conferences. These included attendees at ANZAMEMS, ANZSA, CHE, EMLAC, the Harvard Institute for World Literature, the 2018 Australian Literary Studies convention, NeMLA, the Department of English Poetry and Poetics Network, SAA, and the Shakespeare Reloaded conference. The staff of Fisher Library at the University of Sydney and at the Folger Shakespeare Library, Washington D.C., gave invaluable advice. I have been fortunate to meet many who were generous with their time, feedback, advice, reference letters, mentoring, or friendship, both academic and otherwise. As well as those I have already mentioned, other individuals include Rafi Alam, Mark Byron, Ella Collins-White, Gabriella Edelstein, Marina Gerzić, Mark Houlahan, Laurie Johnson, Dashiell Moore, Oliver Moore, Aidan Norrie, Samantha Poulos, Blythe Worthy, and no doubt others who, by my own fault, I have overseen while writing this list. My thanks are particularly due to those who kept wassail in the Fisher dungeon, the Woolley attic, and everywhere in between. Thank you to Huw, Liam, Lilon Bandler, Sarah Gleeson-White, Bruce Isaacs, Benjamin Miller, and Brigid Rooney for opportunities to teach in English, film studies, writing studies, and even the Sydney Medical School. Thank you for your invaluable support of myself and many other doctoral students within and beyond the requirements of our candidature. I must by extension offer thanks to my students, too, who have entertained thoughts about tragedy, theatre, film, anatomy, genre, and more, and always asked fantastic questions. Thank you for your scholarly generosity in and beyond the classroom, whether in early modern literary studies or elsewhere. Thank you to all who offered a set of eyes to proofread awkward sentences or footnotes. Any errors that remain in this work are my own. Finally, thanks must be extended to: The Mountain Goats and Sufjan Stevens, for discographies that got me through the year(s); Shre, for surviving me still harping on Hamlet, and discussing liminal spaces in airports and translations; AJ, for sharing equally in delight and dole, along with a healthy dose of righteous anger; Anne, for keeping in touch in spite of various distances, our ever-widely-reading transnational book club, and your music; Meg, for your Pauline commitment to both faith and friendship; Catherine and Matt, for suffering good-naturedly through my handfuls of tragical speeches; Mum and Dad, for teaching me to read books and proofread billboards, and; two authors (one who wrote Hamlet, the other who wrote me into being), without whom I couldn’t have written a single word. Shakespeare’s French: Reading Hamlet at the Edge of English 9 A note on editions and citations All modern English quotations have been amended to UK/Australian spelling conventions as necessary. I have silently amended alternate spellings for “Shakespeare” throughout. I have often silently modernised French and English text for ease of reading. Citations of the Amleth myth derive from Hervé-Thomas Campangne’s Libraire Droz edition of Les Histoires Tragiques. Citations of Montaigne’s original French text derive from the online version of Pierre Villey and Verdun-Louis Saulnier’s edition of Les Essais. All translations from French are my own unless otherwise specified. Paginated citations for Florio’s translation of Montaigne’s essays are from scanned copies of original texts provided on Early English Books Onine (EEBO). Unpaginated citations of Florio’s translations are from the online Renascence Edition. Citations from the Second Quarto of Hamlet are generally taken from Philip Edwards’ Cambridge edition, while those from t

Princess Mononoke: Understanding Studio Ghibli’s Monster Princess

Shakespeare’s French: Reading Hamlet at the Edge of English

In order to understand the originality of Hayao Miyazaki's works and the success due to this originality, our research examines the artist's early works and his life. Hayao Miyazaki produced his works, which are important milestones in the history of animation, one after another after the establishment of Studio Ghibli. Hayao Miyazaki's three important projects, in which we found evidence that he was involved and influenced his post-Ghibli projects, were analyzed using the iconographic and iconological analysis method. At the same time, these works and the writings related to the artist's life were also examined with comparative textual analysis and included in the scope of the study. In the research carried out with the descriptive method, besides the projects he worked on, the productions that Miyazaki reported that he was affected by his own statement and Miyazaki's relationship with these productions were examined. Another part of the study is the research and observations on how the events in the early period of his personal life affect his works after Ghibli. With this research, the process required for the formation of a master artist’s work is examined through Miyazaki, one of the greatest masters of the art of animation.

Hayao Miyazaki’nin Sanatsal Gelişiminde Erken Dönem Yaşamının Etkisi

Introducción. Hayao Miyazaki y Satoshi Kon son dos de los directores mejor valorados por la crítica y el público en el género anime contemporáneo. A pesar de tener estilos diferentes, coinciden en que ambos sus protagonistas suelen ser mujeres en la mayor parte de su filmografía. Objetivo. Este estudio analiza cuantitativamente la popularidad de estos personajes femeninos en las búsquedas de Google desde 2004 hasta 2021. Metodología. A partir de estos datos, realizaremos un análisis cualitativo sobre la evolución narrativa y el tratamiento estético de cada uno de estos personajes. Resultados y conclusiones. Concluimos que los personajes que experimentan un paso de la inocencia a una primera madurez fueron los más populares entre los aficionados a estas películas: El viaje de Chihiro (29,95) y Mi vecino Totoro (25,01). Asimismo, la apariencia infantil de las heroínas anime fue más popular que las de aspecto adulto. 

/pdf/la-popularidad-de-las-heroinas-anime-de-hayao-miyazaki-y-k6lds3to.pdf

Princess Mononoke: Understanding Studio Ghibli’s Monster Princess

Citations

Shakespeare’s French: Reading Hamlet at the Edge of English

Hayao Miyazaki’nin Sanatsal Gelişiminde Erken Dönem Yaşamının Etkisi

La popularidad de las heroínas anime de Hayao Miyazaki y Satoshi Kon (2004-2021): un análisis estético y narrativo

References

Shakespeare’s French: Reading Hamlet at the Edge of English