Shakespeare’s hamlet in an era of textual exhaustion
27 Nov 2017-
TL;DR: 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 as mentioned in this paper.
Abstract: 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.
Citations
More filters
Journal Article•
[...]
TL;DR: This book is very referred for you because it gives not only the experience but also lesson, that's not about who are reading this death in literature book, but about this book that will give wellness for all people from many societies.
Abstract: Where you can find the death in literature easily? Is it in the book store? On-line book store? are you sure? Keep in mind that you will find the book in this site. This book is very referred for you because it gives not only the experience but also lesson. The lessons are very valuable to serve for you, that's not about who are reading this death in literature book. It is about this book that will give wellness for all people from many societies.
46 citations
1 citations
01 Jan 2019
TL;DR: In this paper, an essai revient sur le processus de creation d'une forme courte sise entre le theâtre, le cirque contemporain and l'installation sonore, Hamlet sur le fil.
Abstract: 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.
[...]
TL;DR: This paper reframed Shakespeare's plays within a newly conceptualized historical category that posits a cultural divide between premodernity and the Enlightenment, and refocused discussion around key and enduring themes of mortality.
Abstract: 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.
References
More filters
TL;DR: The ghost of Hamlet's father has become a pervasive figure for the uncanniness of survivals that pressure the distinction between life and death and thereby compel disavowals of the portion death holds in the logic of "survival" as discussed by the authors.
Abstract: The ghost of Hamlet's father haunts more than Shakespeare's play. It has become a pervasive figure for the uncanniness of survivals that pressure the distinction between life and death and thereby compel disavowals of the portion death holds in the logic of "survival." The work of Jacques Derrida is especially instructive in this regard. His returns to the figure of the specter's return trace his own investment in what Archive Fever simultaneously affirms as the future to come and as survival's conservation of life, the two being bound to each other by the concept of the archive. Reading Derrida's text beside Shakespeare's, "Against Survival" identifies Hamlet as a crystallizing moment in the ideology of the archive that both animates and constitutes reproductive futurism: a moment that proclaims the injunction that the Child and the future must repeat-and so realize and redeem-the past while assuring, through that very injunction, the constant renewal of a surplus enjoyment, a queerness or perversion, that keeps time out of joint. This queerness, intrinsic to the archive and, as a consequence, to the Child, obtrudes as the death drive that Derrida acknowledges while trying to evade but that Hamlet depicts as essential to futurism's production of the Child in a counterproductive effort to repudiate the fatality of the drive. Like incest-or the ghost-the Child itself queers the order it is meant to secure and Hamlet , by reading that queerness as inseparable from the investment in overcoming it, repudiates the promised triumph of life that Derrida's work would affirm.
39 citations
31 Dec 2014
27 citations
Journal Article•
TL;DR: Shaw et al. as discussed by the authors predicted a continued loosening of the traditional boundaries between games and stories, between films and rides, between broadcast media (like television and radio) and archival media ( like books and videotape), between narrative forms and dramatic forms (like theater or film), and even between the audience and the author.
Abstract: IN THE FALL OF 1996. I was lucky enough to be in New York City when Kenneth Branagh's Hamlet opened in all its 70 mm glory at the Paris Theatre. During the summer of 2009, I watched the same film on the two-inch screen of an iPod. Although this variation of screen size is admittedly extreme, these two experiences underscore key features in twenty-first-century digitized performance: multiple screens, multiple technologies, and proliferating mechanisms of audience control. Shakespearean film faces a digital world. The year after Branagh's Hamlet was released, Janet H. Murray analyzed digital narrative and predicted "a continued loosening of the traditional boundaries between games and stories, between films and rides, between broadcast media (like television and radio) and archival media (like books and videotape), between narrative forms (like books) and dramatic forms (like theater or film), and even between the audience and the author." (1) However, Murray could not have anticipated how many different kinds of screens would become sites for twenty-first-century literary and cinematic boundary-loosening. Beyond television and movie theaters, our computer screens now host streaming video of Shakespearean performances, including Peter Donaldson's Shakespeare Performance in Asia Web site (http://web.mit.edu/shakespeare/asia/) and Ian McKellan's King Lear, which currently airs on demand on the PBS Web site (http://video.pbs.org/video/1075274407/program/9793 59658). (2) Several Shakespearean films are now available through digital pay-per-view from iTunes. In addition, Shakespeare's texts appear on WebTV, our computer screens, and Amazon's Kindle screens as e-books. What has followed "Shakespeare on film" is Shakespeare on screens. Because we now find Shakespeare's works on a range of these performance/textual surfaces, the technologies that enable these encounters, enrich them, and render them all-too-swiftly obsolete will continually influence Shakespearean film in the twenty-first century. At the least, Shakespearean film will become a crucial archive for creative work; at the most, Shakespeare's works may fully enter digital existence, living up to and beyond W. B. Worthen's exploration in "Shakespeare 3.0." (3) The future of Shakespeare on film depends on the qualities that digital worlds require: interactivity through participation and procedures, and audience immersion through spatial and encyclopedic environments. (4) To put it another way, which screens Shakespeare will inhabit after his lengthy stint on the big one may rely on whether his plays prove suitable for manipulation and immersive exploration. Does Shakespeare invite the creative interactivity of digital play, and, if so, in what ways? The explosion of YouTube Shakespeare videos suggests that his plays provide a useful starting place for do-it-yourself video production. From stop-action Claymation (http:// www.youtube.com/watch?v=q5OKUBVb4sI) to musical performances of Macbeth (http://www.youtube.com/watch?v=YVOEoW R44ug), Shakespearean YouTube hosts more than rare performance recordings like the summary film of the Wooster Group Hamlet (http://www.youtube.com/watch?v=wAO2XOOsbK8). "Canonical" films prove useful, even recyclable, for example, in the mini-boom of YouTube Ophelia music videos--such as Ophelia's Immortal (http://www.youtube.com/watch?v=qs0m9dGI5zQ) and Hamlet's Immortal (http://www.youtube.com/watch?v=AZm4g RBzY20), which set clips of Kate Winslet's performance in Branagh's Hamlet to an array of pop songs. Many of these films exploit the plays' susceptibility to adaptation, already made plain in the flurry of Shakespearean teen adaptations (10 Things I Hate About You, Get Over It, O, and She's the Man). So far, however, enthusiasm for small-screen Shakespearean productions has not translated into sustained presence in games or digital performance works, even at a time when gaming and digital environments have begun to influence film production. …
12 citations