Showing papers on "Hamlet (place) published in 2001"

Hamlet in Purgatory

Abstract: List of Illustrations ix Acknowledgements xi Prologue 3 Chapter One: A Poet's Fable 10 Chapter Two: Imagining Purgatory 47 Chapter Three: The Rights of Memory 102 Chapter Four: Staging Ghosts 151 Chapter Five: Remember Me 205 Epilogue 258 Notes 263 Index 315

Beyond the Spanish Tragedy: A Study of the Works of Thomas Kyd

Abstract: This is the first book in more than thirty years on the playwright who is arguably Shakespeare's most important tragic predecessor. Brilliantly fusing the drama of the academic and popular traditions, Thomas Kyd's plays are of central importance for understanding how the drama of Shakespeare and his contemporaries came about. Called ‘an extraordinary dramatic... genius' by T. S. Eliot, Thomas Kyd invented the revenge tragedy genre that culminated in Shakespeare's Hamlet some twelve years later. In this book, The Spanish Tragedy—the most popular of all plays on the English Renaissance stage—receives the extensive scholarly and critical treatment it deserves, including a full reception and modern stage history. Yet as this study makes clear, Thomas Kyd is much more than the author of a single masterpiece. Don Horatio (partly extant in The First Part of Hieronimo), the lost early Hamlet, Soliman and Perseda, and Cornelia all belong to what emerges in this study for the first time as a coherent dramatic oeuvre.

Hamlet and the Baker's Son: My Life in Theatre and Politics

Abstract: Hamlet and the Baker's Son is the autobiography of Augusto Boal, inventor of the internationally renowned Forum Theatre system, and 'Theatre of the Oppressed' and author of Games for Actors and Non-Actors and Legislative Theatre. Continuing to travel the world giving workshops and inspiration to teachers, prisoners, actors and care-workers, Augusto Boal is a visionary as well as a product of his times - the Brazil of military dictatorship and artistic and social repression and was once imprisoned for his subversive activities. From his early days in Brazil's political theatre movement to his recent experiments with theatre as a democratic political process, Boal's story is a moving and memorable one. He has devised a unique way of using the stage to empower the disempowered, and taken his methods everywhere from the favelas of Rio to the rehearsal studios of the Royal Shakespeare Company.

Shakespeare on Masculinity

Abstract: Preface Abbreviations Introduction 1. The chivalric revival: Henry V and Troilus and Cressida 2. 'Tender and delicate prince': Hamlet 3. 'O these men, these men': Othello 4. 'Arms and the man': Macbeth 5. 'Flower of warriors': Coriolanus 6. 'Rarer action': The Tempest Afterword: historicism and 'presentism' Select bibliography Index.

"Manly Exercises": Post-Revolutionary Performances of Authority in the Theatrical Career of William Dunlap

Abstract: In 1787,21-year-old William Dunlap forsook his first-chosen voca tion, painting, to venture a life in the theater. Called home to New York after three years' less-than-dedicated study in London under the expatri ate American painter Benjamin West, Dunlap painted a portrait of his family, The Artist Showing a Picture from Hamlet to His Parents (1788), that provocatively registers the complex motives and aspirations of the young man's turn to the theater (see Figure 1). Not only the reiterated gesture of the presentation?a dutiful display of the results of his paren tally sponsored study abroad?but also the subject of the painting-within the-painting?Hamlet's encounter with his father's unhappy ghost on the castle ramparts?advertises the returned son's filial regard. "Filial Piety" was, in fact, the playing title of Hamlet in Philadelphia that spring (Pollock 141). But, just as that title masked Lewis Hallam's Old American Company's calculated evasion of local laws against theatrical productions, Dunlap's

Drama + Theory: Critical Approaches to Modern British Drama

Abstract: Introduction 1 What does Jimmy Porter want?: Osborne with Lacan 2 Home front: Pinter with Freud 3 Hamlet games: Stoppard with Lyotard 4 Before Orton, after Foucault 5 Jokes and their relation to interpellation: Griffiths with Althusser 6 Towards a citational history: Churchill with Benjamin 7 Simulacra on Fleet Street: Pravda with Baudrillard 8 Culture and colonies: Wertenbaker with Said 9 Trauma and testimony in Blasted: Kane with Felman Bibliography --

Hamlet in his modern guises

Abstract: Preface and Acknowledgments ix CHAPTER ONE Medieval Hamlet Gains a Family 3 CHAPTER TWO Hamlet's Mourning and Revenge Tragedy 26 CHAPTER THREE History, as between Goethe's Hamlet and Scott's 71 CHAPTER FOUR Hamlet's Expectations, Pip's Great Guilt 102 CHAPTER FIVE Hamlet Decides to Be a Modernist 140 Index 175

Hamlet before Its Time

Abstract: No work in the English literary canon has been so closely identified with the beginning of the modern age as Hamlet. By speaking his thoughts in soliloquy, by reflecting on his own penchant for thought, by giving others cause to worry about what he is thinking, Hamlet draws attention to what is putatively going on inside him. It is for this psychological depth and complexity that Hamlet has been hailed as the inaugural figure of the modern period, “the Western hero of consciousness.”1 That he has retained this status for a good two hundred years is remarkable, for what constitutes modern subjectivity has continued to change. It is not the same in 2000 as it was in 1950 or 1900, much less in 1800. All the same, Hamlet has kept pace with the advancing time; he is timeless in value precisely because he is found timely by each successive age. He remains perennially at the vanguard of the contemporary, anticipating back in 1600 the cutting edge of the most recent now. Quite a feat—especially for a character famous as a procrastinator. But what a strange prolepsis. How can a work be anachronous with its own time and contemporaneous with one several centuries later? What does it mean when a work has to wait several hundred years before history catches up with it and it can be properly appreciated and understood? Are we assuming a typological relation by which Hamlet must await its recognition and fulfillment in the present, as the Old Testament awaits its own in the New? Or do we still believe in the sen

Hamlet in Africa 1607

Abstract: In your mind’s eye, I would like to conjure up a company of British seamen, far from home. These men will spend the afternoon on shore, sweating, shooting an elephant.2 But in the cool of the morning they gather on board ship for a different kind of sport. Within sight of conspiratorial packs of long-tailed monkeys on the rocks, within earshot of the estuary’s cranes and pelicans, a sailor steps onto the deck.3 He holds a weapon that combines a spear with a hatchet. He points this weapon in the direction of another man, and says, “Who’s there?”—The first words of Shakespeare spoken outside of Europe.4

2B or Not 2B

Abstract: Shakespeare's famous line from the play Hamlet focuses our attention on one the most important strategic decisions for most firms today. It's almost as if Shakespeare knew of the dilemma faced by a company trying to decide whether to participate in today's business to business (B2B) marketplace exchanges. As Prince Hamlet's soliloquy (Hamlet, Act 3, Scene 1) goes:

Black Hamlet : Psychoanalysis on Trial in South Africa

Abstract: This article examines Black Hamlet, written in 1937 by the pioneering South African psychoanalyst Wulf Sachs. Sachs’s book stages a cultural exchange in the guise of a professional dialogue between the author and a Manyika healer-diviner given the pseudonym John Chavafambira in the book. Sachs reports the dialogue extensively and stages it artfully, yet the superiority of Western medical-scientific and psychoanalytic practices to traditional African healing remains his governing premise throughout the book. When Sachs identifies John as the “black Hamlet,” he accordingly proclaims the universal applicability of psychoanalysis, grounded in the Oedipus Complex. This paper argues that Sachs’s attempt to inscribe the South African native subject within the global imaginary of 1930s psychoanalysis proves subject both to reversals and transferential complications that render the entire enterprise highly ironic; the racialized unconscious ultimately on display is that of the analyst rather than his subject. Rather than assimilating the native subject then, psychoanalysis finds itself exposed in a setting conceived as alien. As a complex cultural text, Black Hamlet actively lends itself to the postcolonial critique of universalizing Western psychoanalysis.

Shakespeare in Psychoanalysis

Abstract: The link between psychoanalysis as a mode of interpretation and Shakespeare's works is well known. But rather than merely putting Shakespeare on the couch, Philip Armstrong focuses on the complex and fascinatingly fruitful mutual relationship between Shakespeare's texts and psychoanalytic theory. He shows how the theories of Freud, Rank, Jones, Lacan, Erikson, and others are themselves in a large part the product of reading Shakespeare. Armstrong provides an introductory cultural history of the relationship between psychoanalytic concepts and Shakespearean texts. This is played out in a variety of expected and unexpected contexts, including: *the early modern stage *Hamlet and The Tempest *Freud's analytic session *the Parisian intellectual scene *Hollywood *the virtual space of the PC.

Telling the Landscape: Place and Meaning in Sunda (West Java)

Abstract: In West Java, hamlets are defined by locally significant spirit entities and the tales associated with them, both positive and negative. Indeed, the places where these spirits are localized bear witness to the truth of the tales, which in turn change what would otherwise be a rock, cave, or grave into a spiritually significant object. Through knowledge of them and participation in rituals associated with them, the people of the hamlets become defined as social persons who, along with others, continue to acknowledge the rules and prescriptions laid down by the ancestors. In the past these spirits, especially the ancestors and the hamlet’s guardian, were seen as intimately involved in the daily lives of the inhabitants of the hamlet. Although these beliefs may seem to be in decline as a result of the influence of modernity, schools, and religious teaching, the inhabitants of these hamlets, when facing crises in their lives, still come to these significant locations to seek relief from their troubles. Over time, the nature of the beliefs and the perception of the spirit entities have changed, leading some to relative disregard while others receive enhanced Islamic emphasis. Even though the people, the place, and the tales have changed, the stories remain local, maintaining their significance for those who live there.

Shakespeare On Screen

Abstract: The Taming of the Shrew As You Like It A Midsummer Night's Dream Othello Hamlet Macbeth King Lear Romeo and Juliet Julius Caesar Henry V Richard III The Tempest other plays.

The Prince of Denmark

Abstract: This fictional re-writing of the Hamlet story is set in a time somewhere between the Scandinavian Dark Ages (out of which the tale of Hamlet came), and the Renaissance society of Shakespeare's play. The novel "searches past and future", in T.S. Eliot phrase, "looking before and after". Beginning at the end of Shakespeare's play, where the Norweigian prince Fortinbras takes over the empty throne of Denmark, its then backtracks to the year of Hamlet's birth, and the great duel fought between his father King Amled and Fortinbras' father Prince Fortenbrasse. in the light of this history, as a new ruler takes over Denmark after Hamlet's death, the conflicts and alliances between ancient Viking chivalry, Renaissance realpolitik and Christian forgiveness are dramatically explored.

Armenian folk arts, culture, and identity

Abstract: Table of Contents: Preface Levon Abrahamian About This Book - Nancy Sweezy 1. Origins - In the Beginning - Hamlet Petrosyan 2. Symbols of Armenian Identity - Hamlet Petrosyan 1. The World as a Garden 2. The Sacred Mountain 3. The Temple 4. Writing and the Book 5. The Khachkar or Cross-stone 3. Settlements, Dwellings and Inhabitiants -- Home as the World - Harutyun Marutyan 4. Artifacts and Artisans 1. Wood - Harutyun Marutyan 2. Clay - Hamlet Petrosyan and Harutyun Marutyan (with material on salt jars and salt by Levon Abrahamian, Harutyun Marutyan, Hamlet Petrosyan, and Hripsime Pickichian) 3. Copper - Hamlet Petrosyan and Harutyun Marutyan 4. Carpets - Ashghunj Poghosyan 5. Needle Arts - Anush Sharambeyan 5. Personal Adornment 1. Costume - Svetlana Poghosyan 2. Jewelry - Hrachya Margaryan 6. Fight, Feast, and Festival 1. The Blacksmith - Aghasi Tadevosyan and Hamlet Petrosyan 2. Festival and Feast - Hripsime Pikichian (with material on the royal feast by Hamlet Petrosyan) 3. The Call of Zurna - Hripsime Pikichian and Aghasi Tadefosyan 4. The Wedding Tree - Hripsime Pikichian Afterword - Levon Abrahamian Glossary Notes Selected Bibliography Contributors Index

Hamlet in Pieces: Shakespeare Reworked by Peter Brook, Robert Lepage and Robert Wilson

Abstract: Monograph. A study of auteur-led devised theatre, rehearsal practice and the phenomenolgy of performance. ISBN 1 8545961 87

Of Shadows and Stones: Revering and Translating ‘the Word’ Shakespeare in Mexico

Abstract: Para Sarah, alma mia Jan Kott recalls in Aloes that, during one of his many encounters with Peter Brook, the British director was very excitedly discussing what the shadow (or ghost) of Hamlet’s father should do to an audience. After insisting ‘this ghost must make you shiver with fear, it must’, Brook showed Kott a pair of stone figurines – small reproductions of ‘demons from Sumatra’ – and asked: ‘Don’t they make you afraid?’ They didn’t, says Kott; actually, they looked a bit ridiculous. But then, Peter turned out the lights and placed the larger figure against a window so that it cast a long shadow in the middle of the room. Then he aimed a lamp from another direction. The figure, the shadow, grew in stature; its head was horrible; the shadow was terrifying and disgusting. I shivered. I started to feel afraid. Despite its evident emphasis on religion and mind (on providence, doubt, scepticism, procrastination, and the like), to me, Hamlet is Shakespeare's most provocative engagement with shadows - the darkest shadows. For the shades, dreams, images and ghosts that appear in other plays seem less dense, less obscure and threatening when compared to the shadows that populate Elsinore. Every character in Hamlet becomes a shadow, or the shadow of another. Following Shakespeare's own example, it is possible to say that the characters of Hamlet are translated into shadows: Hamlet senior stalks Hamlet junior as much as Polonius shadows him and orders Ophelia to play a similar game, while Hamlet drops in on Claudius, who has Polonius, Rosencrantz and Guildenstern play the clownish detectives shadowing Hamlet's every move, and so on.

Shakespeare’s Grave: The British Fiction of Hollywood

Abstract: All sorts of English oddities turn up in Hollywood. P. G. Wodehouse, The Old Reliable (51) I have a favorite quote about L.A., by William Shakespeare. He said: "This other Eden, demi-Paradise,/This precious stone set in the silver sea,/This earth, this realm, this-Los Angeles." L.A. Story Is Shakespeare buried in Hollywood? Steve Martin's 1991 film L.A. Story asserts that he is, explaining that Shakespeare wrote "Hamlet, Part VIII: The Revenge" during his final years in Southern California and revealing his tomb in Hollywood Cemetery (right behind Paramount Studios). The scene familiarly lampoons the cultural acquisitiveness and ignorance that might allow an American to believe that Shakespeare was buried not far from the elaborate graves of Douglas Fairbanks and Tyrone Power, both of which are adorned with "Goodnight, sweet prince." But Martin is not the first to locate Shakespeare's grave in Los Angeles. Aldous Huxley does it too, in his Hollywood novel After Many a Summer Dies the Swan (1939). On first arriving in L.A., his main character, the British scholar Jeremy Pordage, is taken to a cemetery, the Beverly Pantheon (based on Forest Lawn), where he encounters. The Tiny Church of the Poet--a miniature reproduction of Holy Trinity at Stratford-on-Avon, complete with Shakespeare's tomb and a twenty-four-hour service of organ music played automatically by the Perpetual Wurlitzer and broadcast by concealed loud speakers all over the cemetery. (10) In Evelyn Waugh's The Loved One (1948), which focuses more exclusively on Forest Lawn (here called Whispering Glades), Shakespeare is cited for frankly commercial purposes, as a mortuary hostess touts "Before-Need Arrangements" by saying, "As Hamlet so beautifully writes: 'Know that death is common; all that live must die"' (53). In several other novels of Hollywood by British writers, Shakespeare (or another eminent representative of the British literary tradition) makes an appearance--comically out of place and generally associated with mortality. As Stephen Greenblatt notes, Shakespeare has come to represent "'culture' as a whole" (1), and the theme associated with Shakespeare's grave in Hollywood literature often invokes other canonical texts as representative of an Anglo-European tradition to which Americans have only attenuated access (for example, Shelley functions in Huxley's Ape and Essence in much the same way Shakespeare functions in After Many a Summer Dies the Swan and Brave New World). The recur rent trope of Shakespeare's California grave encapsulates an important theme in the British fiction of Hollywood: Hollywood is the site of conflicts between high and low culture, between literature and film, and between British tradition and American cultural acquisitiveness. (1) Hollywood fiction is a regional literature of sorts, but unlike most regional literatures it is written almost entirely by outsiders, by people not native to the region. The literature of Hollywood grew out of an unprecedented collision of artistic media that came about with the development of talking pictures in the late 1920s. Established novelists, journalists, and playwrights from England and the East Coast of the United States found themselves participating in the California dream as they headed west for the lucrative living supposedly available to those skilled with the written word. Some became successful screenwriters, some merely marketed their novels or plays for screen treatment, others fled in disgust or after failing in the film industry. But many of this group incorporated their experiences in Hollywood into works of fiction. The term "Hollywood novel" commonly evokes a handful of works: Nathanael West's The Day of the Locust, Fitzgerald's unfinished The Last Tycoon, and works by John O'Hara, Horace McCoy, and Budd Schul berg. But there are many more established authors who, after coming west to work in the movies, wrote books set in Hollywood or Southern California, among them members of the so-called "British colony. …

Approaches to Teaching Shakespeare's Hamlet

Abstract: This Approaches volume culls from thousands of works on Hamlet those editions, anthologies, reference materials, films, and Web sites that will be of greatest help to teachers. The essays present a wide array of techniques and tips for presenting the play to students.

Notes from underground : an authoritative translation, backgrounds and sources, responses, criticism

Abstract: "Backgrounds and Sources" includes relevant writings by Dostoevsky, among them "Winter Notes on Summer Impressions," the author's account of a formative trip to the West. New to the Second Edition are excerpts from V. F. Odoevksy's "Russian Nights" and I. S. Turgenev's "Hamlet of Shchigrovsk District." In "Responses", Michael Katz links this seminal novel to the theme of the underground man in six famous works, two of them new to the Second Edition: an excerpt from M. E. Saltykov-Shchedrin's The Swallows, Woody Allen's Notes from the Overfed, Robert Walser's The Child, an excerpt from Ralph Ellison's The Invisible Man, an excerpt from Yevgeny Zamyatin's We, and an excerpt from Jean-Paul Sartre's Erostratus. "Criticism" brings together eleven interpretations by both Russian and Western critics from the nineteenth and twentieth centuries, two of them new to the Second Edition. Included are essays by Nikolai K. Mikhailovsky, Vasily Rozanov, Lev Shestov, M. M. Bakhtin, Ralph E. Matlaw, Victor Erlich, Robert Louis Jackson, Gary Saul Morson, Richard H. Weisberg, Joseph Frank, and Tzvetan Todorov. A Chronology and Selected Bibliography are also included.

Nabokov and the Spirits: Dolorous Haze--Hazel Shade

Abstract: colonnades with Horace and Milton in togas conversing and walking together through the eternal twilight, or the protracted voluptas of the orient or any other eternity -such as the one with devils and porcupines -we forget that if we could have imagined life before living it would have seemed more improbable than all our hereafters. Nabokov displays a detailed knowledge of the history of spiritualism in ‘The Vane Sisters’, written in 1951. The skeptical and scornful narrator gives a catalogue of its highlights while trying to resist Cynthia as he falls asleep: I reviewed in thought the modern era of raps and apparitions, beginning with the knockings of 1848, at the hamlet of Hydesville, New York, and ending with grotesque phenomena at Cambridge Massachusetts; I evoked

‘Let Me Not Burst In Ignorance’: Skepticism and Anxiety in Hamlet

Abstract: (2001). ‘Let Me Not Burst In Ignorance’: Skepticism and Anxiety in Hamlet. English Studies: Vol. 82, No. 3, pp. 218-230.