Showing papers on "Hamlet (place) published in 2005"

1599 : A Year in the Life of William Shakespeare

Abstract: This work presents an intimate history of Shakespeare, following him through a single year that changed not only his fortunes, but the course of literature. How did Shakespeare go from being a talented poet and playwright to become one of the greatest writers who ever lived? In this one exhilarating year, we follow what he reads and writes, what he saw, and who he worked with as he invests in the new Globe theatre and creates four of his most famous plays - "Henry V", "Julius Caesar", "As You Like It", and, most remarkably, "Hamlet". This book brings the news, intrigue and flavour of the times together with wonderful detail about how Shakespeare worked as an actor, businessman, and playwright, to create an exceptionally immediate and gripping account of an inspiring moment in history.

Shakespeare and Republicanism

Abstract: Introduction: was Shakespeare a Republican? Part I. Republican Culture in the 1590s: 1. Forms of Republican culture in late sixteenth-century England 2. Literature and Republicanism in the age of Shakespeare Part II. Shakespeare and Republicanism: Introduction: Shakespeare's early Republican career 3. Shakespeare's Pharsalia: the first Tetralogy 4. The beginning of the Republic: Venus and Lucrece 5. The end of the Republic: Titus Andronicus and Julius Caesar 6. The Radical Hamlet 7. After the Republican moment Conclusion Bibliography.

The dodo was really a phoenix: the renaissance and revival of the recorder in England 1879-1941

Abstract: This study provides a critical analysis of the modern renaissance and popularization of the recorder in England, examining the phenomena and placing them within their broader musical and cultural contexts. It explores the roles of the principal protagonists and institutions, arguing that a confluence of different agendas—musical, educational and social—within an environment of changing conditions, was crucial to the successful revival of an instrument, which in Victorian England had no living tradition at all. There was a clear relationship between the late-nineteenth and early-twentieth century scholarship on the recorder and the desire to learn more about England’s ‘golden age’ of music during the sixteenth and seventeenth centuries. Even before the 1870s, scholars represented the recorder as an obsolete instrument. By the 1890s and particularly from 1900, there were a few people playing the instrument in public, most notably Canon Galpin and Arnold Dolmetsch. Unquestionably, Dolmetsch’s work with the recorder between 1900 and the late 1920s was crucial to the subsequent mass revival. Changes in educational ideas and doctrine between the World Wars led to children’s music classes including active instrumental music making, in part to stimulate a sense of cultural identity. From 1926 the bamboo pipe gradually became the melodic instrument most commonly used in English schools, until Edgar Hunt, inspired by Arnold Dolmetsch’s Haslemere concerts, conceived of a popular recorder revival. Hunt began to import inexpensive German recorders, and to research and publish pre-Classical recorder music. From 1935 the recorder began to usurp the place of the bamboo pipe in English elementary schools. Concurrently, musical and educational authorities were encouraging domestic music making, for social and musically nationalistic reasons, often linking it with Elizabethan music making. The idea that a strong musical knowledge across all demographics could enable the nation to become ‘a land with music’ once more was invoked in many of the activities undertaken between the Wars. The work of The Society of Recorder Players, established in 1937, was significant and had long-term consequences for the success of the popular revival, as well as for the relative status of the recorder. At the same time, classes established by Edgar Hunt at Trinity College of Music as well as new compositions for the recorder helped to legitimize the instrument. This thesis addresses a number of gaps in previous research, by exploring thoroughly the history of the recorder in England between 1879 and 1941, utilizing extensive primary source materials—many hitherto overlooked—; by examining linkages between the recorder’s increasing usage and the various strands of the English musical renaissance; and by determining why the recorder was so highly popular when other instruments—notably the bamboo pipe—appeared to have similar attributes.

Hamlet lives happily ever after in Arabic: the genesis of the field of drama translation in Egypt

Abstract: In writing the history of drama translation in Egypt, historians have mostly conceived of translation in terms of a linear progression from infidelity to fidelity. The sweeping obsession with the linguistic proximity of translated drama to its corresponding source text has tended to blind these historians to the overall network of socio-cultural and aesthetic factors that conditioned the production, circulation and reception of drama translation in late 19th- and early 20th century Egypt. This paper challenges mainstream histories of the early translations of Shakespeare's drama in Egypt through a reading of the first published translation of 'Hamlet' into Arabic (1902). Drawing on Bourdieu's genetic sociology, this translation is read against the backdrop of an emerging field of drama translation, and hence is shown to reveal the influence of the socio-cultural factors that conditioned the formation of this field.

The Greenblatt reader

Abstract: Acknowledgments.Introduction: Greenblatt and New Historicism.Part One: Culture and New Historicism.1 Culture.2 Towards a Poetics of Culture.3 The Touch of the Real.Part Two: Renaissance Studies.4 The Wound in the Wall.5 Marvelous Possessions.Part Three: Shakespeare Studies.6 Invisible Bullets.7 The Improvisation of Power.8 Shakespeare and the Exorcists.9 Martial Law in the Land of Cocaigne.Part Four: Occasional Pieces.10 Prologue to Hamlet in Purgatory.11 China: Visiting Rites.12 China: Visiting Rites (II).13 Laos is Open.14 Story-Telling.Stephen Greenblatt: A Bibliography (1965-2003), compiled by Gustavo P. Secchi.Index

The Early Modern Corpse and Shakespeare's Theatre

Abstract: Table of Contents Chapter 1 Dead Bodies (theoretical introduction: Bataille, Douglas, Kristeva, Lacan, Benjamin) Chapter 2 Body Imaging and Religious Reform: The Corpse as Idol (historicist analysis of shifts in sacramental, iconographic, and theological imaging of the corpse from the late medieval to the early modern periods in England) Chapter 3 Animating Matter: The Corpse as Idol in The Second Maiden's Tragedy and The Duke of Milan (includes analysis of English public theatre) Chapter 4 Invading the Grave: Shadow Lives in The Revenger's Tragedy and The Duchess of Malfi (includes analysis of English funerary customs and the practice of anatomical dissection) Chapter 5 Killing the Dead: Duncan's Corpse and Hamlet's Ghost Epilogue: Last Words.

Memory and Forgetting in English Renaissance Drama: Shakespeare, Marlowe, Webster

Abstract: Engaging debates over the nature of subjectivity in early modern England, this fascinating and original study examines sixteenth- and seventeenth-century conceptions of memory and forgetting, and their importance to the drama and culture of the time. Garrett A. Sullivan, Jr discusses memory and forgetting as categories in terms of which a variety of behaviours - from seeking salvation to pursuing vengeance to succumbing to desire - are conceptualized. Drawing upon a range of literary and non-literary discourses, represented by treatises on the passions, sermons, anti-theatrical tracts, epic poems and more, Shakespeare, Marlowe and Webster stage 'self-recollection' and, more commonly, 'self-forgetting', the latter providing a powerful model for dramatic subjectivity. Focusing on works such as Macbeth, Hamlet, Dr Faustus and The Duchess of Malfi, Sullivan reveals memory and forgetting to be dynamic cultural forces central to early modern understandings of embodiment, selfhood and social practice.

A Concise Companion to Shakespeare on Screen

Abstract: Acknowledgements. Notes on Contributors. Bibliographical Note. Chronology. Introduction: Through a Camera, Darkly (Diana E. Henderson). 1. Authorship: Getting Back to Shakespeare: Whose Film is it Anyway (Elsie Walker). 2. Cinema Studies: "Thou Dost Usurp Authority": Beerbohm Tree, Reinhardt, Olivier, Welles, and the Politics of Adapting Shakespeare (Anthony R. Guneratne). 3. Theatricality: Stage, Screen, and Nation: Hamlet and the Space of History (Robert Shaughnessy). 4. The Artistic Process: Learning from Campbell Scott's Hamlet (Diana E. Henderson). 5. Cinematic Performance: Spectacular Bodies: Acting + Cinema + Shakespeare (Barbara Hodgdon). 6. Gender Studies: Shakespeare, Sex, and Violence: Negotiating Masculinities in Branagh's Henry V and Taymor's Titus (Pascale Aebischer). 7. Globalization: Figuring the Global/Historical in Filmic Shakespearean Tragedy (Mark Thornton Burnett). 8. Cross-Cultural Interpretation: reading Kurosawa Reading Shakespeare(Anthony Dawson). 9. Popular Culture: Will of the People: Recent Shakespeare Film Parody and the Politics of Popularization (Douglas Lanier). 10. Television Studies: Brushing Up Shakespeare: Relevance and Televise Form (Roberta E. Pearson and William Uricchio). 11. Remediation: Hamlet among the Pixelvisionaries: Video Art, Authenticity, and "Wisdom" in Almereyda's Hamlet (Peter S. Donaldson). Afterword: Unending Revels: Visual Pleasure and Compulsory Shakespeare (Kathleen McLuskie). Select Bibliography. Index.

The Alabama Claims Arbitration

Abstract: A lecturer on the Alabama claims and the Geneva Tribunal of 1871–2, like a director of Hamlet, has to accept one inescapable fact: that everyone knows, broadly at least, how the story ends. There can be no reliance on suspense to sustain interest in the narrative. So I shall begin at the end.

John Lydgate and the Making of Public Culture: Tragedy and comedy: Lydgate's disguisings and public poetry

Abstract: In 1590 Edward Allde printed Lydgate's Serpent of Division together with Sackville and Norton's Gorboduc as illustrations of the dangers of civil war and strife. For Allde, the link between Lydgate's treatise and the revenge tragedy was one of content rather than form; both texts serve a didactic function by showing readers the terrible consequences of political division: Three things brought ruine vnto Rome , that ragnde in Princes to their ouerthrowe: Auarice , and Pride , with Enuies creull doome, that wrought their sorrow and their latest woe. England take heede, such chaunce to thee may come: Foelix quem faciunt aliena pericula cautum . But the sympathy between Serpent of Division and Gorboduc is not limited to their topicality. What Allde sensed about Serpent was that its fundamentally tragic structure resonated profoundly with the dramatic genre of tragedy as Sackville and Norton had defined it – and indeed, by identifying the tract as a precursor to Gorboduc , he constructed a literary history of tragedy that inserted the medieval into the humanist narrative of genre formation that moved from classical to Renaissance, Seneca to Hamlet . In this alternate version of literary transmission, tragedy is quintessentially a political form, bound up with the production of sovereignty and the state, with a clearly defined function in relation to authority.

Hamlet: Voice, music, sound

Abstract: The literary canonisation of Hamlet means that it is now most frequently encountered as a printed text. This crucially reconfigures its character, since Shakespeare wrote for sound, not print, and for an audience habituated to finely nuanced auditory semiotics. Hamlet generates its own soundscape as the major bearer of meanings. Apart from dialogue, its complex repertoire of auditory effects includes instrumental music and song. If we examine the play as an acoustic experience, we can situate it more 'soundly' in its epoch, and perhaps also reinterpret its puzzles, most notably Hamlet's procrastination, an issue that only began to be raised by later critics working in a more print-oriented era. If we reclaim the sonic dimensions of the play, his inexplicable indecisiveness may be seen as the point, not the puzzle, of the play, and a metaphor of the liminal epistemology of Shakespeare's age. The Renaissance ear This article is part of a work-in-progress on sound in cultural history, and specifically that section of the enquiry dealing with auditory modalities in Renaissance England. That the period from the sixteenth to the seventeenth century represents a major transition, is the truism underpinning the word 'Renaissance'. Emergent humanism and the growing secularisation of knowledge contested Christian cosmologies, in association with a materialism that set scientific knowledge against revelation by faith in The Word, empiricism against the wisdom of antiquity. The emergence of secular capitalist economies and increasing urbanisation bring sea-changes that are debated in university and pulpit, in print and in conversation, and seep into evolving secular art and leisure forms. The theatre explores the secular dilemmas through themes of loyalty and revenge, love and fidelity, individual ambition and public order. Few plays of the period are held to articulate these dilemmas as subtly as Hamlet, which has made it one of the most fruitful sites for the study of the ambiguities of its epoch. For Lucien Goldmann it is their resonance in drama that produces the 'tragic vision' itself, based on his thesis of Le Dieu Cache - a god that is neither fully present, nor yet dead,

William Faulkner: The Contemporary Reviews

Abstract: Introduction Acknowledgements The Marble Faun Soldiers' Pay Mosquitoes Sartoris The Sound and the Fury As I Lay Dying Sanctuary These Thirteen Salmagundi Miss Zilphia Gant Light in August A Green Bough Doctor Martino and Other Stories Pylon Absalom! Absalom! The Unvanquished The Wild Palms The Hamlet Go Down, Moses and Other Stories The Portable Faulkner Intruder in the Dust Knight's Gambit Collected Stories Notes on a Horsethief Requiem for a Nun Mirrors of Chartres Street A Fable The Faulkner Reader Big Woods The Town New Orleans Sketches Three Famous Short Novels The Mansion The Reivers.

Impersonation, Autobiography, and Cross-Cultural Adaptation: Lee Kuo-Hsiu's Shamlet

Abstract: Lee Kuo-Hsiu's 1992 Shamlet is a "sham" Hamlet that possesses three palimpsestical levels of signification as it rearranges Shakespeare's play. The first level is the parody of the Shakespearean text, where scripted technical errors and confusion prevail when a fictional Taiwanese theater company rehearses and performs Hamlet. The second level is (auto) biographical: the stories of the characters of the company portraying Hamlet reflect the chaotic condition of theatre making and living in contemporary Taiwan, where the economics of the arts are vexed and the political future of the island is unclear. At a third level, where the parody of the Western classical text and the autobiographical rendition of contemporary East Asian reality confront each other in scripted improvisations, a new Asian modernity emerges in the articulate voice of Lee Kuo-Hsiu. Alexander C.Y. Huang is assistant professor of comparative literature at Pennsylvania State University. He has a PhD in comparative literature and a joint PhD in humanities from Stanford University. His research focuses on modern Chinese literature, transcultural performances, Shakespeare, and interactions between writing and other forms of cultural productions. ********** The 1990s saw cross-cultural adaptations for the Taiwanese theater in new ways in parody, autobiographical performance, and scripted "improvisation" in Shamlet, a ten-act comedy conceived and directed by Lee Kuo-Hsiu (1992; revived in 1994, 1995, 1996, and 2000). (1) Interestingly, the piece was not confined to small audiences, as many experimental works are, but was immensely popular and toured internationally. This article examines the emergence of this new performing genre through Shamlet. Some other representative works of this genre include Wu Hsing-Kuo's Li'er zaici (Lear Alone) and Lee's Zhenghun cishi (Personal Ads). A huaju (spoken drama) play inspired by Hamlet, Shamlet stages Shakespeare's play within autobiographical impersonations: that is, it connects fictional characters in Hamlet to the theatrical careers of the performers of Shamlet. Impersonation in this context means both the dramatic representation of a character and the act of superimposing one's own offstage life on the character one is performing. Visualize an empty stage in the Novel Hall in Taipei with a pseudo-medieval European chair. A backdrop of painted pillars, back-lit with an azure light, creates the illusion of a colonnade. Before the show, the following newspaper "review" (complete with a headline) credited to Xiaoniao bao (Little Bird News) is projected onto a screen above the stage. The lines are written against a green and pink background: Fengping Theater Company Performs Shamlet Shamlet premiered last night in the Novel Hall in Taipei to critical success. The audience stood up and applauded for half an hour at the curtain call. Presenting Shamuleite, also known as The Revenge of the Prince. [...] As the light goes on, the audience sees Shamlet (as Prince Hamlet is called in this adaptation) sitting in the chair and talking to Horatio. Both wear pseudo-medieval royal dress resembling Laurence Olivier's outfit for Hamlet in the 1948 film. The duel scene soon follows, and Shamlet dies entreating Horatio to "live in this world and tell the story of [Shamlet's] revenge." The curtain falls. What has just been shown on the stage is the last scene from the "premiere" of Shamlet in Taipei. As the curtain rises again, the audience is whisked from Act 5, Scene 2 of Hamlet to Act 1, Scene 5. This time a chaotic rehearsal unfolds with the actors squabbling and going in and out of character. The confusion is heightened as stagehands interrupt, cell phones ring, and the actors' lines get mixed up with their conversations on and off the phone. The action appears to be improvised, but it is scripted. The "rehearsal" devolves into a counseling group where each cast member vents and brings personal problems to bear on the play they are "rehearsing. …

Shakespearian play : deconstructive readings of The Merchant of Venice, The Tempest, Measure for Measure and Hamlet

Abstract: Poststructuralism may be broadly characterized as a move away from traditional Western foundationalist thinking. Such thinking is exemplified by post-enlightenment transcendentalism, humanism and subject-centredness. This study aims to contribute to the poststructuralist decentering of the subject by means of the application of the critical practice of deconstruction – a type of analysis named and popularized by Jacques Derrida, who is himself frequently classified as a poststructuralist, in which the ruling logic of the text is undermined and the meaning of the text is therefore shown not to be fully present within it – to four texts by a writer who is arguably among the most prominent within the English literary canon: William Shakespeare. The first deconstructive reading centres around the court scene at the climax of the bond story in The Merchant of Venice. Here the apparent contrast between the restrictive law – which views Shylock’s claim of a pound of Antonio’s flesh as valid – and justice and mercy – which regard adherence to this bond as contrary to the spirit of the law – is collapsed, and justice is shown to be capable of being as restrictive as the law, while mercy becomes embroiled in all the trading that occurs in The Merchant of Venice, and demonstrates the capacity to be mercenary. The Tempest is examined next: the starting point is the apparent Nature/Culture distinction within the play. The reading is influenced by Derrida’s use of the notion of supplementarity in his examination in “... That Dangerous Supplement ...” of the Nature/Culture distinction in Rousseau. Particular attention is given first to the University of Pretoria etd – Van Niekerk, M C (2003)

Derrida's Hamlet

Abstract: Beyond all the sound and fury (which continues even now beyond the grave, in the crasser forms of obituary-speak), there are, at a very general level of reflection, three emphases in Derrida's work that have mattered to me, and which I still carry with me. The first has to do with the rebarbative notion of differance, the notion that being is never present to us, which I take to be first and foremost a reflection on the irreducible temporality not only of being, but also of our categories for thinking about being. The second turns on the view that everything human is problematic for the rest of human time. The third concerns the paradox of the notorious "undecidability" hypothesis, which, whatever it may be taken to mean, never meant exemption from the requirements of decision-making. These emphases have been glossed in numerous ways, none ever far from controversy. In this brief notice I would like to run them through a particular source, in which, in their own terms, they are all to be found: Hamlet, and the reading of Shakespeare's play that occupies the first part of Spectres of Marx. What is Hamlet doing in a book about Marx and ghosts--both Marx's ghosts (the famous spectre mentioned at the beginning of the Communist Manifesto) and the ghosts of Marx (broadly, what Derrida means by the "legacy" of Marx, as the constant returns of a kind of spectre in the midst of the contemporary neoliberal victory)? How is it that Derrida, citing an essay by Blanchot, in which Blanchot uses the expression "since Marx," can add that Blanchot's "since Marx" could easily have been "since Shakespeare"? Broadly speaking, the answers have to do with two interconnected, deep-structural and persistently recurring preoccupations of deconstruction: ontology (the philosophy of Being) and justice (the sphere of the politico-ethical); both these preoccupations assembled, or rather disassembled, in an overarching category that Derrida calls spectrality, the spectral nature of all our constructions (including the Marxist construction) of being and justice. Nietzsche claimed in The Birth of Tragedy that the essential point about Hamlet is not--as in the standard viewthat he thinks too much, but that he thinks too well; he is unable to act not because of a contingent psychological infirmity, but because the sheer lucidity of his thinking corrodes the ground of all possible action in a

So far from God : a novel

Abstract: Sofia and her fated daughters, Fe, Esperanza, Caridad, and la Loca, endure hardship and enjoy love in the sleepy New Mexico hamlet of Tome, a town teeming with marvels where the comic and the horrific, the real and the supernatural, reside.

Shakespearean Tragedy as Chivalric Romance: Rethinking `Macbeth', 'Hamlet', 'Othello' and `King Lear'

Abstract: This fresh examination of four of Shakespeare's greatest plays interprets them less as tragedies than as romances, according to the idealism infusing, the motifs shaping, and the figures peopling them. It counters the conventional wisdom and its biases against romance, and questions received opinion about literary genre and cultural history; it also presents historical, bibliographic, and literary evidence for the resurgent vitality of chivalric romance at the end of Elizabeth's reign and the start of James' rule, a revival which featured chivalric romances or materials derived and fashioned from them for the mixed purposes of popular entertainment and political expression. The author shows how in this context, and for a theatre company preferred by the throne, Shakespeare exploited chivalric romance to explore themes of governance, legitimacy, and succession in these plays. Although their protagonists are pre-eminent, they give way to improved polities and worthier successors, and their triumph represents an order which prevails because justice triumphs. Thus subordinating tragedy to romance, the author argues that these plays articulate an informed idealism and a tempered optimism about the outcome of contested issues. Michael L. Hays holds a Ph.D. in English from the University of Michigan.

Pickelhering and Hamlet in Dutch art: The English comedians of Robert Browne, John Green, and Robert Reynolds

Abstract: This single web page introduces the Shakespeare Yearbook (SY), an annual serial publication of Shakespeare scholarship. The Yearbook publishes articles relating to Shakespeare, his times, and his influence on later periods. Each edition is based on a particular theme, such as 'The Opera and Shakespeare', 'Hamlet on Screen', and 'Shakespeare and Italy'. The site lists the topics covered in previous editions and those to be covered in forthcoming volumes. Individual articles from the Yearbook are not available online; back issues must be ordered from the publisher. The site does however provide brief submission guidelines and details of the editorial board.

"A Supplement to Public Laws": Arthur Murphy, David Garrick, and Hamlet, with Alterations

Abstract: The career of Arthur Murphy (1727-1805) bears exceptional witness not only to the precarious financial and legal condition of dramatic authors in Georgian England, but also—and more importantly—to the theatre's capacity to reconceive the author's position within the burgeoning culture of print. Murphy, who was both a playwright and a practicing barrister, spent his entire career trying to redefine the professional status of dramatic authors. He failed in the law; he succeeded in the drama. The unlikely vehicle for his success was Hamlet, with Alterations (1772)—a play neither published nor performed in its author's lifetime. The play, a parody of Garrick's radical adaptation of Hamlet, succeeded not in changing the law but in changing the discourse about the relationship between a dramatic author and the commodity of a dramatic text.

The M. W. Burks Site (41WD52): A Late Caddo Hamlet in Wood County, Texas

Abstract: While attempting to locate and evaluate prehistoric Caddo archaeological sites in the Dry Creek watershed, Wood County, Texas, that had been originally recorded by A. T. Jackson and M. M. Reese in 1930, the M. W. Burks site (41WD52) was discovered by James E. Bruseth and Bob D. Skiles in June 1977. The site is in the Forest Hill community, about 5 km north of Quitman, Texas, in the East Texas Pineywoods and Gulf Coastal Plain. It is on a small rise in the uplands overlooking a small intermittent drainage that is an unnamed tributary of Little Dry Creek. The landowner, Mr. M. W. Burks, had resided in this part of Wood County since the 1920s, and recalled where A. T. Jackson and crew had spent time excavating the J. H. Reese (41WD2) site. He mentioned that while putting in a fence on his property in the early 1960s, adjacent to the property where the Reese site is located, he had found some pottery sherds in one of the post holes. Bruseth and Skiles placed a small shovel test next to this fence post hole, and a large articulated red-slipped Ripley Engraved carinated bowl was encountered at 65 em below the surface (bs) in tan sand E-horizon deposits. This find demonstrated that the Burks site contained both intact archaeological deposits as well as an apparently undisturbed Late Caddo Titus phase burial or cemetery. Bruseth, Skiles, and Perttula followed up this work with more intensive investigations in the spring and fall of 1978. This research was carried on as an adjunct to the ongoing (and final season of) archaeological work being conducted by Bruseth and Perttula at Lake Fork Reservoir on Lake Fork Creek, a few miles to the west of the Burks site. Our purpose in carrying out archaeological research at the Burks site was to examine in more detail the spatial character of a Late Caddo Titus phase settlement, and also obtain information on the material culture remains (especially the ceramics) made and used by the Caddo peoples that lived at the Burks site some 400-500 years ago.

Challenging the Ghosts: Leopold Jessner's Hamlet

Abstract: When in 1926 Leopold Jessner (1878–1945) staged Hamlet at the Prussian State Theatre in Berlin, the production created a major scandal. This uproar was not only related to aesthetic matters but also to the discourse of national identity. With reference to Marvin Carlson's concept of the ‘haunted stage’ the article examines the traces of this scandal in the genealogy of Hamlet on the German stage and its intersection with the politics of national identity. These traces indicate that German productions of Hamlet have always been determined by an implicit politics of exclusion. Jessner's production, by contrast, offered a radical re-reading of Hamlet, aiming to adapt it for the, then newly democratized society. The rejection of this adaptation by major parts of the audience, thus revealed the still powerful and active anti-democratic forces in the Weimar Republic.

How qualitative research really counts

Abstract: Polonius: What do you read, my lord? Hamlet (reading a book): Words, words, words. Polonius: What is the matter...that you read, my lord? Hamlet: Slanders, sir: for the satirical slave says here that old men have grey beards; that their faces are wrinkled; their eyes purging thick amber and plum-tree gum; and that they have a plentiful lack of wit, together with most weak hams: all which, sir, though I most powerfully and potently believe, yet I hold it not honesty to have it thus set down; for you yourself, sir, should be old as I am, if, like a crab, you could go backward. Polonius: Though this be madness, yet there is a method in’t. (Hamlet, Act 2 Scene 2)

The World's a Stage: Shakespeare And The Dramatic View Of Life

Abstract: After discussing the structuralism, post structuralism, Marxist, queer and feminist theories of dramatic action and dramaturgical development, the author posits an ontological (and refreshing)vision of Shakesprean stagecraft and dramatic movement. Skakespeare as an actor and Roman Catholic is an outsider in an early modern Protestant state in the process of dynamic cultural, economic reform and political repression. These themes are reflected in the unsettled, morally ambiguous characterizations that Professor Crosman studies: Hamlet, Polonius, McBeth, Henry V and Falstaff among others. Also discussed are the emergent Latin, Greek and Italian literary modes and their effect on English theatrical prosody.