Showing papers on "Hamlet (place) published in 2014"

The City After Abandonment

Abstract: When driving on the back roads of New England or the Mid-Atlantic counties of the US, I have been struck by the number of historic markers that proclaim that a hamlet once stood at that spot. Livin...

“Hamlet” in Purgatory

Abstract: Since readers of this article will likely have read David Schalkwyk’s Hamlet’s Dreams, I will keep summary to a minimum while trying to convey my sense of what is important about this book. Briefly...

A Will to Believe: Shakespeare and Religion

Abstract: 1. Introduction: A Will to Believe 2. Shakespeare's Religion 3. All Roads Lead to Rome 4. Conversion and Cosmopolitanism 5. Forgetting Hamlet

Suicide risk assessment: myth and reality.

Abstract: To be, or not to be, that is the question - Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them? To die, to sleep; … Hamlet, III i Hamlet's soliloquy is surely the most famous expression of suicidal ideation in English literature. However, by the end of the play, it is not Hamlet, but Ophelia who has taken her own life, even though she gave no prior hint of self-destruction.

The Poetry of Loneliness from Romance to Romanticism

Abstract: ..............................................................................................

Playing dead : living death in early modern drama

Abstract: ............................................................................................................. 2 Notes on the text ................................................................................................ 4 Living death: An Introduction .............................................................................. 5 Section 1: “The Living Dead” Chapter 1 Living Death in Early Modern England ............................................................. 20 Chapter 2 Fashioning Death: The Dead and Dying in The White Devil and The Maiden’s Tragedy .................................................................................................... 60 “In a mist”: Death and Self-Fashioning in The White Devil ............................... 78 “I am not to be altered”: Body and Soul in The Maiden’s Tragedy.................. 128 Section 2: “The Dead Living” Chapter 3 A Brief History of Haunting ............................................................................ 167 Chapter 4 Antonio’s Revenge: the metatheatrical ghost ................................................. 200 The Political Dead in Anthony Munday’s Chruso-thriambos ........................... 230 “There’s an End”: Conclusion ......................................................................... 291 Appendices..................................................................................................... 298 Bibliography .................................................................................................... 299

The Jonsonian Tempest

Abstract: The belief, however well founded, that Shakespeare was immeasurably superior to all the other dramatists of his time has not been entirely helpful to criticism of his work. It has fostered the assumption that, while they took a lot from him, he must have taken little or nothing from them. As Sidney Musgrove puts it, “Shakespeare borrowed freely from his printed sources, from novels, and histories; but not from his fellows” (Musgrove 18). How wrong this is Musgrove himself then proceeds unintentionally to demonstrate. Discussing the relationship of Shakespeare’s plays with those of Ben Jonson, he notes close similarities between various lines in Hamlet and two Jonson comedies, The Case Is Altered and the original, Florence-set version of Every Man in His Humour. They include Polonius’s words to Hamlet, “Will you walk out of the air, my lord ... [Aside] How pregnant sometimes his replies are!” (Hamlet, 2.2.204–7), which can hardly be independent of Bianca’s exchange with Thorello in Every Man in: “sweetheart, come in out of the air. / Thorello: [Aside] How simple and how subtle are her answers!” (1.4.182–4).1 Determined to make Jonson the borrower, so that the repetitions can be accounted for as “Shakespearean phrases, floating in Jonson’s memory”, Musgrove has to cope with the problem of dates. Every Man in was performed in September 1598, at least two years earlier than Hamlet, and printed in 1601.

Shakespeare's Medieval Craft: Remnants of the Mysteries on the London Stage

Abstract: Introduction1. Toward a Renaissance Culture of Medieval Artifacts2. The Chester Banns: A Sixteenth-Century Perspective on the Mysteries3. Balaam to Bottom: A Sixteenth-Century Translation4. "Then Is Doomsday Near": Hamlet, the Last Judgment, and the Place of Purgatory5. "Here's a Knocking Indeed!": Macbeth and the Harrowing of HellEpilogue: Riding the Banns beyond ShakespeareNotes Bibliography Index

The 'new' Ophelia in Michael Almereyda's "Hamlet"

Abstract: Ophelia is arguably the most identifiable and resonant of all Shakespeare's heroines. Her iconic status is evidenced in the proliferation of Ophelia images found in the visual, literary, and performing arts worlds. The ideological function performed by Ophelia representation has been the focus of various studies seeking to explain the persistent fascination with this character that has seen her somehow transcend the original play-script. Yet while Ophelia has commonly been critiqued as a cultural signifier, changing according to cultural and historical contexts of production and reception, there appears to be a surprisingly strong and enduring thematic consistency of representation extending to a number of more contemporary enactments of this character. Although numerous radical and decidedly disruptive stagings of Ophelia have been performed in theater productions over the last half-century or more, renderings of Ophelia in modern film, by contrast, seem distinctively less subversive in nature. Popular films such as those directed by Laurence Olivier (1947), Franco Zeffirelli (1990), and Kenneth Branagh (1996) perpetuate what Kaara Peterson refers to as the "visual cliche" of Ophelia (1), an image inevitably accompanying characterizations of this character that focus on her beauty, innocence, eroticized madness, and victim status. Martha C. Ronk deconstructs the iconic image of Ophelia perpetuated in such films:... her wild hair depicts madness or the victim of rape; her blank white dress stands in contrast to Hamlet's inky and scholarly black; the emblematic flowers which she gives away and which surround her at death signal her participation in deflowering; her snatches of song suggest fragmentation of character. (22)Richard Paul Knowles has illuminated the implications of these "artful and aesthetically beautiful appropriations of Ophelia," highlighting the significance of their alignment with the "'high' cultural authority of Shakespeare and of old-world culture with romanticized validations of feminine passivity, victimization, and service to masculinist artistic, cultural, and social goals" (23). Certainly, the majority of modern filmic renditions of Ophelia expose the enduring influence of the ideological alignment among femininity, docility, weakness, and hysteria that underpins far earlier representations of this character. I argue, however, that a far more progressive and innovative interpretation of the play in terms of Ophelia representation can be found in the most recent film adaptation, Hamlet (2000), directed by Michael Almereyda. Here, Hollywood finally affords Ophelia a level of ideological potency that would appear to rival Hamlet himself.While some critics have focused on the propensity for various Hamlet adaptations to destabilize conventional gender roles and to expose internalized patriarchal hegemonies via the mere portrayal of "instances of patriarchal domination" (Evans 1), the characterization of Ophelia and the mise-en-scene established in many film adaptations continue to deny this character any function beyond mere object and spectacle. Guisen Sayin Teker's contribution draws upon Laura Mulvey's influential work on the Lacanian male gaze, alluding to Ophelia's objectification in its contention that various film adaptations since (and despite) the sexual revolution of the 1960s continue to focus on "the lyricism of her beauty, madness and death" (115). According to Carol Chillington Rutter, many films "use Ophelias scripted role-and her body-to serve what each constructs as a resolutely masculinist Hamlet" (299). Certainly the romanticization of Ophelias disturbed emotional state and subsequent suicide found in various film adaptations ultimately serves to emphasize Hamlets condition as having been wronged. Here, Ophelias tragedy is exploited as one piece of evidence among many of the heinous crimes committed against Hamlet.Interestingly, and despite the dramatic contrast Amereyda's adaptation strikes against its filmic predecessors in terms of Ophelia representation, the tendency to reduce Ophelia to the status of tragic prop (to read her madness and death in particular as symbolic vindications of Hamlet's frustrations) appears to have transferred into much of the critical commentary surrounding this film. …

Lumpers and Splitters

Abstract: Darwin, writing in this instance to the botanist Hooker about the classification of genera and species in plants, is normally credited with the division, since taken up in other contexts, between those who prefer precise and minute distinctions and those seeking larger organizing categories. The world needs both, Darwin suggests, and perhaps further suggests that each of us needs to entertain both modes of thought: without his fine observation of the varieties of Galapagos finches larger theories may never have arisen in the form for which he is now famous. So, in early modern studies, editorial theory in the first half of the twentieth century was dominated by lumpers, given to dismissing variant dramatic texts as “bad,” and producing as the best products of their work, for example, Kenneth Muir’s King Lear (1952), or, at the late extreme, Harold Jenkins’s Hamlet (1982), both for the Arden Shakespeare series. Splitters moved decisively into the field in the 1980s, giving us two texts of King Lear in the Oxford Shakespeare (1982), while the latest Arden Hamlet appeared as three texts in two distinct volumes (2006). The splitting of Hamlet could further continue by including plays for which we no longer have the texts, and one other text deriving from touring players in Germany. E. K. Chambers thought that earlier allusions to Hamlet or Hamlet, 1588–96, as well as later allusions to non-Shakespearean “Hamlet” lines, 1608–1620, were all to one unitary play, eventually owned by Shakespeare’s company, and thus the source text for Shakespeare’s version(s).2

Relocating Shakespeare and Austen on Screen

Abstract: Acknowledgements Introduction The West Coast: Clueless and William Shakespeare's Romeo and Juliet The East Coast: Jane Austen in Manhattan and Hamlet , dir. Michael Almereyda Across the Pond: In the Bleak Midwinter and Bridget Jones's Diary Across the Ocean: Bride and Prejudice and Shakespeare Wallah Modernity: Shakespeare Retold , the ITV Jane Austen Season, the 2005 Pride and Prejudice and Becoming Jane Conclusion Works Cited Index

Reading the Renaissance : Culture, Poetics, and Drama

Abstract: 1. Reading the Renaissance: An Introduction Jonathan Hart Part 1: The Text, the Reader, and the Self 2. Ritual and Text in the Renaissance Thomas M. Greene 3. Reading in the French Renaissance: Textual Communities, Boredom, Privacy Steven Rendall 4. Reading Ultima Verba: Commemoration and Friendship in Montaigne's Writing Lisa Neal Part 2: Gender and Genre 5. Gender Ideologies, Women Writers, and the Problem of Patronage in Early Modern Italy and France: Issues and Frameworks Carla Freccero 6. Female Transvestism and Male Self-Fashioning in As You Like It and La vida es sueno Katy Emck Part 3: Continuities and Discontinuities 7. The Ends of Renaissance Comedy Jonathan Hart 8. Troilus and Cressida: Voices in the Darkness of Troy Robert Rawdon Wilson and Edward Milowicki 9. Two Tents on Bosworth Field: Richard III V. iii, iv, v Harry Levin 10. As They Did in the Golden World: Romantic Rapture and Semantic Rupture in As You Like It Keir Elam Part 4: Anticipations 11. Noble Deeds and the Secret Singulatiry: Hamlet and Phedre Paul Morrison 12. Narrative and Theatre: From Manuel Puig to Lope de Vega Richard A. Young Notes Work Cited Contributors Index

Young Shakespeare's Young Hamlet : print, piracy, and performance

Abstract: 1. "What do you read, my lord?": Piratical Publishers? 2. 'Remember me': Piratical Actors? 3. "My tables: meet it is I set it down": Piratical Reporters? 4. "Young Hamlet": How Old is Young? 5. "The chronicles and brief abstracts of the time": Young Shakespeare? 6. "My father's death": Revising Hamlet?

Pursuing the Form of a Ghost: Emily Dickinson Thinks about Death through Hamlet

Abstract: “Buzz, buzz,” says Hamlet when Polonius tells him the actors have arrived: meaning that this is old—or at least unnecessary—news. In Hamlet’s mind, the arrival of the players is a given, something already settled. This essay is concerned with reading Dickinson through the internalized voice and plot of Hamlet , Shakespeare’s text and character, which functions as a heuristic device for reading Dickinson’s thoughts on death. Dickinson takes knowledge of Hamlet for granted; in her metaphysical world Hamlet is old news, a literary and dramatic echo of that moment when language and its speaker are forced to meet with their own epistemological and representational limits. In Hamlet , I argue, Dickinson found a model for her own half-spoken metaphysical dramas of the brain.

All for Nothing: Hamlet's Negativity

Abstract: Hamlet as performed by philosophers, with supporting roles played by Kant, Nietzsche, and others. A specter is haunting philosophy-the specter of Hamlet. Why is this? Wherefore? What should we do? Entering from stage left: the philosopher's Hamlet. The philosopher's Hamlet is a conceptual character, played by philosophers rather than actors. He performs not in the theater but within the space of philosophical positions. In All for Nothing, Andrew Cutrofello critically examines the performance history of this unique role. The philosopher's Hamlet personifies negativity. In Shakespeare's play, Hamlet's speech and action are characteristically negative; he is the melancholy Dane. Most would agree that he has nothing to be cheerful about. Philosophers have taken Hamlet to embody specific forms of negativity that first came into view in modernity. What the figure of the Sophist represented for Plato, Hamlet has represented for modern philosophers. Cutrofello analyzes five aspects of Hamlet's negativity: his melancholy, negative faith, nihilism, tarrying (which Cutrofello distinguishes from "delaying"), and nonexistence. Along the way, we meet Hamlet in the texts of Kant, Coleridge, Hegel, Marx, Schopenhauer, Kierkegaard, Nietzsche, Freud, Russell, Wittgenstein, Heidegger, Benjamin, Arendt, Schmitt, Lacan, Deleuze, Foucault, Derrida, Badiou, Zizek, and other philosophers. Whirling across a kingdom of infinite space, the philosopher's Hamlet is nothing if not thought-provoking.

Shakespeare, Cinema and Desire: Adaptation and Other Futures of Shakespeare's Language

Abstract: Preface Introduction: Shakespeare, Cinema and Desire 1 Something from Nothing: King Lear and Film Space 2 Body Space: The Sublime Cleopatra 3 Ghost Time: Unfolding Hamlet 4 Re-nascences: The Tempest and New Media Epilogue Bibliography

The Arab Shakespeare Trilogy

Abstract: Sulayman Al Bassam is one of the world's leading contemporary dramatists. His adaptations of Shakespeare, performed around the world, have won many awards and met with widespread acclaim on four continents. This volume brings together for the first time three of Al Bassam's adaptations of Shakespearean plays - including versions of Hamlet, Richard III and Twelfth Night - collectively known as The Arab Shakespeare Trilogy. The Al-Hamlet Summit sees the familiar characters of Hamlet reborn as delegates placed in a conference room in an unnamed modern Arab state on the brink of war; Richard III: an Arab Tragedy is a contemporary adaptation of Shakespeare's classic, reworked and transplanted into the scorching oil-rich Islamic world of the Gulf; while The Speaker's Progress is a forensic reconstruction of Twelfth Night which transforms into an unequivocal act of defiance towards the state, forming a dark satire on the decades of hopelessness and political inertia that fed twenty-first-century revolts across the Arab region. The Arab Shakespeare Trilogy features an editorial introduction by Graham Holderness, positioning the plays within the contexts of both modern Shakespearean drama and Arab culture as well as an author's preface by Sulayman Al Bassam, detailing the plays' history of theatrical reception and outlining his philosophy of Shakespeare adaptation.

Hamlet's Mirror Image: Theatre, Film, and The Shakespearean Imaginary

Abstract: In 1964, Richard Burton appeared on Broadway playing the title role in a production of Hamlet, directed by John Gielgud.1 Later that year, a film version of that stage production was released simultaneously on screens across the United States, in a limited run of one week.2 Watching that film decades later, Barbara Hodgdon admires the way that, in the “To be or not to be” speech, Burton “sweeps both hands across his face . . . with a gesture of self-erasure” that, even mediated by film, gives Hodgdon a strong sense of the meaning-making role of the body in the performance of Shakespeare’s texts.3 This article is about Hamlet. It is also about bodies, especially Shakespearean bodies. It is in part an article about the discourses employed in the field of Shakespeare in Performance. And, finally, this is an article about the ghostly relationship between recorded and live performance. Marvin Carlson argues that theatrical performance is “a cultural activity deeply involved with memory and haunted by repetition.”4 For Carlson, Marcellus’s fearful question about the ghost of King Hamlet, “[H]as this thing appeared again tonight?” is “profoundly evocative of the operations of theatre.”5 In the Shakespearean productions that I discuss in this study, performance—theatrical and otherwise—consistently finds its ghostly afterimage in the archive of cinematic representation. My work has for some time focused on the disappearance and reappearance of bodies.6 When I look at film versions of Shakespeare, I often find myself watching the way a tradition of embodied performance (early English theatre) has been rendered disembodied, or virtual rather than actual. Seeing Shakespeare on film in this way is not nostalgia but a recognition of the technology and (im)materiality of cinema. Moreover, I am aware, as Sarah Bay-Cheng would hasten to remind me, that no medium, however seemingly virtual, is really disembodied.7 One pleasure of watching a film is the haptic sensation of vicarious experience, the times at which a flat projection can remind us that we, the audience, have bodies even if the recorded images on the screen do not. We control the technology of such images in various

"Apparel oft proclaims the man": Visualizing Hamlet on the Early Modern Stage

Abstract: Hamlet is replete with references to visual culture. Apparel, cosmetics, color, and accoutrements appear in the dialogue and stage directions of virtually every scene in Shakespeare’s longest play. These references are more than literary allusions. They are also markers that hint at the way Shakespeare’s original production was staged, seen, and understood in the early modern English theater. In recent years, scholars have addressed the importance that costumes served in establishing the visual world of performance on the Shakespearean stage. Interestingly, in these studies, Hamlet has received only passing attention. This lapse is surprising in light of Hamlet’s importance in literary history and even more surprising when we note the sheer number of visual references that appear in the play. Additionally, it should be acknowledged that more textual evidence exists to establish how Hamlet appeared on stage in the early 17 th century than there is for perhaps any other dramatic character in the period. Examining the play, we can determine how Hamlet was dressed from head to foot. Hamlet mentions his “inky cloak” and “customary suits of solemn black” while talking with his mother (1.2.76–78). 1 Additionally, if we trust Ophelia (and there is no reason at this point not to), his black apparel included a doublet, hat, and stockings with garters (2.1.75–78). Breeches would have accompanied the stockings. The shirt underneath his doublet is noted to be white, for Hamlet’s face was as pale as it is. Hamlet also wears a sword, for he draws the weapon at two different points in the play (1.5 and 3.4). He has a beard, for he mentions it in a soliloquy (2.2.506–08). 2 In the first quarto, Ophelia says that Hamlet’s shoes were untied (6.43–44). 3 Taken together, this information provides a fairly thorough image of the melancholy Dane.

"I Lack Advancement": Public Rhetoric, Private Prudence, and the Political Agent in Hamlet, 1561-1609

Abstract: This article situates Shakespeare's Hamlet in the context of the changing political uses and readings of the history of Hamlet through the late 16th and early 17th centuries. It argues that by revising the story, Shakespeare's play introduces to the English stage a new perspective on the realm of politics. Instead of focusing on issues of legitimacy and on agents making public arguments about those issues, Shakespeare's play withdraws from the public, polemical mode of discussion implied by these topics (a mode of discussion Francois Belleforest's histoire tragique of Amleth was intensely engaged in), and restricts its attention to the political agents' private interests and loyalties. The elimination of open political opposition to royal power, and the parallel emergence of the character of the low-born, upwardly mobile friend provide the templates for the play's dramatization of the contemporary shift of emphasis in political discussion from counsel to statecraft. In this reading, the various "tragical histories" of Hamlet allow us to recognize a much-discussed change in the modality of political discussion as a function of the changed in the understanding of the political agent.

Records management for scientific data

Abstract: Though this be madness, yet there is method in’t. (Hamlet, William Shakespeare)Venturing into research and science, for a records manager, is like walking into a den belonging to a very grumpy and ...

Hamlet performed by the Royal National Theatre (review)

Abstract: platform media world in which reception takes place and recognizing, as does Terris, that these productions are now part of the theatrical archive, even if at present only viewable again at occasional encore screenings or by personal visit to the originating theater. If sometimes appearing close to what Terris terms “reportage,” the archive version may also differ significantly from the first simulcast, as Purcell discovers. All the reviewers agree on one thing: this way of mediating Shakespearean performance is not going to disappear any time soon. It remains to be seen how far Shakespearean performance will in turn be transformed by its worldwide “live” or “as live” transmission and reception.

No Puppets Dallying: Green's 1626 Production of Hamlet

Abstract: This paper examines the continental records in order to determine whether the English players’s 1626 performance of Hamlet in Dresden, Germany, was likely to have been presented as a puppet play. Along the way, it reconstructs the seventeenth-century continental stage history of Hamlet . The paper concludes that, while some of the plays in the repertory of the englischen Komodianten enjoyed an after-life as puppet plays, there is no known evidence that the Englishmen on the Continent themselves presented puppet plays. And, despite scholarly claims to the contrary, there are no sure records of seventeenth-century performances of Hamlet on the Continent other than Green’s.

Early Bronze Age metalwork in Central Anatolia – An archaeometric view from the hamlet

Abstract: Zusammenfassung: Folgender Beitrag diskutiert die Ergebnisse von an Metallfunden der frühbronzezeitlichen Nekropole Kalınkaya-Toptaştepe in Zentralanatolien vorgenommenen Spektralanalysen. Da archäometrische Daten für Zentralanatolien im 3. Jahrtausend immer noch lückenhaft sind und bevorzugt Fundkomplexe früher Zentralorte berücksichtigt, Assemblagen aus dörflichen Ansiedlung jedoch bislang weitgehend unerschlossen sind, ist diese Studie in erster Linie als dringend benötigte Verbreiterung der Quellenbasis zu verstehen. Arsen-Kupferlegierungen bestehen neben „echten“ Bronzen (Kupfer-Zinn), Kontaminationen wie Nickel mögen Rückschlüsse auf bestimmte Lagerstätten zulassen. Die erzielten Resultate ergeben somit einen guten Einblick in Metallverwendung und Legierungstraditionen einer Kleinsiedlung in der jüngeren anatolischen Frühbronzezeit Résumé: L’article ci-dessous présente les résultats d’analyses spectroscopiques menées sur un ensemble d’objets de l’âge du Bronze Ancien provenant de la nécropole de Kalınkaya-Toptaştepe en Anatolie centrale. Vu que les données archéométriques concernant le 3e millénaire av. J.-C. en Anatolie centrale sont encore fort rares, qu’elles proviennent surtout de grands centres occupés précédemment et que les ensembles provenant d’établissements ruraux n’ont presque pas fait l’objet de recherches, l’intention primaire de l’étude que nous présentons ici est d’attirer l’attention sur les données qui sont à notre disposition. Les alliages de cuivre et d’arsenic existent à côté de ‘vrais’ bronzes (alliages de cuivre et d’étain), et la contamination, par exemple par le nickel, peut fournir de nombreux indices sur la présence de dépôts spécifiques. Les résultats permettent de se faire une bonne idée de l’emploi des métaux et des techniques traditionnelles d’alliage utilisés dans un habitat mineur d’Anatolie vers la fin de l’âge du Bronze Ancien. Abstract: The following contribution discusses the results of spectroscopic analyses carried out on metal artefacts from the Early Bronze Age cemetery of Kalınkaya-Toptaştepe in central Anatolia. Given that archaeometric data from 3rd- millennium BCE Central Anatolia are still quite sparse, tend to stem mainly from earlier central places, and the assemblages from village sites have so far remained largely unexplored, the study we present here is primarily intended to draw much needed attention to the data that are available. Copper-arsenic alloys exist alongside ‘true’ bronzes (copper-tin alloys), and contamination, for example by nickel, can yield much information about specific deposits. The results obtained provide good insights into the use of metals and traditional alloying techniques on a minor settlement at the end of the Anatolian Early Bronze Age.