Showing papers on "Hamlet (place) published in 2017"
Book•
10 Mar 2017
TL;DR: The Decline of Professional Touring Theatre Notes Bibliography Index as mentioned in this paper : Travelling players and performances in Shakespeare's England Playing the Town Halls Playing to the Gods: Church as Theatre At Home to the Players: Travelling Players at Country Houses Drama at Drinking Houses: Inn Performances Playing at Schools and University Colleges Playing in Markets and Game Places Provincial Playhouses in Renaissance England, 1559-1625
Abstract: List of Illustrations List of Tables Preface Acknowledgements List of Abbreviations and Symbols 'How chances it they travel?' (Hamlet, 2.2.317) : Travelling Players and Performances in Shakespeare's England Playing the Town Halls Playing to the Gods: Church as Theatre At Home to the Players: Travelling Players at Country Houses Drama at Drinking Houses: Inn Performances Playing at Schools and University Colleges Playing in Markets and Game Places Provincial Playhouses in Renaissance England, 1559-1625 The Decline of Professional Touring Theatre Notes Bibliography Index
31 citations
TL;DR: In this article, the authors look at a 2011 incident which led to a soldier (Marine A) being convicted of murdering an Afghan insurgent, focusing on the words (quoting from Hamlet) spoken by the Marine as he ca...
Abstract: This article looks at a 2011 incident which led to a soldier (Marine A) being convicted of murdering an Afghan insurgent. It focuses on the words (quoting from Hamlet) spoken by the Marine as he ca...
15 citations
TL;DR: In this article, the authors used data analysis method with approach of empirically packed can be generated, based on the objectives to be achieved in this study i.e., Increase community participation, increase the length of stay of tourists, Cultural Preservation so that found the concept of governance of the village tour Sade that is, organizing Neighborhood Village typical and custom, the Power Support infrastructure and Availability of land, Infrastructure, and human resources Management and the role of Government that can eventually be formulated strategy, a strategy that was used in an attempt to find the format layout Manage Replication: S
Abstract: Tourist village is an area of countryside which has some special characteristics to become a tourist destination. In this area, the population still has a tradition and culture are relatively pristine. In addition, some supporting factors such as food, agricultural system and the social system became one of coloring a tourist village.
The development of cultural tourism area in the hamlet of Sade tour to Lombok is arguably have not well-ordered. This cultural tourism area in terms of governance in pariwisataan support the activities particularly in the management of kampung adat Sade, typical handicraft tourism governance, governance of religious tourism sites the Customs still need more refinement continue. In the first year of the research revealed that this governance concepts strived for styled especially with regard to structuring awig-awig tourist village that is encapsulated in the form of Regulations of the village in the hamlet of Sade tour and tourist village Segenter.
With data analysis method with approach of empirically packed can be generated, . Based on the objectives to be achieved in this study i.e., Increase community participation, increase the length of stay of tourists, Cultural Preservation so that found the concept of governance of the village tour Sade that is, organizing Neighborhood Village typical and custom, the Power Support infrastructure and Availability of land, Infrastructure, and human resources Management and the role of Government that can eventually be formulated strategy, a strategy that was used in an attempt to find the format layout Manage Replication: Sade tour hamlet hamlet of Sade, Sade Village Relocation, and Revitalizing the hamlet of Sade.
12 citations
TL;DR: The authors analyzed the progress of Hamlet's spiritual predicament as he tried to reconcile the superficially awkward movement of Fortune and the internal struggle of his conscience, and found that the way he does so often parallels the practice of Protestant meditation.
Abstract: The Protestant method of meditation as well as the application of contemporary emblems can offer a fruitful approach to Hamlet. Obsessed by the memory of the Ghost’s image and words, Hamlet repeatedly engages in meditative self-scrutiny on visual images, and the way he does so often parallels the practice of Protestant meditation. Through the analysis of meditative imagery and technique seen in Hamlet’s speech, this paper looks at the progress of his spiritual predicament as he tries to reconcile the superficially awkward movement of Fortune and the internal struggle of his conscience.
9 citations
Dissertation•
18 Apr 2017
TL;DR: Hamlet, Laertes, Polonius, Fortinbras, and King Hamlet as mentioned in this paper have been identified as the fathers and daughters of the characters in Shakespeare's play "Hamlet".
Abstract: Hamlet; Shakespeare; fathers and sons; fathers and daughters; King Hamlet; Laertes; Polonius; Fortinbras; paternal authority; filial duty; paternity; Ophelia; Cordelia; King Lear
8 citations
TL;DR: Hamlet's metatheatrical representation of melancholy, and its relevance to Essex's rebellion, is discussed in this article, where it is shown that Hamlet manipulates stage conventions associated with melancholy to exploit this dramatic space as a protective form of privacy from authority.
Abstract: This essay situates Hamlet in the history of theatrical representations of melancholy. Traditionally, early modern stage melancholics were dramatically distanced from other characters on stage either by the isolating effects of their condition, or by the dramatic irony that made their lack of self-awareness ridiculous, as with the melancholy Jaques. Hamlet, uniquely, assigns dramatic control over this curious dramatic space to the melancholic himself. In exaggerating his melancholy, Hamlet manipulates stage conventions associated with melancholy to exploit this dramatic space as a protective form of privacy from authority, even in that authority's surveilling midst. This exaggerated version of “the scholar's disease” links Hamlet with the rebellious Earl of Essex, whom Francis Bacon counselled to “pretend to be as bookish and contemplative as ever you were” in order to disarm Elizabeth's growing distrust. Hamlet's metatheatrical representation of melancholy, and its relevance to Essex's rebellion, partake...
7 citations
Book•
06 Jul 2017TL;DR: This paper explored how Shakespeare used language to interact with the verbal marketplace of early modern England and argued that we can best understand Shakespeare's writing practice by scrutinizing how the formal features of his works circulated in an economy of imaginative writing.
Abstract: Making innovative use of digital and library archives, this book explores how Shakespeare used language to interact with the verbal marketplace of early modern England. By also combining word history with book history, Jonathan P. Lamb demonstrates Shakespeare's response to the world of words around him, in and through the formal features of his works. In chapters that focus on particular rhetorical features in Richard II, The Merchant of Venice, As You Like It, Hamlet, and Troilus and Cressida, Lamb argues that we can best understand Shakespeare's writing practice by scrutinizing how the formal features of his works circulated in an economy of imaginative writing. Shakespeare's interactions with this verbal market preceded and made possible his reputation as a playwright and dramatist. He was, in his time, a great buyer and seller of words.
6 citations
TL;DR: The analysis of different interpretations of Shakespeare's Hamlet in its text, its theatrical and cinematic forms shows that the changes depend on scriptwriters (directors), most frequent changes refer to the dialogues, time, and place.
Abstract: Canonical works like Shakespeare's Hamlet are always popular and are always in demand. However, the advancements in the stage and screen art and cinematography give way to new artistic interpretations of Hamlet with significant plot differences. Therefore, Shakespeare's Hamlet may be considered an archetype in the artistic sense with its subsequent interpretations. Relevant research methods include structuralsemiotic and structural-functional analysis, comparison and system analysis. In addition, research experiences of domestic and foreign scholars on this subject have been summarized. The analysis of different interpretations of this work in its text, its theatrical and cinematic forms shows that the changes depend on scriptwriters (directors). Most frequent changes refer to the dialogues, time, and place. All interpretations reveal the tendency to keep the emotional content of the text intact. Thus, the interpretation of Shakespeare's Hamlet is influenced by the change of time and by the cultural environment, where a new story is created. This is confirmed by comparative analysis of films by Kozintsev and Zeffirelli.
6 citations
TL;DR: Properly analyzing Shakespeare appropriations means asking exactly how international adapters have received their source texts as discussed by the authors, and these complex reception histories matter whether one is analyzing an English play or not.
Abstract: Properly analyzing Shakespeare appropriations means asking exactly how international adapters have received their source texts. These complex reception histories matter whether one is analyzing an ...
TL;DR: This article analyzed the social transformation in American South through the portrayal of FlemSnopes' economic reform and innovation in Faulkner's The Hamlet and revealed it's profound effect on the whole society on which the identity of the modern American South are founded.
Abstract: Popular criticism tends to consider that Faulkner is preoccupied with formal experimentation to the pint of obliviousness and indifference to the tenor of the times. However, Faulkner's works especially his late fiction is not only socially challenging but also politically radical. Based on Gemeinschaft and Gesellschaft, two key concepts by Ferdinand Tonnies’,this paper analyzed the social transformation in American South through the portrayal of FlemSnopes’ economic reform and innovation in Faulkner's The Hamlet and revealed it's profound effect on the whole society on which the identity of the modern American South are founded.In the dramatization of FlemSnopes and his kin, Faulkner depicts them as an allegory and challenges the blind faith in the so called progress of human society.
TL;DR: Siddons's cross-gender performances as Hamlet in the early Romantic era were examined in this article, with a focus on critical fascination with the character's interiority in early Romantic period.
Abstract: This paper considers Sarah Siddons’s cross-gender performances as Hamlet in relation to critical fascination with the character’s interiority in the early Romantic era. An examination of the respon...
01 Jan 2017
TL;DR: Aasand et al. as discussed by the authors argue that Hamlet cannot reconcile his desire to perform (to express himself through forms and to create forms through action) with the desire to displace forms through his delving critique.
Abstract: Shakespeare's Hamlet is the performative play par excellence, as it is concerned with acting and staging, as well as with achieving a dramatic coherence between action and word (Aasand 2003); theoretical performative issues powerfully come to the forefront in the course of the plot and are subsumed in Hamlet's quest for "that which passes show" (Hamlet, 1.2.85) and in his investigation into the power of forms. Hamlet "cannot reconcile his desire to perform (to express himself through forms and to create forms through action) with his desire to displace forms through his delving critique" (Watt 2016, 166). His attitude allows for an insight into "the heart of performance where the solid stuff of the stage world connects to the intangible stuff of the will" (ibid. 167). The whole play focuses on the act of writing; in the setting of a society in transformation due to the recent and intertwined political and familial events, foreign affairs are emphasized as conducted through paperwork based on the production, reproduction, and transmission of documents, while observing the effects of this activity on the characters' lives (Kiséry 2016, 91-92). In the same way, internal affairs are also shaped through the materiality of writing, as Claudius and Polonius often engage in devising metaphorical scripts to be played by different people, in order to foster the achievement of their aims (as it happens in the scene between Hamlet and Ophelia in 3.1, and in the closet scene between Hamlet and the queen in 3.4, in the dialogue between Claudius and Laertes in 4.7). Moreover, Hamlet rewrites a former Italian drama, The Murder of Gonzago, turning it into his Mousetrap for a public enactment of (self-) knowledge. For this reason, the work conveys a deep energy which derives from its constant being "in progress." Actually, when Hamlet enters the scene, he disrupts it, as well as its own foundations, opening the text and his own character to a deep metafictional dimension. As Cook asserts, "Shakespeare stages a play that self-deconstructs; scene after scene reminds us that things are rarely as they seem" (2010, 85). Theatrical works include stage directions, which represent the voice of the author and communicate the "spiritus moti" to the scenes they refer to (Aasand 2003, 9), yet they can leave the intended meaning of the scene suspended or ambiguous, a potential to be concretized by the actors. As a matter of fact, stagings as well as adaptations "literalize meaning for [... the] audience by removing figurative and/or symbolic dimensions of language" (Alter 2003, 162). Performance, intended as "bringing to completion through a form" (Watt 2016, 165), displays the actors' answers/interpretations to all the questions that Shakespeare's texts pose, but refuse to solve (Alter 2003, 168). However, in a work which discusses forms from its very beginning, performance leads the audience to a deep awareness of the represented issues and involves the viewer in the process of interpretation through an enhanced visual dimension. The relationship
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TL;DR: In this article, psychoanalytic criticism renders Ophelia anomalous, no longer Hamlet's erotic object in her own right but a refraction of his cathexis on the Queen.
Abstract: Psychoanalytic criticism renders Ophelia anomalous, no longer Hamlet's erotic object in her own right but a refraction of his cathexis on the Queen. This approach obscures how profoundly Ophelia, the only daughter in William Shakespeare to renounce the lover her father forbids, violates generic norms, and how structurally similar Hamlet's two examples of madness are. Hamlet and Ophelia go mad after sacrificing the independent (and expected) aims of adulthood at the commands of fathers whom the play links to figures of murderous aggression against children: the biblical Jephthah and Seneca's filicidal ghosts. Hamlet is a play haunted by fathers who wish to have no heirs.
TL;DR: Lee Hyon-u's Hamlet Q1 (2009) as discussed by the authors examines the challenges and opportunities attending the first Korean incarnation of the First Quarto of Hamlet, and analyzes the challenges of attending its production.
Abstract: This paper examines the first Korean incarnation of the First Quarto of Hamlet, Lee Hyon-u's Hamlet Q1 (2009), by analyzing the challenges and opportunities attending its production . Hamlet Q1 signals a dramaturgical and conceptual shift from the melancholic Hamlets often framed in contexts of Korean shamanism to the unconventionally active Hamlet of the quarto of 1603. The production enlivens textual scholarship and fills a pedagogical void by propagating the idea of "multiple-text plays" to Lee's student-based audience. The indigenization of Lee's Hamlet Q1 is a form of contextual translation that facilitates understanding of Hamlet's original cultural contexts .
Book•
23 Oct 2017
TL;DR: The annotations in this volume, originally published in 1996, intend to assist the reader of Faulkner's The Hamlet to understand obscure or difficult words and passages, including literary allusions, dialect, and historical events that the author uses or alludes to as mentioned in this paper.
Abstract: The annotations in this volume, originally published in 1996, intend to assist the reader of Faulkner's The Hamlet to understand obscure or difficult words and passages, including literary allusions, dialect, and historical events that Faulkner uses or alludes to This title will be of great interest to students of literature
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.
01 Dec 2017
Book•
22 Nov 2017
TL;DR: In this paper, the authors present a list of abbreviations for verbs and nouns in Shakespeare's plays: Knitting the Cord: Titus Andronicus 2. Happy Daggers: Romeo and Juliet 3. Roman Fools: Julius Caesar 4. Solid Flesh: Hamlet 5. Before We Go: Othello 6. Promised Ends: King Lear 7. Trying the Last: Macbeth 8. Well done: Antony and Cleopatra Epilogue Bibliography Index
Abstract: Acknowledgements Textual Note List of Abbreviations Introduction 1. Knitting the Cord: Titus Andronicus 2. Happy Daggers: Romeo and Juliet 3. Roman Fools: Julius Caesar 4. Solid Flesh: Hamlet 5. Before We Go: Othello 6. Promised Ends: King Lear 7. Trying the Last: Macbeth 8. Well Done: Antony and Cleopatra Epilogue Bibliography Index
01 Jan 2017
TL;DR: In this paper, a thorough analysis of some linguistic features of Early Modern English present in three Shakespeare movies and how they have been transferred in the Spanish translation for dubbing is presented, using forms of address, greetings and other archaic formulae regulated by the norms of decorum of the age.
Abstract: This paper intends to provide a thorough analysis of some linguistic features of Early Modern English present in three Shakespeare movies and how they have been transferred in the Spanish translation for dubbing. To achieve it, a close observation of forms of address, greetings and other archaic formulae regulated by the norms of decorum of the age has been carried out. The corpus used for the analysis: Hamlet (Olivier 1948) and Much Ado about Nothing (Branagh 1993), highly acclaimed and rated by the audience as two of the greatest Shakespeare movies. A more recent version of Hamlet (Branagh 1996)—the first unabridged theatrical film version of the play— will be analyzed too in the light of the translation choices, and the results will be compared with those of the other two films.
TL;DR: The authors consider three apologies in Shakespeare's Hamlet in order to argue that philosophical efforts to purge ambiguity from apologies likely to fail and are also ultimately undesirable, taking revenge tragedy as a literary genre that thematizes the refusal to forgive or forget past offenses.
Abstract: Abstract:Even when uttered with the best of intentions, an apology pursues contradictory goals: as a confession of guilt it invites condemnation, but as a petition for forgiveness it seeks to soften condemnation. Some philosophers have tried to clean up this illocutionary messiness by defining apology strictly as either moral acknowledgment or as an instrumental means to achieving pardon. Taking revenge tragedy as a literary genre that thematizes the refusal to forgive or forget past offenses, this essay considers three apologies in Shakespeare's Hamlet in order to argue that not only are philosophical efforts to purge ambiguity from apologies likely to fail but they are also ultimately undesirable.
01 Jan 2017
TL;DR: The ghost meme from Hamlet has been studied in several contemporary television series: Lost, Six Feet Under, Sons of Anarchy, Gossip Girl, and Arrested Development.
Abstract: The language of the meme—whether understood through Richard Dawkins’s early theories of cultural memetics or through the more recent phenomenon of Internet memes—can enable a discussion of how texts by Shakespeare circulate in culture. Through a process of uptake and reworking, these Shakespearean memes can appear in unlikely places. Here, I consider what I call the ghost meme from Hamlet, studying the appearance of a father-haunting-son story arc in several contemporary television series: Lost, Six Feet Under, Sons of Anarchy, Gossip Girl, and Arrested Development. Through a process of unacknowledged doubling, repetition, and revision, these series give new forms to Shakespeare’s texts, thereby extending the life span of the meme and ensuring its cultural “stickiness.”
TL;DR: Foucault only refers to Shakespeare in a few places in his work as discussed by the authors, but he is intrigued by the figures of madness that appear in King Lear, Hamlet, and Macbeth, arguing that a part of Shakespeare's historical drama really is the drama of the coup d'Etat.
Abstract: Foucault only refers to Shakespeare in a few places in his work. He is intrigued by the figures of madness that appear in King Lear, Hamlet, and Macbeth. He occasionally notes the overthrow of one monarch by another, such as in Richard II or Richard III, arguing that “a part of Shakespeare's historical drama really is the drama of the coup d’Etat.” For Foucault, the first are illustrations of the conflict between the individual and the mechanisms of discipline. The second are, however, less interesting than moments when the sovereign is replaced, not with another sovereign, but with a different, more anonymous, form of power. Yet, in his 1976 College de France course, Society Must Be Defended, where he treats the theme at most length, he intriguingly suggests that Shakespearean historical tragedy is “at least in terms of one of its axes, a sort of ceremony, or a rememorialization of the problems of public right.” Foucault was long fascinated by the theatre, and especially its relation to political ceremony. Drawing especially on his 1972 lectures in Paris and a related presentation in Minnesota, this paper asks how we might understand the relation between ceremony, theatre, and politics in Foucault and Shakespeare. Many of Shakespeare's plays, both histories and tragedies, thus demonstrate the importance of ritual and ceremony, a political theatre. Examining the disrupted ceremony of King Lear, the repeated ceremony of King John, the denial of ritual in Coriolanus, and the parody of the ceremonial in Henry IV, Part One opens up a range of historical, theoretical, and political questions.
Book•
05 Sep 2017
Journal Article•
TL;DR: The murder of King Hamlet by his own brother, Claudius, and usurping his crown and queen, results in other murders such as the murder of Polonius as discussed by the authors.
Abstract: The murder of King Hamlet by his own brother, Claudius, and usurping his crown and queen, results in other murders such as the murder of Polonius. The murder of their fathers enhances madness and death of Hamlet and Ophelia. They suffer seriously from betrayal, resentment, and isolation . Hamlet fakes madness to avoid being assassinated by Claudius and to accomplish his revenge. Madness enables Hamlet to have his revenge just before his death. While Ophelia gets really mad when she loses her father and Hamlet's love, lost in sorrow till she drowns accidently. Ophelia's madness and death change her minor character into an effective one.
TL;DR: In the last scene of Hamlet, as he is about to face off against Laertes in front of the King and court, the Danish Prince states, “I will be your foil, LaERTes. In mine ignorance/Your skill shall, li...
Abstract: In the last scene of Hamlet, as he is about to face off against Laertes in front of the King and court, the Danish Prince states, “I’ll be your foil, Laertes. In mine ignorance/Your skill shall, li...
TL;DR: Hamlet as discussed by the authors presented by The Royal Shakespeare Company at the Royal Shakespeare Theatre, Stratford-upon-Avon, UK. Directed by Simon Godwin and written by Sola Akingbola.
Abstract: Hamlet Presented by The Royal Shakespeare Company at the Royal Shakespeare Theatre, Stratford-upon-Avon, UK. March 12–August 13, 2016. Directed by Simon Godwin. Designed by Paul Wills. Lighting designed by Paul Anderson. Composed by Sola Akingbola. Fights by Kevin McCurdy. With James Cooney (Rosencrantz), Bethan Cullinane (Guildenstern), Paapa Essiedu (Hamlet), Griffiths (Laertes), Byron Mondahl (Professor of Wittenberg/ English Ambassador), Tanya Moodie (Gertrude), Cyril Nri (Polonius), Natalie Simpson (Ophelia), Clarence Smith (Claudius), Ewart James Walters (Ghost/ Gravedigger), and others.