Showing papers on "Hamlet (place) published in 2020"

The Players' Advice to Hamlet: The Rhetorical Acting Method from the Renaissance to the Enlightenment

Abstract: Hamlet is a characteristic intellectual more inclined to lecture actors about their craft than listen to them, and is a precursor of Enlightenment figures like Diderot and Lessing. This book is a quest for the voice of early professional actors, drawing on English, French and other European sources to distinguish the methods of professionals from the theories of intellectual amateurs. David Wiles challenges the orthodoxy that all serious discussion of acting began with Stanislavski, and outlines the comprehensive but fluid classical system of acting which was for some three hundred years its predecessor. He reveals premodern acting as a branch of rhetoric, which took from antiquity a vocabulary for conversations about the relationship of mind and body, inside and outside, voice and movement. Wiles demonstrates that Roman rhetoric provided the bones of both a resilient theatrical system and a physical art that retains its relevance for the post-Stanislavskian performer.

Shakespeare and Mercy at the Vatican, 2016

Abstract: This article explores a central chapter in the history of the Catholic reception of Shakespeare’s work during the contemporary age: the Catholic readings in 2016 of Shakespeare’s dramatic presentation of mercy in the context of the celebrations of the 400th anniversary of Shakespeare’s death and the Holy Year of Mercy. This study directs its focus first to Catholic public manifestations on mercy −such as printed volumes, articles and cycles of lectures− which incorporated Shakespeare’s reflections on mercy within their religious debate. Second, it studies how the Globe to Globe Hamlet performance at the Holy See on 13 April 2016 triggered the interpretation within the Vatican context of Hamlet as a play which, despite its focus on revenge and crime, opens up glimpses of mercy that allow a redefinition of justice.

The role and meaning of fireplace in Karangtengah Hamlet settlement, Banjarnegara: A study of the spatial pattern of pawon and kinship

Abstract: hexagonal geometric models were applied to arrange different sizes of settlements into one space. This was, therefore, considered a standard form of rural settlement to reduce urbanization. Previous studies on rural settlements have been conducted using quantitative or quantitative methods such as statistical analysis, mapping, field surveys, interviews, and ethnographic data and those with the same method showed different results. There is, however, the need to focus on the economic and political objectives in these studies due to their influence on the conditions of the rural settlements. Moreover, the fluidity and characters of the village depend on land use movements which are strongly associated with the social, economic, and cultural links between the population and use of land to create social and political structures. This means economic, social, and environmental factors are strategies to be used in developing rural settlements. Furthermore, the strong relationship between Anthropos or man, shells, nature, networks, and society is another developmental strategy (Phokaides 2018).

Materialising 'Hamlet' in the Cinemas of Russia, Central and Eastern Europe

Abstract: In this discussion, I argue that Gamlet (dir. Grigori Kozintsev, 1964) establishes a template for interpretation that has shaped the thinking of subsequent filmmakers. The Russian black comedy Hamlet adaptation, Playing the Victim (dir. Kirill Serebrennikov, 2006), is a salient example. It is against the backdrop of huge material challenges, exacerbated by the budgetary crises that went hand-in-hand with the collapse of Central and Eastern European communist systems, that I go on to discuss Hamlet, Ciganski Princ (dir. Aleksandar Rajković, 2007) and Cigán/Gypsy (dir. Martin Šulík, 2011), respectively Serbian and Slovakian adaptations. Consorting with the gloomy outlook of Playing the Victim, they offer irredeemably bleak visions that admit of no different prospects for their subjects.

Hesitancy as an innate flaw in Hamlets character: Reading through a psychoanalytic lens

Abstract: This paper concentrated on hesitancy as a character's flaw from the Freudian psychoanalysis focal point. Hamlet's uncertainty is especially identified with his natural complex which frames his oblivious love for his mom and his lethal abhor for his dad. Freud's ideas of man's concealed want for annihilation and eradication may shape the reason for understanding Hamlet's craving for death and suicide as demonstrated by his popular monologs. Ridiculousness and agnosticism in Hamlet's activities mirror the intrinsic human conduct and flaw. The paper suggests that Hamlet's play ought to be remembered for cutting edge writing courses for its lavishness in examples of general human conduct, for example, the recurrence that is natural to human activities on different events. Educators should expand under study's attention to the nearness of hesitancy and uncertainty as a flaw that can prompt pulverization as Hamlet does. Key words: Character, critics, flaw, Freudian psychoanalysis, Hamlet play, hesitancy, tragedy.

The Branches of an Act: Shakespeare's Hamlet Explains His Inaction

Abstract: In the “How all occasions … ” soliloquy Hamlet expresses his own failure to understand why he has not fulfilled his promise to kill Claudius notwithstanding that he has the “cause, will, strength, ...

‘Funeral Baked Meats’: Cannibalism and Corpse Medicine in Hamlet

Abstract: This article argues that the cannibalistic connotations in ‘Hamlet’ may be interpreted in the context of specific cultural anxieties relating to the popular and problematic use of corpse medicine, or mumia. I begin by exploring how Shakespeare represents corpses throughout Hamlet in ways which reference food and culinary practices. By doing so, Shakespeare not only emphasises the tragic objectification of the dead, but also links life and death inextricably to figurative and literal consumption. The essay proceeds to analyse the cannibalistic allusions in ‘Hamlet’ through the lens of the contemporary medical consumption of corpse medicine. While the use of corpse medicine was semantically distinguished from anthropophagy in early modern Europe, I argue that Shakespeare’s depiction of man-eating in Hamlet forces his audience to confront their own unsavoury distinctions between ‘acceptable’ and ‘unacceptable’ forms of cannibalism. Viewed through the lens of cannibal discourse, Hamlet’s language over the course of the tragedy takes on new significance as the prince displays profane hunger that seems to simultaneously repel him and imbue him with a macabre vitality. Something is indeed ‘rotten in the state of Denmark’ (1.4.67), Shakespeare suggests, and the smell appears to be coming from the kitchen.

The Poetics of Schism: Dostoevsky Translates Hamlet

Abstract: F.M. Dostoevsky (1821–1881) never translated Shakespeare’s works into Russian, at least not in the common sense. His fascination, however, with Hamlet and his choices, led him to interrogate the cult of Hamlet in his own culture to better understand the political and philosophical schism of the nineteenth-century Russian intelligentsia, torn between Western and Populist ideals. Translatio, in the broader sense of “carrying over” Hamlet’s character, caught on a threshold, into the Russian context represents an important aspect of Dostoevsky’s re-interpretation of modern ethics. More immediately, this translatio is a call to the “old morality” of the 1840s generation of Russian intellectuals, who rejected notions of rational egoism and of the means justifying the ends. Dostoevsky’s schismatic hero, Rodion Romanovich Raskolnikov in Crime and Punishment, is Dostoevsky’s reimagining of his own culture’s translation of Hamlet that produced extreme and radical forms of Hamlet. Raskolnikov mimics Hamlet’s conscience-stricken personality at war with itself but achieves a more ambiguous ending typical of Dostoevsky’s regenerative paradigm.

Being European: "Hamlet" on the Israeli Stage

Abstract: One of the most prolific fields of Shakespeare studies in the past two decades has been the exploration of local appropriations of Shakespeare’s plays around the world. This article, however, foregrounds a peculiar case of an avoidance of local appropriation. For almost 60 years, repertory Israeli theaters mostly refused to let Hamlet reflect the “age and body of the time”. They repeatedly invited Europeans to direct Hamlet in Israel and offered local audiences locally-irrelevant productions of the play. They did so even though local productions of canonical plays in Israel tend to be more financially successful than those directed by non-Israelis, and even when local national and political circumstances bore a striking resemblance to the plot of the play. Conversely, when one Israeli production of Hamlet (originating in an experimental theatre) did try to hold a mirror up to Israeli society—and was indeed understood abroad as doing so—Israeli audiences and theatre critics failed to recognize their reflection in this mirror. The article explores the various functions that Hamlet has served for the Israeli theatre: a rite of passage, an educational tool, an indication of belonging to the European cultural tradition, a means of boosting the prestige of Israeli theatres, and—only finally—a mirror reflecting Israel’s “age and body.” The article also shows how, precisely because Hamlet was not allowed to reflect local concerns, the play mirrors instead the evolution of the Israeli theatre, its conflicted relation to the Western theatrical tradition, and its growing self-confidence.

Familial Imperatives and Humanist Habits of Intellection in Hamlet

Abstract: This chapter demonstrates that the humanist-educated Hamlet can never erase his learning, despite its being wholly inadequate to the emotional turmoil occasioned by his father’s death and mother’s remarriage. Owens charts this incommensurability in Hamlet’s first soliloquy and in the contrasts between Horatio and Hamlet, both of them Wittenberg scholars, in their respective encounters with the Ghost. Owens’ close reading of the first soliloquy gauges the pressure that builds up when the humanist rhetorical and intellectual practices that condition Hamlet’s thinking and emotions and that structure his moral perspective cannot accommodate familial feelings. Through detailed comparison of the addresses to the Ghost, Owens underscores the extent to which Hamlet is motivated by strong filial feeling that runs counter to humanist education that protects Horatio.

To "Hamlet" or Not to "Hamlet: Notes on an Arts Secondary School Students’ "Hamlet"

Abstract: This article discusses a 2018 theatrical production of Hamlet with Romanian teenage arts students, directed by one of the article’s authors, actress and academic Dana Trifan Enache. As an artist, she believes that the art of theatre spectacle depends pre-eminently on the actors’ enactment, and hones her students’ acting skills and technique accordingly. The other voice in the article comes from an academic in a cognate discipline within the broad field of arts and humanities. As a feminist and medievalist, the latter has investigated the political underside of representations of the body in religious drama, amongst others. The analytic duo reflects as much the authors’ different professional formation and academic interests as their asymmetrical positioning vis-a-vis the show as respectively the play’s director and one of its spectators. Their shared occupational investment, teaching to form and hone highly specialized professional skills, and shared object of professional interest (broadly conceived), text interpretation, account nevertheless for the possibility of fruitful interdisciplinary reflection on the 2018 Hamlet. This in-depth analysis of the circumstances of the performance and technical solutions it sought challenges stereotyped dismissals of a students’ Hamlet as superannuated, flimsy or gratuitously provocative. Furthermore, a gender-aware examination of the adaptation’s original handling of characters and scenes indicates unexpected cross-cultural and diachronic commonalities between the dramatic world of the 2018 Romanian production of Hamlet and socio-cultural developments emergent in pre-Shakespearean England.

Dostoevsky in English and Shakespearean Universality: A Cautionary Tale

Abstract: This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.

Hamlet Revision: Bhardwaj’s Haider as Crossmapping and Contact Zone

Abstract: Completing his trilogy of adaptations of Shakespearean tragedies, Indian director Vishal Bhardwaj’s film Haider (2014) tackles Hamlet. A generic fusion of realist drama, Bollywood movie, and espionage thriller, the film intersects the Elizabethan source text’s revenge plot with intertextual references to journalist Basharat Peer’s contemporary war memoir Curfewed Nights (2011), detailing the realities in insurgency-torn Kashmir in the 1990s. Taking its cue from the film’s controversial reception, which runs the gamut from censorship, appraisals, and criticism that Indian film does not need the ‘crutch’ of Hamlet to claim attention, this article explores questions about border-crossing, violence, and reconciliation raised on the level of form and content. Haider presents an adaptation of not one but two source texts: one ‘global’ and one ‘local’. The result, this article argues, is astonishingly harmonious and the contested metaphors of adaptation theory and global Shakespeare studies, such as ‘appropriation’ or ‘indigenization’, apply less to it than that of a transcultural ‘contact zone’ (Pratt, Mary Louise. Imperial Eyes. Travel Writing and Transculturation, 2nd. ed. London and New York: Routledge, 2008) and of a ‘crossmapping’ (Bronfen, Elisabeth. Crossmappings. On Visual Culture. London and New York: I.B. Tauris, 2018). By placing greater emphasis on communality and having the ending turn from revenge to forgiveness, Haider interrogates the transcultural appeal of Hamlet, drawing attention to histories of violent conflict. It also reveals a revisionist agenda that captures both hidden political realities and a haunting refiguration of Shakespeare.

The Affair: The First of the Hamlet Trilogy

Abstract: “The Affair,” by Isaac (Shuntang) Hsu, is the recipient of the 1988 top China Times Science Fiction Award in Taiwan. Among Taiwanese sci-fi fans and critics, Isaac Hsu is known as the only author w...

Stolac from a hamlet to an ottoman town and islamic cultural centre: a contribution to the history of urban development in bosnia-herzegovina

Abstract: This contribution discusses changes among the typical settlements of the Balkans during the 15th century when Ottomans ruled the region. The land was scattered with mountaintop castles of powerful feudal lords, large land-owning monasteries, and peasants living in feudal servitude. Towns with an urban structure, hosting a population living from crafts and trade, and a proper administration mushroomed all over the region. This change is studied through the example of the city Stolac (pronunciation: Stolats) in Bosnia-Herzegovina. It shows the alteration of the medieval settlements from a hamlet to an Ottoman town and Islamic cultural centre. The study analyses historical and demographical data, in combination with the architectural heritage of Stolac, benefiting from rich archival material published by the author, fed by travellers’ description and fieldwork results. The case study of Stolac supports the discussion and related theories about the emergence of towns across the Balkans at the arrival of Ottomans.

Comparing and Contrasting: Ophelia and Lady Macbeth

Abstract: Ophelia in “Hamlet” and Lady Macbeth in “Macbeth” have several comparisons and contrasts in their personalities. Both of them suffer from madness. However, Ophelia is submissive and Lady Macbeth is commanding. In this sense, they primarily appear like two opposed persons. But, they both display resemblances as they depend on men, and devoid of this dependence, they face devastations. The over-reliance of Ophelia on Polonius, Laertes, and Hamlet directs her into insanity once they are absent. Similarly, Lady Macbeth attacks the virility of Macbeth which leads to his rejection of her, triggering her eventual suicide.

Toward An Open Integralism: Multi-Religious Interactions In Sumberjo, Kediri

Abstract: This research reveals some perspectives of multi-religious interaction in Sumberjo hamlet concerning the forms of tolerance and the role of the environment Sumberjo Hamlet exemplifies social awareness in a variety of religious life and has successfully presented social solidarity among distinct traditions of each religious group There are four major religions living in Sumberjo Hamlet, namely, Islam, Hindu, and Christianity (both Protestantism and Catholics) This research aims at finding the processes of multi-religious interaction in Sumberjo Hamlet, the form of religious tolerance, and the role of the religious environment in building multi- religious tolerance Conducting a semi-structured interview to the villagers, religious leaders, and village official, the study reaches the following results, firstly, there are three forms of religious tolerance in Sumberjo hamlet, and these three categories are Understanding, Openness, and Respect Secondly, there are three periods of multi-religious interaction in Sumberjo hamlet, these three periods are: exclusivism, Inclusivism, and Open Integralism, Thirdly, there are some roles of environment which give contribution in social and individual life: Social consciousness, Social solidarity, and Social humanism

Bearing Hamlet Like a Soldier to the Stage: Maurice Evans’s G.I. Hamlet

Abstract: This article examines Maurice Evans’s 1944 production of Hamlet before a soldier-audience near Pearl Harbour, Hawaii. Evans, an army officer himself during the war, was keenly aware of the stigma a...

The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions

Abstract: Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.

Mourner-confessors: The masala intercommunity of women in Rudaali and Hamlet

Abstract: This essay adopts critical impurity or masala as theoretical methodology and ethical practice to offer an affective reading of the mourner-confessor women in Shakespeare’s Hamlet and Kalpana Lajmi’s Rudaali, the film adaptation of Mahashweta Devi’s story about mercenary women wailers designated to mourn the deaths of upper caste men of their rural community in northern India. While ritual mourning offers Shanichari, Bhikni, Ophelia, and Gertrude conventional opportunities to articulate their own or others’ losses within contained environments, the women encroach on the spaces and practices of confession to re-signify grief as a critique of institutional structures that liminalize their affective experiences of injustice. By amalgamating mourning and confession, the women of Hamlet and Rudaali publicly claim their positionality as marked and remarkable beings co-constituted also in their affective resistance of the state’s purity politics that strives to sequester (by rendering inarticulable) their subjects’ collective experiences of suffering and marginalization.

Familial Feeling and Humanist Habits of Intellection in Hamlet

Abstract: This chapter demonstrates that the humanist-educated Hamlet can never erase his learning, despite its being wholly inadequate to the emotional turmoil occasioned by his father’s death and mother’s remarriage. Owens charts this incommensurability in Hamlet’s first soliloquy and in the contrasts between Horatio and Hamlet, both of them Wittenberg scholars, in their respective encounters with the Ghost. Owens’ close reading of the first soliloquy gauges the pressure that builds up when the humanist rhetorical and intellectual practices that condition Hamlet’s thinking and emotions and that structure his moral perspective cannot accommodate familial feelings. Through detailed comparison of the addresses to the Ghost, Owens underscores the extent to which Hamlet is motivated by strong filial feeling that runs counter to humanist education that protects Horatio.

Sadivayal Village Development Model: A Smart Sustainable Tribal Hamlet for Community

Abstract: Gender Equality Under the concept of Amrita Self Reliant Village (Amrita SeRVe) has adopted Sadivayal village, Coimbatore, one of the remote tribal villages of Tamilnadu, to develop it as first Smart Village. The village is situated 45 km away from Coimbatore District, having 46 families with an average population of 150 belongs to the Irula Community of Scheduled Tribes. Amrita SeRVe smart village focuses on how villagers utilize local resources in better ways, access to food and nutrition, education, healthcare, access to clean water and sanitation. In Amrita, SeRVe agriculture acts as a catalyst for development and capable of addressing unemployment, health, education, gender equality, and boost income. Sadivayal became our first organic agriculture certified village in Coimbatore District, Tamil Nadu,which applies the standards set by the National Programme for Organic Production (NPOP). In 2018 the village beame open defecation free (ODF). The paper highlights some of the notable Model Village efforts of India and what have been their development indicators i n the backdrop of Sustainable Development Goals (SDG’s) . Also, what Amrita SeRVe acheived compared to model Village initiative of Central Government: the Sansad Adarsh Gram Yojana .

Exegetical Shakespeare: Hamlet and the Miserere mei deus

Abstract: 1 Quotations from Hamlet follow Hamlet, ed. Ann Thompson and Neil Taylor, Arden 3 (London: Cengage Learning, 2006). My default text is therefore the 1604–5 second quarto (Q2). When necessary, I cite the 1603 first quarto (Q1) and the 1623 First Folio from the Arden’s companion volume, Hamlet: The Texts of 1603 and 1623, ed. Ann Thompson and Neil Taylor (London: Methuen Drama, 2006). In Q1, it should be noted, Claudius’s allusive lines about exculpatory rain become bisected, bookending the soliloquy: “O that this wet that falls upon my face / Would was the crime clear from my conscience!” and “Why, say thy sins were blacker than is jet — / Yet may contrition make them as white as snow” (10.1–2 and 8–9). 2 See, for instance, Harold Jenkins’s long-standard Arden 2 edition, Hamlet (London: Methuen, 1982), 3.3.45n. Hannibal Hamlin is the one scholar who has made anything of the analogy; see his Psalm Culture and Early Modern English Literature (Cambridge: Cambridge UP, 2004), 215–16; and The Bible in Shakespeare (Oxford: Oxford UP, 2013), 120. Hamlin’s conclusion in The Bible in Shakespeare that the relationship between Claudius and David is ultimately “contrastive” (120), however, is undermined by his emphasis on the fact that “Claudius ... is not willing to give up the spoils of his crime, Gertrude and the throne” (120), for neither does David give up Bathsheba and their sons in the narrative recounted in 2 Samuel 12.