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Hamlet (place)
About: Hamlet (place) is a research topic. Over the lifetime, 2771 publications have been published within this topic receiving 16301 citations.
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01 Jan 2013
TL;DR: The Boydell Shakespeare Gallery as discussed by the authors has a collection of Shakespeare and the making of the Romantic poet from Shakespeare to Wordsworth, including the works of John Ford, John Ford and John Wetherall Dickson.
Abstract: Contents: Introduction, Joseph M. Ortiz Part I Rethinking the Romantic Critic: 'Small reverence for station': Walter Savage Landor's subversive Shakespeare, David Chandler Peer reviewed: Elizabeth Inchbald's Shakespeare criticism, Karen Bloom Gevirtz 'My God! Madam, there must be only one black figure in this play': Hamlet, Ophelia and the Romantic hero, Karen Britland. Part II Shakespeare and the Making of the Romantic Poet: The state of unfeigned nature: poetic imagination from Shakespeare to Wordsworth, Thomas Festa 'Mature poets steal': Charlotte Smith's appropriations of Shakespeare, Joy Currie The sublimity of Hamlet in Emily Dickinson's 'He fumbles at your soul', Marianne Noble. Part III The Romantic Stage: 'The translucence of eternity in time': Shakespeare and Coleridge's Zapolya, Paola Degli Esposti Contextual hauntings: Shakespearean ghosts on the Gothic stage, Francesca Saggini Shakespeare reception in France: the case of Ambroise Thomas's Hamlet, Suddhaseel Sen. Part IV Harnessing the Renaissance: Markets, Religion, Politics: Reconstructing the Boydell Shakespeare Gallery, Ann R. Hawkins Pericles and the spiritual wisdom of Joanna Baillie's sacred dramas The Martyr and The Bride, Marjean D. Purinton and Marliss C. Desens A written warning: Lady Caroline Lamb, noblesse oblige, and the works of John Ford, Leigh Wetherall-Dickson Bibliography Index.
6 citations
TL;DR: Hamlet's attitude toward heaven consistently proves to be an index of how badly he needs belief at any moment; and the graveyard scene expands that pattern to the entire culture, positioning religion as one of the compulsive insanities provoked by the fact of death as mentioned in this paper.
Abstract: He begins to identify achingly with the abused disinterred bones, then learns that one skull belonged to his old playmate, then discovers the funeral of his own beloved, and leaps into the grave with her. This leads to a sort of deathbed conversion. At the brink of death, with all his own sententiae about futility and anonymity still fresh in his ears, Hamlet begins seeking a final serenity within the Christian formula. This emerging attitude has often been interpreted as Hamlet's saving revelation, and as the central truth the play serves to inculcate. Such interpretations are appealing but finally unsatisfactory. Hamlet's attitude toward heaven consistently proves to be an index of how badly he needs belief at any moment; and the graveyard scene expands that pattern to the entire culture, positioning religion as one of the compulsive insanities provoked by the fact of death. And Hamlet's final \"the rest is silence\" (5.2.358) seems potentially disturbing for his religious followers in much the way Jesus' \"Why hast thou forsaken me\" might have been for his.5 Furthermore, it is hard to discern much divine care rewarding Hamlet's conversion, or much Christian benevolence in his own actions; the Denmark of act 5 is hardly a kinder, gentler nation. It is also hard at times to discern the Christianity behind the passivity. Stoicism is of course the last refuge of many a Renaissance hero, but Hamlet's acceptance of his role as a born avenger and a falling sparrow looks less like a positive declaration of faith than like an agnostic yielding to fate, as best one can read it. What Hamlet seems to posit is less a deity to save his soul than a co-author sufficient o legitimize the conversion of his life into a significantly shaped narrative, such that closure becomes a triumph rather than a surrender. God the Father in act 5 proves to be merely an extension (as Freud's theories 216 ROBERT N. WATSON of religion from the early Totem and Taboo to the late Future of an Illusion would predict) of the father's ghost in act 1. If my resistance to the Christian references places me in the critical pitfall Richard Levin calls \"refuting the ending,\" my defense is a kind of tu quoque: to accept the conventional consolations as sufficient is to refute the ending of human life, to misrepresent as comic (however cleverly and appealingly) a plot of rise and fall. Hamlet justifies his passivity with a parsing that in its very absurdity and circularity may be finally all the human mind can \"reasonably\" conclude about death: There is special providence in the fall of a sparrow. If it be now, 'tis not to come; if it be not to come, it will be now; if it be not now, yet it will come the readiness is all.
6 citations
6 citations
TL;DR: A number of puppeteers bear witness to an extraordinary text in Germany: an ancient, farcical version of Hamlet, for puppets, published in 1781 as discussed by the authors.
Abstract: A number of puppeteers bear witness to an extraordinary text in Germany: an ancient, farcical version of Hamlet, for puppets, published in 1781. As it turns out, they are referring to a text well known to Hamlet scholars, Der Bestrafte Brudermord. This article explores Der Bestrafte Brudermord, not so much as a descendent of Q1 (with bits of Q2 muddled in), but as a potential puppet text. It looks at the background to Der Bestrafte Brudermord, explores how drama in adult and puppet form travelled over Europe, and asks whether Der Bestrafte Brudermord might ever have been the product of what Hamlet dismissively calls 'puppets dallying'.
6 citations