Hamlet (place)

About: Hamlet (place) is a research topic. Over the lifetime, 2771 publications have been published within this topic receiving 16301 citations.

Engaging Northern Indigenous Children through Drawing for Community Health Research: A Picture of the Social Impact of H. pylori Infection in Fort McPherson in the Northwest Territories, Canada

Abstract: An analysis of drawings made by Indigenous children in the Arctic hamlet of Fort McPherson, Canada, serves the dual purpose of contributing children’s perspectives to community-driven research on H...

Approaches to Teaching Shakespeare's Hamlet

Abstract: This Approaches volume culls from thousands of works on Hamlet those editions, anthologies, reference materials, films, and Web sites that will be of greatest help to teachers. The essays present a wide array of techniques and tips for presenting the play to students.

“… the ruins of Europe in back of me.” Jan Klata’s Shakespeare and the European condition

Abstract: Abstract Jan Klata’s Shakespearean productions are famous for his liberal attitude to the text, innovative sets and locations, and a strong contemporary context. His 2004 H., a Teatr Wybrzeże production performed in the Gdańsk Shipyard, reaches to the Polish history of the eighties (the importance of Solidarity and the fall of communism) to comment on the state of the democratic Poland twenty years later. The 2012 Titus Andronicus, a coproduction of Teatr Polski in Wrocław and Staatsschauspiel Dresden, explores the impact of historical traumas on national prejudice and relations within the new Europe. The 2013 Hamlet with Schauspielhaus Bochum again tries to diagnose the contemporary condition and is again deeply rooted in a specific geopolitical context. Discussing both Titus Andronicus and Hamlet, I would like to explore Klata’s formula of working with Shakespeare. Primarily, he takes advantage of the fact that Shakespeare’s texts are not simply source texts but hypertexts with multiple layers of meanings accumulated over the centuries of circulation, production and adaptation. Perhaps similarly to Heiner Müller, whose plays he willingly incorporates in his productions, Klata anatomizes the plays and then radically reconstructs them using other texts, literary and paraliterary. What Klata eventually puts on stage is a hybrid that is rooted in the Shakespearean hypertexts but also heavily draws from historical, cultural and political contexts, and that is relevant to him as the director and to the particular specificities of the venues, theatres and companies he works with. The hybridized and contextualized Shakespeare becomes for Klata a way to comment on current issues that he sees as vital, like dealing with the burden of the past, confronting the reality of the present, or understanding and expressing national identity, problems that are at once universal and specific for a person living in the EU in the twenty first century.

Hamlet in Purgatory (review)

Abstract: We often look for the return of the newly dead. It is a phenomenon that Stephen Greenblatt describes as “not only the pain of sudden, irrevocable loss but also the strange, irrational expectation of recovery” (102). The dead, as Greenblatt notes, are expected on the other end of a ringing phone, or to walk through an opening door. In the modern Western world, glimpses of the dead are generally ignored, dismissed as a psychological tic. For generations of Europeans, however, encounters with the dead were accepted as a fact of life; the return of the dead reaffirmed the elaborate eschatological architectonics that structured the universe and the practices of the everyday. Generally speaking, the dead returned to warn of purgatorial torment and to beseech prayers that would hasten their purification and ultimate ascent to heaven. The doctrine of purgatory thus created an intergenerational chain of mutual obligation. The modern era, it could be argued, begins with the breaking of this chain. As belief in purgatory waned in the latter half of the sixteenth century (at least in England), the living found themselves unmoored from the dead—sons were no longer obligated to secure the redemption of their fathers, fathers could no longer depend on the prayers of their sons. This severance resulted in a strange emotional cocktail of liberation and alienation. The text that for many has epitomized (or, in some more extreme views, initiated) this modern condition is Hamlet, which Greenblatt sets out to position within this cultural nexus of eschatological transformations. Hamlet in Purgatory presents something of a contrapuntal response to the questions of identity explored in Renaissance Self-Fashioning. The self of the earlier work is the antithesis to the purgatorial self, which is fashioned posthumously and only through the intervention of others. In the personal anecdote related at the end of Self-Fashioning, Greenblatt fiercely maintains the place of the self-fashioned subject. This seemingly autonomous Renaissance individual is at odds with a purgatorial notion of subjectivity dependent on collectivity and devoid of agency. Greenblatt describes how “the Renaissance figures we have considered understand that in our culture to abandon selffashioning is to abandon the craving for freedom, and to let go of one’s stubborn hold on selfhood, even selfhood conceived as a fiction, is to die.”1 The elision of sixteenth-