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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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Journal ArticleDOI
TL;DR: Very little work has been done on how theatre directors employ, adapt and adopt the First Quarto of Shakespeare's Hamlet in productions based on the "standard" Second Quarto and/or First Folio text as discussed by the authors.
Abstract: Very little work has been done on how theatre directors employ, adapt and adopt the First Quarto of Shakespeare’s Hamlet in productions based on the “standard” Second Quarto and/or First Folio text...

4 citations

DOI
01 Dec 2008

4 citations

Journal ArticleDOI
15 Sep 2016
TL;DR: In this paper, the discrepancy between the verbalization of life and death in Hamlet's soliloquy "To be or not to be" in the English version and three Ukrainian ones was identified.
Abstract: The article zeroes in on the discrepancy between the verbalization of life and death in Hamlet’s soliloquy ‘To be or not to be’ in the English version and three Ukrainian ones The Multiple-Parallel Text-based analysis shows that the conceptual metaphors living is existing, dying is not existing, death is sleep, death is a country, death is a journey and life is a burden reconstructed from the original have been largely left intact in the translations However, we find that the actual verbalization and conceptualization in the two languages are highly culture-specific and that the versions exhibit great inter- and intra-language variations

4 citations

Book
01 Jan 1998

4 citations

Journal ArticleDOI
TL;DR: This article argued that Shakespeare wrote Hamlet to illuminate the issues set in motion by the Protestant Reformation and has even managed to adumbrate some key insights into Martin Luther's dilemma that arose only in the twentieth century.
Abstract: WILLIAM SHAKESPEARE IS LIKE ST. PAUL, at least in this sense: both men have generated a secondary literature so vast that no reader can hope to master it all. Scholars are of course readers first, so they're in the same bind. But they are also writers. So not only do they have to try to obtain at least a provisional mastery over the prior literature, they must also try to supplement that body of opinion with something new and fresh to say. Graduate students may smite their brows at one more tenure-qualifying monograph on sea-imagery in Shakespeare or on the subjective genitive in Paul's Letter to the Romans, and they may ask themselves how they are ever going to find an original topic for their dissertations. But duty calls. As the Preacher did not quite say: of the making of dissertations there is no end, and the writing thereof is a weariness to the flesh. Yet secondary literature can still surprise with its fresh insights, even after all these years. To stick to Shakespeare for a moment, the famous Yale critic Harold Bloom speaks of the playwright's achievement from a perspective that could only come after a long tradition of Shakespeare criticism: Shakespeare's most idiosyncratic strength [is that] he is always ahead of you, conceptually and imagistically, whoever and whenever you are. He renders you anachronistic because he contains you; you cannot subsume him. You cannot illuminate him with a new doctrine, be it Marxism or Freudianism or Demanian linguistic skepticism. Instead, he will illuminate the doctrine, not by prefiguration but by postfiguration, as it were: all of Freud that matters most is there in Shakespeare already, with a persuasive critique of Freud besides. The Freudian map of the mind is Shakespeare's; Freud seems only to have prosified it. Or, to vary my point, a Shakespearean reading of Freud illuminates and overwhelms the text of Freud; a Freudian reading of Shakespeare reduces Shakespeare, or would if we could bear a reduction that crosses the line into absurdities of loss. Coriolanus is a far more powerful reading of Marx's Eighteenth Brumaire of Louis Napoleon than any Marxist reading of Coriolanus could hope to be. (1) In this article I propose that Shakespeare wrote Hamlet to illuminate the issues set in motion by the Protestant Reformation and has even managed to adumbrate some key insights into Martin Luther's dilemma that arose only in the twentieth century. Specifically I argue that he has depicted the Prince of Denmark as "young man Luther" and in doing so has both anticipated and critiqued recent scholarly portraits of Luther. The twentieth century witnessed a revolution in Luther scholarship, which on the Catholic side abjured polemics (very much including accusations of Luther's "demonic possession") and on the Protestant side recognized Luther's thoroughly medieval roots and presuppositions. (2) But secular scholars joined the fray too. Under the influence of Freudian categories, they introduced an entirely new approach, most significantly in Erik Erikson's psycho-biography Young Man Luther. (3) Almost upon its publication, the book came under fire for its heavy-handed use of Freudian categories and its procrustean speculations about Luther's childhood unmoored by evidence. Nor were these accusations made parti pris by only Lutheran historians and theologians but very much by historians with no confessional biases such as this comment from the pen of an Anglican historian: Erikson believes that the adolescent Luther creates a God in the image of his own irascible father, shifts his obedience to this terrible Deity and releases the venom of his defiance against the Pope. Again, Luther is caned for speaking German in school-hours, so he becomes fanatically attached to the German language. Likewise his resentment against the severity of his mother causes him to dethrone the Virgin Mary. ... When interpreted in the light of contemporary manners, [however,] Luther's childhood and adolescence seem strikingly "normal" and unsensational. …

4 citations


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Performance
Metrics
No. of papers in the topic in previous years
YearPapers
202137
202060
201986
201894
2017100
2016117