Hamlet (place)

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

Curatorship as Bildungsroman : Or, from Hamlet to Hjelmslev

Abstract: Curatorship—the practice of curating—is, to put it bluntly, a dangerous practice. Contemporary debates over curatorship thus will be more adequately understood and reckoned with as aspects of this more fundamental discourse. A very great deal is therefore at stake in the critique of curatorship. In a Bildungsroman, subjectivity or identity is understood not as permanent or fixed or unchangeable, but rather as an ongoing, dynamically evolving process: a continuing creation or fabrication and the dynamism of curatorship. One of William Shakespeare’s most famous, complex, and challenging plays was called The Tragedy of Hamlet, King of Denmark. Sigmund Freud’s fascination with Shakespeare’s Hamlet concerned what is repressed in memory—phenomena that would later return in another form or in another place in one’s consciousness, a return of the repressed. Deleuze, Guattari, and Hjelmslev always insisted upon the open-endedness of texts and books and upon their being occasions for continuity through the creativity and artistry of users.

『햄릿』의 애도와 우울증 분석

Abstract: Jacques Lacan and Stephen Greenblatt, in their criticisms of Hamlet, "Desire and the Interpretation of Desire in Hamlet" and Hamlet in Purgatory, both deal with the question of "mourning" seriously though they approach it with different interests and perspectives. Lacan's analysis of Hamlet, however, has an aspect that makes readers who are unfamiliar with Lacanian theory, feel difficult to understand what Lacan intends because of his some specific psychoanalytic terms. On the other hand, Greenblatt's telling of Hamlet with his emphasis on Hamlet's "mourning" provides readers with various historical and social resources to get Renaissance context of mourning but is lacking in satisfying readers literary curiosity, for instance, into Hamlet's multi-layered subjectivity. Thus, this paper interrogates into a connection between "mourning" and Hamlet's internally split subjectivity. This crucial connection is, however, first investigated not by Lacan's analysis above but by the examination of Sigmund Freud's "Mourning and Melancholia." But this first step to open a more accessible reading of Hamlet's mourning through Freud's "Mourning" leads us to reason what Lacan means to say; in this sense, it manifests a certain "Lacan's return to Freud" as is often called. Furthermore, this paper shows an essential relationship called "implication" between literature and psychoanalysis, here, Shakespeare's Hamlet and psychoanalysis via the subject of "mourning". Thus, this paper plays a trio between Hamlet, Freud, and Lacan. Freud distinguishes mourning and melancholy by explicating mourning as taking place in the conscious while considering melancholy as emerging in the unconscious realm. But, in Hamlet, this division between mourning and melancholy, conditioned by the boundary between the conscious and the unconscious, is unsettled. Rather, mourning and melancholy, in Hamlet, aggravates each other's extent: mourning gives rise to melancholy, and melancholy deepens mourning in a profound way. One of the most obvious problems in Hamlet is Hamlet's consistent hesitancy to revenge related with the question of "insufficient mourning" which actually motivates both Hamlet and Laertes to revenge. Laertes decides, plans, and performs a revenge in a play whereas Hamlet does not despite his ceaseless declarations of revenge. Hamlet's this reluctancy before his father's command of revenge explains that Hamlet's feeling of loss caused by his father's sudden death and the following his mother's remarriage to his step-father, Claudius, is of the unconscious not of the conscious one. This loss that makes Hamlet disabled in revenge is much related with the loss Freud elucidates as the cause of melancholy; in melancholy, she is aware that she has experienced a kind of loss, but she cannot see what has been lost, to be more exact, she does not know what she has really lost in that loss. Hamlet's unconscious loss certainly has to do with his recognition of his father's sin which was strongly indicated in his mother's sexuality and his father's own confession. Next, the father's sin is internalized into Hamlet's own ego. This makes Hamlet split from himself, which results in the self-reproaches or the impoverishment of the ego, as indicated in Freud's second explication of mourning and melancholy. In this process, the relation between the ego and the loved object is changed into the conflict between the ego and its another ego. In Hamlet, Hamlet's encounter with his father's ghost intensifies Hamlet's own awareness of his own guilt. From the moment he faces his father's ghost, he can be never free from this guilty feeling; he feels guilty at the level of existence. The only moment Hamlet can be released from it is when he dies. Hamlet's death completed by the annihilation of himself and his ideal-ego reflected in his partner of a duel, Laertes, is the moment of his entrance into the symbolic order as Lacan says.

Discourse on Hamlet and HAMLET: A Psychoanalytic Inquiry

Abstract: Dr. Eissler's double expertise as psychoanalyst and Shakespearian scholar becomes quickly apparent. Shakespeare's plays, he says, offer a "mind-created world... but a complete one, parallel to the one we know... the vicissitudes of human life appear to be compressed into... solid and meaningful forms..." The "New Criticism," he points out, finds the psychoanalytic approach a deliberate attempt to equate Shakespearian characters with living human beings, in an effort to unearth unconscious motivations. In the body of Shakespeare's work, there are depths that scientific psychology has not yet come tounderstand, for Shakespeare is "a master in the presentation of human passion, character and destiny whose scope could be asserted only after psychology had caught up with his insights." Brilliantly, he uses a dream metaphor to clarify the plays and their analysis, speaking of the "manifest" and the "unconscious" content. In the problem of understanding Hamlet, Dr. Eissler selects

Representing Shakespearean tragedy : Garrick, the Kembles, and Kean

Abstract: Introduction: Garrick's prologue 1. Winding up 'th'untuned and jarring senses': Garrick, King Lear, and contemporary theatrical/literary criticism 2. 'Who dares do more': Kemble, Siddons, and the question of sublimity in Macbeth 3. 'Speak the speech, I pray you': Kean, Hamlet, and the Romantic 'playwrights' Conclusion: Kean's farewell.