Hamlet (place)

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

The Early Modern Corpse and Shakespeare's Theatre

Abstract: Table of Contents Chapter 1 Dead Bodies (theoretical introduction: Bataille, Douglas, Kristeva, Lacan, Benjamin) Chapter 2 Body Imaging and Religious Reform: The Corpse as Idol (historicist analysis of shifts in sacramental, iconographic, and theological imaging of the corpse from the late medieval to the early modern periods in England) Chapter 3 Animating Matter: The Corpse as Idol in The Second Maiden's Tragedy and The Duke of Milan (includes analysis of English public theatre) Chapter 4 Invading the Grave: Shadow Lives in The Revenger's Tragedy and The Duchess of Malfi (includes analysis of English funerary customs and the practice of anatomical dissection) Chapter 5 Killing the Dead: Duncan's Corpse and Hamlet's Ghost Epilogue: Last Words.

"Manly Exercises": Post-Revolutionary Performances of Authority in the Theatrical Career of William Dunlap

Abstract: In 1787,21-year-old William Dunlap forsook his first-chosen voca tion, painting, to venture a life in the theater. Called home to New York after three years' less-than-dedicated study in London under the expatri ate American painter Benjamin West, Dunlap painted a portrait of his family, The Artist Showing a Picture from Hamlet to His Parents (1788), that provocatively registers the complex motives and aspirations of the young man's turn to the theater (see Figure 1). Not only the reiterated gesture of the presentation?a dutiful display of the results of his paren tally sponsored study abroad?but also the subject of the painting-within the-painting?Hamlet's encounter with his father's unhappy ghost on the castle ramparts?advertises the returned son's filial regard. "Filial Piety" was, in fact, the playing title of Hamlet in Philadelphia that spring (Pollock 141). But, just as that title masked Lewis Hallam's Old American Company's calculated evasion of local laws against theatrical productions, Dunlap's

Hamlet: Poem Unlimited

Abstract: In the bestselling Shakespeare: The Invention of the Human, Harold Bloom showed us how Shakespeare shaped human consciousness, and addressed the question of authorship in Hamlet. In Hamlet: Poem Unlimited, America's most celebrated critic turns his attention to a reading of the play itself and to Shakespeare's most enigmatic and memorable character. This is Bloom's attempt to uncover the mystery of both Prince Hamlet and the play, how both prince and drama are able to break through the conventions of theatrical mimesis and the representation of character, making us question the very nature of theatrical illusion. Hamlet: Poem Unlimited is a hugely insightful and yet highly accessible exploration of Shakespeare's crowning achievement by a critic who is seen by many as his greatest living champion.

Shakespeare's letters

Abstract: Introduction: Searching for Shakespeare's Letters 1. The Materiality of Shakespeare's Letters 2. Shakespeare's Roman Letters 3. Shakespeare and the Carriers 4. Shakespeare is Shylock: Letters of Credit in The Merchant of Venice 5. The Matter of Messengers in King Lear 6. Lovers' lines: Letters to Ophelia 7. Rewriting Hamlet

Stephen Greenblatt's Hamlet and the Forms of Oblivion

Abstract: In two recent publications, Stephen Greenblatt has explored Hamlet in relation to two medieval practices and their transformation: the Eucharist in the Mass, and the institution of purgatory.1 In the reformed Eucharist of Holy Communion, sacrifice is remembered, not repeated; the bread and wine signify the true presence of the body of Christ rather than becoming that blood and body under the appearances of bread and wine. Even more fundamentally, purgatory is not so much transformed as utterly abolished and abandoned as a “fond thing vainly invented.”2 Rethought and rewritten, and in the case of purgatory abandoned altogether as doctrine and practice, the losses and sea-changes of these central notions everywhere mark the tragedy of Hamlet in Greenblatt’s exhilarating reading. The figure will replace the thing itself; the psychic projection will replace the dogmatic truism; theater will replace religion even as figure, psyche, and theater are all haunted by the stubborn leavings of an outmoded religion, appearing in the form of a histrionic, apparently Catholic, paternal ghost, reminder and remainder of a usurped, truncated, and thoroughly unappeased past. After the Reformation, only a theater can officially be a haunted place. It will bring the unappeased dead back to strut and fret across the stage to call for remembrance from their successors and so console, solace, intercede, and finally exorcise the dead, put them at last to rest. If it conjures and enchants, it will disenchant, too, for it is an imagined space, an acknowledged and therefore thoroughly unsublime fiction. Greenblatt has long been criticized for adopting an overly synchronic approach in the form of criticism he pioneered: New Historicism. Placing two texts, usually a canonical one and a more off-beat, esoteric, and exotic one side by side, Greenblatt has provided fascinating readings of such adjacencies, yet without ever explaining their interrelationship. What are his