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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
01 Oct 1967

15 citations

Book
01 Jan 1978
TL;DR: In this article, the authors present a collection of Shakespeare's Travesties in three acts with annotations, including Hamlet, Othello, Macbeth, and King Richard III.
Abstract: Volume I: John Poole and his Imitators Preface & Introduction Hamlet Travestie, in Three Acts with Annotations Romeo and Juliet Travesty, in Three Acts Richard III Travesties, in Three Acts, with Annotations King Richard III Travesties, A Burlesque, Operatic, Mock Terrific Tragedy, in Two Acts Volume II: Maurice Dowling (1834) to Charles Beckington (1847) Introduction Othello Travestie / Romeo and Juliet: 'As the Law Directs' King John (with the Benefit of the Act) Macbeth Modernised, A Most Illegitimate Drama Rummio and Juddy or, Oh, This Love! This Love! This Love! King Richard Ye Third Hamlet the Dane A Burlesque Burletta Volume III: The High Period: Francis Talfourd (1849) to Andrew Halliday (1859) Introduction Macbeth, Somewhat removed from the Text of Shakespeare Additional Songs and Choruses for Talfourd's Macbeth Hamlet Travestie Shylock or The Merchant of Venice Preserved Perdita or the Royal Milkmaid, being The Legend upon which Shakespeare is supposed to have founded his Winter's Tale Romeo and Juliet Buresque or, The Cup of Cold Poison Volume IV: The Fourth Phase: F. C. Burnand, W. S. Gilbert and others (1860-1882) Introduction Julius Caesar Travestie A Thin Slice of Ham Let!! Antony and Cleopatra or His-tory and Her-story in a Modern Nilo-metre The Rise and Fall of Richard III Rosencrantz and Guildenstern, A Tragic Episode Orlando Ye Brave and Ye Fayre Rosalynd Or 'As You Lump Hamlet, or Not Such a Fool as He Looks Volume V: American Shakespeare Travesties (1852-1888) Introduction Hamlet, Prince of Denmark, An Old Play in a New Garb Ye Comedie of Errours, Glorious, Uproarous Burlesque, Not Indecorous nor Censorous, with Many a Chorus, Warranted not to Bore us, now for the First Time Set Before Us Much Ado About a Merchant of Venice, from the Original Text - A Long Way Hamlet the Dainty, An Ethiopian Burlesque on Shakespeare's Hamlet Othello A Burlesque, as performed by Griffin and Christy's Minstrels Hamlet Revamped, Modernized and Set to Music, A Travesty Without a Pun! Katharine: A Travesty

15 citations

01 Jan 2016
TL;DR: This paper explored the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti's Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas's Hamlet (1868).
Abstract: The 19-century fascination with madness led to a theatrical phenomenon most palpably represented in the operatic mad scene, where the insane heroine expresses her madness in an aria of ‘phenomenal difficulty’ (Ashley 2002). This research explores the representation of female madness as power in the mad scenes of two famously mad opera characters: Lucia from Gaetano Donizetti’s Lucia di Lammermoor (1835) and Ophélie from Ambroise Thomas’s Hamlet (1868). The objective is to investigate the representation of female madness in the libretti, the musical scores and in visual performances, in order to challenge the notion of female madness as weakness. The research was conducted using a qualitative research paradigm. The study explored the depiction of female madness in various fields of artistic representation, and the concept of power and female power in literature, resulting in the novel interpretation of these enigmatic mad scenes. This was a hermeneutic study considered within an interpretive paradigm. The research was conducted in three stages: a literature review, a full score analysis and a visual performance analysis. The results show that the 19-century gendered paradigm shift of madness to an overtly female disorder, led to various artistic interpretations of the madwoman, most notably in art, literature, theatre and opera. Opera proved to be the ultimate platform for the musical depiction of female madness, particularly due to the virtuosic vocal capacity of the coloratura soprano. In spite of social and political advancement, women were portrayed as weak in operatic plots. It was established that a delicate balance exists between power and powerlessness in the operatic mad scene. Both Lucia and Ophélie are women trapped in a patriarchal environment, and the onset of their madness is traditionally attributed to the weak default of their gender and their inability to process dramatic emotional events. However, the composers’ musical realisation of madness, as well as the embodied performance of both characters by the soloists, accentuates the interplay between madness as weakness and, most importantly, madness as empowerment. The study shows that the powerlessness associated with female madness is paradoxically reversed by the very factors that denote female madness in the operatic mad scene, namely gender and vocal virtuosity. Numerous musical and visual performance elements employed by composers and directors, notably depicting the madwoman as feeble, point to the empowerment of the seemingly ‘weak’ soprano. Musical elements used to portray madness include deconstruction, orchestration and high pitch. The study revealed additional musical elements, such as the inclusion of themes from previous acts of the opera, the use of specific instrumentation and a capella passages for soprano. The study argues that the characteristics that define female madness in music, namely gender and vocal excess,

15 citations

Book
21 Jan 1978
TL;DR: The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions as mentioned in this paper.
Abstract: Avi Erlich finds that "Hamlet" deals not with repressed patricidal impulses but with a complex search, partially unconscious, for a strong father Much more than he wants to have killed his father, Hamlet wants his father back and seeks a strong man with whom to identify The playwright presents one ambivalent father figure after another, each an imitation or parody of the seemingly titanic king Polonius, Osrick, Yorick, Old Fortinbras, Priam, Achilles, Horatio--these are a few versions ofthe father who bequeathed to his son his own ambivalenceOriginally published in 1978The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905

15 citations

Book
07 Jun 2002
TL;DR: The Last of the Pre-Raphaelites Cambridge Irish Part II: THE DOUBLE LIFE OF TYRONE GUTHRIE Hamlet and Oedipus Biggs Revolution in Stratford Part III: THE STRANGE DEATH OF SHAKESPEARE'S ENGLAND Seeing Through Shakespeare Ruined Lear Conclusion Notes Index as mentioned in this paper
Abstract: Acknowledgements Introduction PART I: DESPERATE EXPERIMENTS The Last of the Pre-Raphaelites Cambridge Irish PART II: THE DOUBLE LIFE OF TYRONE GUTHRIE Hamlet and Oedipus Biggs Revolution in Stratford PART III: THE STRANGE DEATH OF SHAKESPEARE'S ENGLAND Seeing Through Shakespeare Ruined Lear Conclusion Notes Index

15 citations


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