The Moral Values of Social Dialect in Hamlet Movie

Total Page:16

File Type:pdf, Size:1020Kb

The Moral Values of Social Dialect in Hamlet Movie THE MORAL VALUES OF SOCIAL DIALECT IN HAMLET MOVIE A FINAL PROJECT Submitted in Partial Fulfillment of the Requirement For Gaining The Degree of Education Bachelor In English Language Education MILATUL AFDLILA Student Number: 113411006 EDUCATION AND TEACHER TRAINING FACULTY WALISONGO STATE ISLAMIC UNIVERSITY SEMARANG 2015 THESIS PROJECT STATEMENT I am, the student with the following identity: Name : Milatul Afdlila Student Number : 113411056 Department : English Language Education certify that this thesis entitled: THE MORAL VALUES OF SOCIAL DIALECT IN HAMLET MOVIE is definitely my work. I am completely responsible for the content of this thesis. Other writer‟s opinion or finding included in the thesis are quoted or cited in accordance with ethical standards. Semarang, June 26th 2015 The Writer, Milatul Afdlila NIM. 113411006 ii KEMENTERIAN AGAMA R.I. UNIVERSITAS ISLAM NEGERI WALISONGO FAKULTAS ILMU TARBIYAH DAN KEGURUAN Jl. Prof. Dr. Hamka (Kampus II) Ngaliyan Semarang Telp. 024-7601295 Fax. 7615387 RATIFICATION Thesis with the following thesis indentity: Title :The Moral Values of Social Dialect in Hamlet Movie Name : Milatul Afdlila Student Number : 113411006 Department : English Language Education had been ratified by the board of examiner of Education and Teacher Training Faculty Walisongo State Islamic University and can be received as one of any requirement for gaining the Bachelor Degree in English Language Education. Semarang, June 26th 2015 THE BOARD OF EXAMINER Chair Person, Secretary, Dr. H. Muslih, MA. Sayyidatul Fadlilah, M.Pd NIP. 19690813 199603 1 003 NIP. 19810908 200710 2 001 Examiner I Examiner II Muhammad Nafi Annury, M.Pd Nadiah Ma’mun, M.Pd NIP.19780719 20050 1 007 NIP. 19781103 200701 2 016 Advisor I Advisor II iii KEMENTERIAN AGAMA R.I. UNIVERSITAS ISLAM NEGERI WALISONGO FAKULTAS ILMU TARBIYAH DAN KEGURUAN Jl. Prof. Dr. Hamka (Kampus II) Ngaliyan Semarang Telp. 024-7601295 Fax. 7615387 ADVISOR NOTE Semarang, June 26th 2015 To The Dean of Education and Teacher Training Faculty Walisongo State Islamic University Assalamu’alaikum Wr. Wb. I inform that I have given guidance, briefing, and correction to whatever extent necessary of the following thesis indentification: Title : The Moral Values of Social Dialect in Hamlet Movie Name : Milatul Afdlila Student Number : 113411006 Department : English Language Education I state that this thesis is ready to be submitted to Education and Teacher Training Faculty Walisongo State Islamic University to be examined at Munaqosyah Session. Wassalamu’alaikum. wr. wb. Semarang, June 26th 2015 Advisor I Dr. H. Raharjo, M.Ed NIP. 19651123 199103 1 003 iv KEMENTERIAN AGAMA R.I. UNIVERSITAS ISLAM NEGERI WALISONGO FAKULTAS ILMU TARBIYAH DAN KEGURUAN Jl. Prof. Dr. Hamka (Kampus II) Ngaliyan Semarang Telp. 024-7601295 Fax. 7615387 ADVISOR NOTE Semarang, June 26th 2015 To The Dean of Education and Teacher Training Faculty Walisongo State Islamic University Assalamu’alaikum Wr. Wb. I inform that I have given guidance, briefing, and correction to whatever extent necessary of the following thesis indentification: Title : The Moral Values of Social Dialect in Hamlet Movie Name : Milatul Afdlila Student Number : 113411006 Department : English Language Education I state that this thesis is ready to be submitted to Education and Teacher Training Faculty Walisongo State Islamic University to be examined at Munaqosyah Session. Wassalamu’alaikum. wr. wb. Semarang, June 26th 2015 Advisor II Sayyidatul Fadlilah, M.Pd NIP. 19810908 200710 2 001 v MOTTO Semua perjalanan hidup adalah sinema1 1 Lestari, Dee, Kesatria, Putri, dan Bintang Jatuh, (Yogyakarta: Bentang, 2012), p. 169. vi Dedication This thesis is dedicated to: 1. Again and always to my dear parents, Mahmudi Ahmad, S.Pd.I., and Ida Afifah, S.Pd.I. They have supported me without dissent for the full of my life. Thanks for their love, supports, trust, finance, and praying. There are no words which can describe my thanks to you and Thanks for placing reliance on me. I love you so much. 2. My beloved younger sisters, Mafaliha Tsunaiya, thanks for your kindnesses, togetherness, and love. 3. My beloved grandparents, Abdul Haq Nawawi and Istianah 4. My big family, who have given the best support for everything. vii ABSTRACT Milatul Afdlila (113411006) “The Moral Values of Social Dialect in Hamlet Movie”. A final project, Semarang: Bachelor Program of English Language Education of Education and Teacher Traning Faculty (FITK), Walisongo State Islamic University Semarang, 2015. In English Language Education, film or movie is populer entertainment an film is an effective instrument to present new values. The values especially educational values are needed in this era for educational critics and as educational motivation to be better. Because education is one of important things in human life. The objective of this study was to know the moral values found in the movie and to find the use of Hamlet movie as medium of education. In This study used qualitative approach. There were five steps to collecting data, such as reading, watching, identifying the transcript, selecting and classifying. After collecting data the writer looked for some references to support the problem analysis found in the story, such as article, books, and journals. Technique of data analysis in this study using philology, because this research needed script of Hamlet to identify the social dialect aspect are used until the moral values found. The result of the analysis showed that there were twelve moral values, as follows: respect, responsibility, honesty, wisdom courage, tolerence, altruism, justice, self-discipline, help each other, cooperation, and democratic. The last is implication moral values for education are Hamlet as educational medium in PPD class, material of learning, and expression in daily life of the movie. viii ACKNOWLEDGEMENT Alhamdulillahirobbil ‘alamin, First of all, I would like to express my best gratefulness to our greatest God Allah SWT who has given me a great life, a meaningful piece of knowledge and everlasting love and affection. Greater peace and love would always be upon the greatest prince in Islam, Muhammad Sallallahu „Alaihi Wassalam, who always inspires me every time I close and open my eyes. Because of that great gift from Allah, finally I am able to finish this research entitled The Moral Values of Social Dialect in Hamlet Movie as requirement for the Bachelor Program of English Language Education of Education and Teacher Traning Faculty (FITK), Walisongo State Islamic University Semarang, 2015. In addition, this research would not be achieved without the support, guidance, advice, help and encouragement from individual and institute, and I would like to dedicate my best thanks to: 1. Drs. H. Darmu'in, M.Ag., as the Dean of Education and Teacher Traning Faculty (FITK). 2. Dr. Muslih, M.A. as the Head of English Department. 3. Dr. H. Raharjo, M.Ed., as advisor I and Sayyidatul Fadlilah, M.Pd., as advisor II of this research. I would like to thank a million for their generous invaluable advice and positive direction and their time throughout the entire writing process. I owe much gratitude to them and I would not have come this far without them and their continuous support. 4. All lecturers especially English Department of Education and Teacher Traning Faculty (FITK). 5. All of my friends at the English Department of Education and Teacher Traning Faculty (FITK) 2011. Sorry, the author can not mention one by one, you all are great friends. Thanks for supporting me approximately four years in my undergraduate study. ix 6. Special thanks to my best friends, ROMBENG (Raikhatuz Zahroh as agent R, Nelly Ahvien as agent O, Laila Mahmudah as agent M, Siti Mahmudah as agent B, Muzayyana as agent E, Nita kurnia as agent N),and my closest Satria Bagus Firmansyah, thanks for the time to sharing, hanging around together, and for all the unforgettable moments during my stay in Semarang. I hope our friendship will never end. 7. My friends in C5, thanks for our togetherness and support. 8. My friends in Mimbar Theater, who has taught me how to be perfect person. Thanks for everything. 9. In addition, all who come and go in my life because consciously and unconsciously that they always have a part throughout the research. Happiness, experience, lessons, and memory are things what they give to me also a thousand smiles during conducting this research.Thank you. Finally, the researcher always expects that this research may be helpful for all. Amin. Semarang, June 26th 2015 The Writer, Milatul Afdlila NIM. 113411006 x TABLE OF CONTENT PAGE OF TITLE ............................................................................. i THESIS STATEMENT.................................................................... ii RATIFICATION .............................................................................. iii ADVISOR APPROVAL .................................................................. iv MOTTO ........................................................................................... vi DEDICATION ................................................................................. vii ABSTRACT ..................................................................................... viii ACKNOWLEDGEMENT ............................................................... ix TABLE OF CONTENT ................................................................... xi CHAPTER I INTRODUCTION A. Background of the Research ................................................................
Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • The Tragedy of Hamlet
    THE TRAGEDY OF HAMLET THE WORKS OF SHAKESPEARE THE TRAGEDY OF HAMLET EDITED BY EDWARD DOWDEN n METHUEN AND CO. 36 ESSEX STREET: STRAND LONDON 1899 9 5 7 7 95 —— CONTENTS PAGE Introduction ix The Tragedy of Hamlet i Appendix I. The "Travelling" of the Players. 229 Appendix II.— Some Passages from the Quarto of 1603 231 Appendix III. Addenda 235 INTRODUCTION This edition of Hamlet aims in the first place at giving a trustworthy text. Secondly, it attempts to exhibit the variations from that text which are found in the primary sources—the Quarto of 1604 and the Folio of 1623 — in so far as those variations are of importance towards the ascertainment of the text. Every variation is not recorded, but I have chosen to err on the side of excess rather than on that of defect. Readings from the Quarto of 1603 are occa- sionally given, and also from the later Quartos and Folios, but to record such readings is not a part of the design of this edition. 1 The letter Q means Quarto 604 ; F means Folio 1623. The dates of the later Quartos are as follows: —Q 3, 1605 161 1 undated 6, For ; Q 4, ; Q 5, ; Q 1637. my few references to these later Quartos I have trusted the Cambridge Shakespeare and Furness's edition of Hamlet. Thirdly, it gives explanatory notes. Here it is inevitable that my task should in the main be that of selection and condensation. But, gleaning after the gleaners, I have perhaps brought together a slender sheaf.
    [Show full text]
  • An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’S Hamlet
    The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Mosley, Joseph Scott. 2017. The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33826315 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA The Dilemma of Shakespearean Sonship: An Analysis of Paternal Models of Authority and Filial Duty in Shakespeare’s Hamlet Joseph Scott Mosley A Thesis in the Field of Dramatic Arts for the Degree of Master of Liberal Arts in Extension Studies Harvard University May 2017 © 2017 Joseph Scott Mosley Abstract The aim of the proposed thesis will be to examine the complex and compelling relationship between fathers and sons in Shakespeare’s Hamlet. This study will investigate the difficult and challenging process of forming one’s own identity with its social and psychological conflicts. It will also examine how the transformation of the son challenges the traditional family model in concert or in discord with the predominant philosophy of the time. I will assess three father-son relationships in the play – King Hamlet and Hamlet, Polonius and Laertes, and Old Fortinbras and Fortinbras – which thematize and explore filial ambivalence and paternal authority through the act of revenge and mourning the death of fathers.
    [Show full text]
  • A RHINO REMEMBERED István Orosz
    CEEOL copyright 2016 A RHINO REMEMBERED On the 500th Anniversary of a Shipwreck István Orosz s there anyone who has not heard of the terrible tempest on the Ligurian Sea which claimed the life of Percy Bysshe Shelley? In almost precisely the Isame place, near the mouth of Spezia Bay off the coast of Porto Venere, another storm had wrecked a vessel three centuries before – O Wild West Wind! The tragedy took place on 25 January 1516, almost exactly five hundred years ago. The most famous victim on board – pace Shelley – was an animal, an Indian rhinoceros to be precise, to whom this essay is dedicated. We will find out shortly what on earth this beast was doing on the boat, tossed about by the raging sea. But let us first have a look at his curriculum vitae and a modest presumption which I hope will explain why I accord such significance to an odd-toed ungulate that found a watery grave, and perhaps even what he might have to do with me or, rather, with my professional interests. The beast probably hailed from Gujarat in Northwest India. Sultan Muzaffar II is on record to have given a gift of the by then fully grown rhino bull he called Ganda to the Portuguese military commander Diego Fernandes de Beja, in commemoration of “establishing mutually beneficial diplomatic contact” – politicalese for the sultan’s polite rejection of Portugal’s overtures aimed at colonisation. Beja received the gift on 18 May 1514, and the animal landed in Goa on 15 September, after the commander, bent on getting rid of this evidence of his failed mission, had dispatched it to Afonso de Albuquerque, Viceroy of the Portuguese territories in India.
    [Show full text]
  • Shakespeare for Life
    Hamlet By William Shakespeare This lesson was inspired by the Macmillan Readers adaption of William Shakespeare’s original playscript. The language has been adapted and graded to make it suitable for readers at Intermediate level. It also features extracts of key speeches from the original text along with explanatory notes, plus glossaries and exercises designed to reinforce understanding post reading. The book is available with CD, as an audio book and as an eBook. Find out more here. • Order print books • Buy eBooks shakespeare for life www.macmillanreaders.com/shakespeare ©2016 Macmillan Education Hamlet TEACHEr’s NOTES LESSON OVERVIEW Level: Intermediate Length: Approximately 40 minutes Language focus: Expressions from Shakespeare’s Hamlet Learning objectives: In this lesson students complete a series of tasks that will help them to build their vocabulary and speaking skills. Students will have the chance to: • Gain an overview of the story of Hamlet and its characters • Learn a series of expressions from the play still in use today • Discuss ghosts and the supernatural and build related vocabulary • Read, analyse and practise reciting a famous speech from the play ContentS • Activity 1: Shakespeare’s Language • Activity 2: Speak Shakespeare Additional Activities: • Themed Discussion • Vocabulary Task HAMLET: TEACHER’S NOTES HAMLET: TEACHER’S shakespeare for life www.macmillanreaders.com/shakespeare ©2016 Macmillan Education Hamlet OVERVIEW OF the PLAy Key themes: Mortality, madness, ghosts, the supernatural and revenge Key characters: • Hamlet: The tragic hero of the play. Hamlet is Prince of Denmark and the son of Queen Gertrude and the late King Hamlet. Bitter and cynical and full of hatred for his Uncle Claudius.
    [Show full text]
  • I'm Not Finished — Done Dimitri A
    Bard College Bard Digital Commons Senior Projects Spring 2014 Bard Undergraduate Senior Projects 2014 I'm Not Finished — Done Dimitri A. Cacouris Bard College Recommended Citation Cacouris, Dimitri A., "I'm Not Finished — Done" (2014). Senior Projects Spring 2014. Paper 159. http://digitalcommons.bard.edu/senproj_s2014/159 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Spring 2014 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. I’m Not Finished— Done Senior Project Submitted to The Division of Arts of Bard College by Dimitri Cacouris Annandale-on-Hudson, New York May 2014 Acknowledgements: The list of people who have contributed to this project is long; I would like to keep this one short. To that end, the following is a list of people I would like to thank for their specific contributions to the project, and I hope any omissions will be taken for the mellow iniquities of a befuddled adolescent mind. Thanks to Roberto Tardocchi, for pointing me toward Un Amleto di Meno, and to Prof. Thomas Bartscherer for doing the same for la Critique Génétique Thanks to Jorge Cortiñas, Anne Gridley, Chiori Miyagawa, Geoff Sobelle, Jonathan Rosenberg, and Jean Wagner for critical feedback and keen eyes; you allowed the piece to tick Thanks to Naomi Thornton for telling me the truth Thanks to Zoë Elders, Sebastian Gutierrez, Sean Leo, Jacqueline Reddington, Konstantin Rizos, Paul Weintrob, and Adam Zuckerman, for conversations, collaborations, and comprehension, but I can’t thank you enough Thanks to the employees, designers, and crew members of the Richard B.
    [Show full text]
  • Hamlet on the Screen Prof
    Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting.
    [Show full text]
  • Poison and Revenge in Seventeenth Century English Drama
    "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Woodring, Catherine. 2015. "Revenge Should Have No Bounds": Poison and Revenge in Seventeenth Century English Drama. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17463987 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama A dissertation presented by Catherine L. Reedy Woodring to The Department of English in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of English Harvard University Cambridge, Massachusetts May 2015 © 2015 – Catherine L. Reedy Woodring All rights reserved. Professor Stephen Greenblatt Catherine L. Reedy Woodring “Revenge should have no bounds”: Poison and Revenge in Seventeenth Century English Drama Abstract The revenge- and poison- filled tragedies of seventeenth century England astound audiences with their language of contagion and disease. Understanding poison as the force behind epidemic disease, this dissertation considers the often-overlooked connections between stage revenge and poison. Poison was not only a material substance bought from a foreign market. It was the subject of countless revisions and debates in early modern England. Above all, writers argued about poison’s role in the most harrowing epidemic disease of the period, the pestilence, as both the cause and possible cure of this seemingly contagious disease.
    [Show full text]
  • Rewriting the Female Narrative and Feminism in Willa Cather's the Song of the Lark
    More Than a Songbird: Rewriting the Female Narrative and Feminism in Willa Cather's The Song of the Lark Senior Paper Presented in Partial Fulfillment of the Requirements For a Degree Bachelor of Arts with A Major in English at The University of North Carolina at Asheville Fall2017 By Tana Johnson Thesis Director Dr. Kirk Boyle Thesis Advisor Dr. Joseph Urgo Johnson 1 American novelist Willa Cather was not an open proponent of feminism; she was wholly dedicated to her art, and thus kept her personal life and political opinions private to avoid distracting her readers from the writing. Despite Cather’s silence, much can be extrapolated from her own life as well as from her numerous novels regarding feminism. Born in 1873, Cather lived in an era when women were severely restricted by patriarchal society. Indeed, much of her lifetime took place before women had the right to vote. However, Cather broke away from the traditional feminine role of her time, choosing to put her own career first over traditional family life. Many of Cather’s novels question and explore the expectations placed on women not only by society, but in particular, by men. Cather’s feminist ideas are most apparent in her 1915 novel, The Song of the Lark. The novel follows the development of Thea Kronborg, a musically talented child, from her humble beginnings in Colorado, to her eventual success as an international opera star. The Song of the Lark is also without a doubt Cather’s most autobiographical work. While Cather herself made her career as a writer, she was inspired by her close friend, opera star Olive Fremstad, to make her protagonist’s talent music, rather than writing.
    [Show full text]
  • The Comedy of Death in Hamlet: Everyone Dies in the End
    Cummings: The Comedy of Death in Hamlet: Everyone Dies in the End The Comedy of Death inHamlet: Everyone Dies in the End Ty Cummings Shimer College Faculty Sponsor: Barbara Stone In my reading ofHamlet, there are two key moments which take death out of its strict placement within the plot, and into a place of universal deliberation where it is treated as an idea, acomponent of the human condition. I'm speaking of Hamlet's "To be or not to be” soliloquy and his encounter with the gravediggers. In experiencingHamlet as a play deemed 'tragic,' these philosophic and existential musings of death seem to embolden the distressing morbidity ofHamlets concluding scene. However, it is possible to interpret these and other moments as disarming the 'tragedy' Hamletof and transforming death into an object of absurdity, comedy, and perhaps, to be extreme, ridicule. To begin, I'd like, for the time being, to liberateHamlet from its historical and literary context, as well as disregard its author's intentions. Though I may defend this somewhat postmodern move by citing my ignorance of the rich historical situationHamlets of audience and the author's body of work as well as argue such knowledge would be more or less speculative, I'd rather justify my approach as follows: the experienceHamlet of changes with the times. It is an object molded by its viewer/reader, and its meaning and effect do not, in this essay, exist independently of the psychology of a contemporary audience. With the permission of my reader, I'd like to pursue my interpretation of deathHamlet in within such a 1 Published by Digital Showcase @ University of Lynchburg, 2016 1 Agora, Vol.
    [Show full text]
  • SHAKESPEARE Summer School in Verona, Italy, 1-5 July 2019
    SHAKESPEARE Summer School in Verona, Italy, 1-5 July 2019 " in fair Verona, where we lay our scene” Programme Dates: 1-5 July 2019 Convenors Dr Victoria Bladen (University of Queensland, Australia) [email protected] Prof Chiara Battisti (University of Verona) [email protected] Prof Sidia Fiorato (University of Verona) [email protected] Venue Università di Verona, Polo Universitario S. Marta, Via Cantarane, 24, 37129 Verona VR , Room SMT10 www.univr.it/it; http://comunicazione.univr.it/santamarta/index.html Day 1 Monday 1 July 10.00 – 10.30: Welcome to Verona and the summer school: Prof. Alessandra Tomaselli, Head of the Department of Foreign Languages and Literatures – University of Verona; Prof. Matteo de Beni, Head of the Teaching Board of Foreign Languages and Literatures– Department of Foreign Languages – University of Verona. Dr. Victoria Bladen, Prof. Chiara Battisti, Prof. Sidia Fiorato 10.30 – 11.30: Introduction to Shakespeare – Prof. Chiara Battisti and Prof Sidia Fiorato 11.30 – 12.00: Will Power – why we study Shakespeare – Dr Victoria Bladen 12.00 – 12.30: Renaissance cities and Shakespeare - Maddison Kennedy (student, University of Queensland) 12.30 – 1.30: Lunch break 1.30 – 2.00: Introduction to Romeo and Juliet – Dr Victoria Bladen 2.00 – 3.15: Playreading: Romeo and Juliet 3.15 – 3.30: break 3.30 - 5.00: Playreading: Romeo and Juliet continued. Day 2 Tuesday 2 July Shakespeare and Popular Culture 10.00 – 10.30: Shakespeare and Comics– Prof Chiara Battisti 10.30 – 11.00: Shakespeare and Popular Culture – Prof Sidia Fiorato 11.00 – 12.30: Playreading: Romeo and Juliet 12.30 – 1.30: Lunch break Shakespeare and Gender 1.30 –2.00 Masculine Adornment: The Androgyne and Gender Unease in The Two Gentlemen of Verona and Romeo & Juliet – Matthew Huxley (Hons student, University of Queensland) Shakespeare and His Contemporaries 2.00 – 2.30: Shakespeare and Cervantes – Prof.
    [Show full text]
  • MODULE B 2016 William Shakespeare's Hamlet Presents An
    MODULE B 2016 William Shakespeare’s Hamlet presents an accessible and universal protagonist, transcending the boundaries of Theatre and of his contemporaries as a microcosm of Elizabethan England, to dynamically explore the human condition in its psychological and moral complexity. The Aristotelian tragedy succeeds in its investigation to segregate the convoluted ideas of truth and deceit through Shakespeare’s manipulation of imagery to heighten audience comprehension of underlying motivations of particular characters in their autonomous pursuit for truth or deception. With the responsibility of restoring order within a corrupt social milieu, whilst in a seemingly, eternal internal moral struggle with his sense of filial duty, religious piety, and social justice, Hamlet is able to become “an instrument rather than an agent”(Samuel Johnson) in the observation of human intricacies. In order to weed the “unweeded garden”(I.ii.139) of Denmark’s facade, one must study Hamlet, according to Dr Kate Flaherty in Theatre and Metatheatre in Hamlet(2005), as “a play deeply concerned with notions of the play: The power of play, the danger of play and the threshold between play and reality...”, in symbiosis to Shakespeare’s intentional employment of imagery to emphasise the struggle and disillusionment of Hamlet’s dilemma in his endeavour for earth-bound truth. excellent BODY : STUDY OF KING HAMLET’S GHOST / LIGHT AND DARK Audiences are introduced to the conflicting notions of truth and deceit through Shakespeare’s manipulation of light and darkness to explore the initial stages of chaos. Shakespeare’s implementation of the popular conception of supernatural elements in the exposition stage of his play depends on the Elizabethan audience to engage and recognise the reversal of nature as being symptomatic of an unnatural intervention of God’s design-the Great Chain of Being.
    [Show full text]