Hamletmachine the Objective Real and the Subjective Fantasy
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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. -
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. -
Hamletmachine” by Heiner Müller
Journal of History Culture and Art Research (ISSN: 2147-0626) Tarih Kültür ve Sanat Araştırmaları Dergisi Vol. 8, No. 4, December 2019 DOI: 10.7596/taksad.v8i4.2381 Citation: Kolpakova, S. G., Gataullina, V. L., & Smyslova, E. V. (2019). Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller. Journal of History Culture and Art Research, 8(4), 313-319. doi:http://dx.doi.org/10.7596/taksad.v8i4.2381 Historical and Political Allusions in the Drama “Hamletmachine” by Heiner Müller Svetlana Georgievna Kolpakova1 Veronika Lubimovna Gataullina2 Ekaterina Vladimirovna Smyslova3 Abstract In terms of postmodernism а classical plot becomes more active, mobile and begins to travel through the cultural discourses in different social and political channels, thereby indirectly achieving its full inner creative potential in the minds of "postmodern" readers. The paper focuses on Müller’s "Hamletmachine" which uses the Shakespearean plot. The authors of the article explore the new features introduced by the writer into the classic plot by placing it in postmodern principles (game, changes of meanings, rhizome, blissful ignorance of consumer society) which are woven together in a syncretic way. Müller masterfully uses these devices to transmit the political ideas and describe the history of communism and the historical events. The comparative method in combination with complex descriptive analysis of the text is chosen as the main methodology. The aim of the study is to find out what purposes and what political events Müller involves -
Hamlet-Production-Guide.Pdf
ASOLO REP EDUCATION & OUTREACH PRODUCTION GUIDE 2016 Tour PRODUCTION GUIDE By WILLIAM SHAKESPEARE ASOLO REP Adapted and Directed by JUSTIN LUCERO EDUCATION & OUTREACH TOURING SEPTEMBER 27 - NOVEMBER 22 ASOLO REP LEADERSHIP TABLE OF CONTENTS Producing Artistic Director WHAT TO EXPECT.......................................................................................1 MICHAEL DONALD EDWARDS WHO CAN YOU TRUST?..........................................................................2 Managing Director LINDA DIGABRIELE PEOPLE AND PLOT................................................................................3 FSU/Asolo Conservatory Director, ADAPTIONS OF SHAKESPEARE....................................................................5 Associate Director of Asolo Rep GREG LEAMING FROM THE DIRECTOR.................................................................................6 SHAPING THIS TEXT...................................................................................7 THE TRAGEDY OF HAMLET CREATIVE TEAM FACT IN THE FICTION..................................................................................9 Director WHAT MAKES A GHOST?.........................................................................10 JUSTIN LUCERO UPCOMING OPPORTUNITIES......................................................................11 Costume Design BECKI STAFFORD Properties Design MARLÈNE WHITNEY WHAT TO EXPECT Sound Design MATTHEW PARKER You will see one of Shakespeare’s most famous tragedies shortened into a 45-minute Fight Choreography version -
The Dramatic Space of Hamlet's Theatre
Acta Universitatis Sapientiae, Philologica, 4, 1 (2012) 59-75 “The Play’s the Thing” The Dramatic Space of Hamlet’s Theatre Balázs SZIGETI Eötvös Loránd University Department of English Studies [email protected] Abstract. In my paper I investigate the use of the dramatic space in Shakespeare’s Hamlet. The tragedy will be observed with the method of “pre-performance criticism,” which first and foremost makes use of the several potentials a play contains and puts on display before an actual performance; it offers, also in the light of the secondary literature, various ways of interpretation, resulting from the close-reading of the play and considers their possible realizations in the space of the stage both from the director’s and the actor’s point of view, including the consequences the respective lines of interpretation may have as regards the play as a whole. Hamlet does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and scrutinises the very interaction between the dramatic space and the realm of the audience. I will discuss the process how Hamlet makes use of his private theatre and how the dramatic space is transformed as The Murder of Gonzago turns into The Mousetrap-performance. Keywords: Hamlet; The Mousetrap; dramatic space; pre-performance criticism Shakespeare’s Hamlet1 does not only raise the questions of the theatrical realization of a play but it also reflects on the ontology of the dramatic space by putting the performance of The Mousetrap-play into one of its focal points and 1 In the present paper I quote the play according to the Norton Shakespeare edition (Greenblatt et. -
Armenian State Chamber Choir
Saturday, April 14, 2018, 8pm First Congregational Church, Berkeley A rm e ni a n State C h am b e r Ch oir PROGRAM Mesro p Ma s h tots (362– 4 40) ༳ཱུའཱུཪཱི འཻའེཪ ྃཷ I Knee l Be for e Yo u ( A hym n f or Le nt) Grikor N ar e k a tsi ( 9 51–1 0 03) གའཽཷཱཱྀུ The Bird (A hymn for Easter) TheThe Bird BirdBir d (A (A(A hymn hymnhym forn for f oEaster) rEaster) East er ) The Bird (A hymn for Easter) K Kom itas (1869–1 935) ཏཷཱྀཿཡ, ོཷཱྀཿཡ K K K Holy, H oly གའཿོའཱུཤའཱུ ཤཿརཤཿ (ཉའཿ ༳) Rustic Weddin g Son g s (Su it e A , 1899 –1 90 1) ༷ཿཱུཪྀ , རཤཾཱུཪྀ , P Prayer r ayer ཆཤཿཪ ེའཱུ འཫའཫ 7KH%UL The B ri de’s Farewell ༻འརཽཷཿཪ ཱིཤཿ , ལཷཛཱྀོ འཿཪ To the B ride g room ’s Mo th er ༻འརཽཷཿ ཡའཿཷཽ 7KH%ULGH The Bridegroom’s Blessing ཱུ༹ ལཪཥའཱུ , BanterB an te r ༳ཱཻུཤཱི ཤཿཨའཱི ཪཱི ུའཿཧ , D ance ༷ཛཫ, ཤཛཫ Rise Up ! (1899 –190 1 ) གཷཛཽ འཿཤྃ ོའཿཤཛྷཿ ེའཱུ , O Mountain s , Brin g Bree z e (1913 –1 4) ༾ཷཻཷཱྀ རཷཱྀཨའཱུཤཿར Plowing Song of Lor i (1902 –0 6) ༵འཿཷཱཱྀུ Spring Song(190 2for, P oAtheneem by Ho vh annes Hovh anisyan) Song for Athene Song for Athene A John T a ve n er (19 44–2 013) ThreeSongSong forfSacredor AtheneAth Hymnsene A Three Sacred Hymns A Three Sacred Hymns A Three Sacred Hymns A Alfred Schn it tke (1 934–1 998) ThreeThree SacredSacred Hymns H ymn s Богородиц е Д ево, ра д уйся, Hail to th e V irgin M ary Господ и поми луй, Lord, Ha ve Mercy MissaОтч Memoriaе Наш, L ord’s Pra yer MissaK Memoria INTERMISSION MissaK Memoria Missa Memoria K K Lullaby (from T Lullaby (from T Sure on This Shining Night (Poem by James Agee) Lullaby (from T SureLullaby on This(from Shining T Night (Poem by James Agee) R ArmenianLullaby (from Folk TTunes R ArmenianSure on This Folk Shining Tunes Night (Poem by James Agee) Sure on This Shining Night (Poem by James Agee) R Armenian Folk Tunes R Armenian Folk Tunes The Bird (A hymn for Easter) K Song for Athene A Three Sacred Hymns PROGRAM David Haladjian (b. -
The Historian-Filmmaker's Dilemma: Historical Documentaries in Sweden in the Era of Häger and Villius
ACTA UNIVERSITATIS UPSALIENSIS Studia Historica Upsaliensia 210 Utgivna av Historiska institutionen vid Uppsala universitet genom Torkel Jansson, Jan Lindegren och Maria Ågren 1 2 David Ludvigsson The Historian-Filmmaker’s Dilemma Historical Documentaries in Sweden in the Era of Häger and Villius 3 Dissertation in History for the Degree of Doctor of Philosophy presented at Uppsala University in 2003 ABSTRACT Ludvigsson, David, 2003: The Historian-Filmmaker’s Dilemma. Historical Documentaries in Sweden in the Era of Häger and Villius. Written in English. Acta Universitatis Upsalien- sis. Studia Historica Upsaliensia 210. (411 pages). Uppsala 2003. ISSN 0081-6531. ISBN 91-554-5782-7. This dissertation investigates how history is used in historical documentary films, and ar- gues that the maker of such films constantly negotiates between cognitive, moral, and aes- thetic demands. In support of this contention a number of historical documentaries by Swedish historian-filmmakers Olle Häger and Hans Villius are discussed. Other historical documentaries supply additional examples. The analyses take into account both the produc- tion process and the representations themselves. The history culture and the social field of history production together form the conceptual framework for the study, and one of the aims is to analyse the role of professional historians in public life. The analyses show that different considerations compete and work together in the case of all documentaries, and figure at all stages of pre-production, production, and post-produc- tion. But different considerations have particular inuence at different stages in the produc- tion process and thus they are more or less important depending on where in the process the producer puts his emphasis on them. -
Ruggeri's Amleto
© Luke McKernan 2004 RUGGERO RUGGERI’S AMLETO Notre Dame Shakespeare Festival, University of Notre Dame, South Bend, USA 4 November 2004 Luke McKernan Of all the products of the first thirty years of cinema, when films were silent, perhaps none were so peculiar, so intriguing, and in their way so revealing of the temper of the medium in its formative years, as silent Shakespeare films. Shakespeare in the cinema is enough of a challenge for some people; what about Shakespeare on film when you can’t hear any of the words? The film you are to see this evening is one of two hundred or more Shakespeare films that were made in the silent period of cinema. You are seeing it because it has survived (when so many films from this time have not), because it is a rarity scarcely known even by those who are expert in this area, and because it is a good and interesting film. Not a great film, but arguably the best silent Shakespeare film that exists. It is certainly a film that needs to be much better known. To those who may never have seen a silent film before, be assured that even if you can’t hear the words you will be able to read them, as such films commonly have on-screen titles throughout, and in performance they were never silent as such in any case – for you had music. Silent Shakespeare I said that more than two hundred silent Shakespeare films were made, and that is true, but few of these were feature-length, that is, an hour or more, such as this evening’s attraction. -
Metacriticism in Salman Rushdie's Short Story Yorick*
Hacettepe Üniversitesi Edebiyat Fakültesi Dergisi Hacettepe University Journal of Faculty of Letters Cilt/Volume: 35 Sayı/Number:1 Haziran/June 2018 doi:10.32600/huefd.438142 Metacriticism in Salman Rushdie’s Short Story Yorick* Salman Rushdie’nin Yorick Adlı Kısa Öyküsünde Üsteleştiri Seda ARIKAN** Abstract Salman Rushdie is mostly known for his usage of new techniques especially those of postmodernism. In his short story collection East, West, besides many postmodern techniques such as pastiche, parody, and metafiction, his focus on metacriticism is apparent in the short story titled “Yorick”. Rushdie’s “Yorick” that is based on an invented story about the character Yorick, the dead clown whose skull Prince Hamlet handles and makes his famous speech in Hamlet, appears as an example of creative metacriticism that depicts the place and function of literary criticism in a fictional work. Referring to theoretical criticisms of Hamlet, such as psychoanalysis and social theories, Rushdie uses criticism of literary criticism in his short story “Yorick”. Thus, he adds his postmodern interpretation into the analyses of literary criticism since antiquity. This study will firstly focus on the theoretical background of metacriticism, in general, and creative metacritcism, in particular. Later on, it will try to find out the traces of creative metacriticism in Rushdie’s short story “Yorick” in which he also deals with metafiction, the role of the writer, the function of the reader, writer- critic-reader collaboration, the objectivity or subjectivity of literary criticism, creative writing or creative reading, and the truth in storytelling. Analysing how metacriticism operates in the story, finally Rushdie’s ideas on what literary criticism is and should be will be clarified. -
Tragic Excess in Hamlet JEFFREY WILSON Downloaded from by Harvard Library User on 14 August 2019
107 Tragic Excess in Hamlet JEFFREY WILSON Downloaded from https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 by Harvard Library user on 14 August 2019 August 14 on user Harvard Library by https://academic.oup.com/litimag/article-abstract/21/2/107/5450064 from Downloaded “Be thou familiar, but by no means vulgar,” the aging Polonius councils his son Laertes in William Shakespeare’s Hamlet (1.3.60). Polonius proceeds with several additional “precepts” (1.3.57) which similarly promote the Aristotelian ideal of the golden mean, a cultural commonplace of the early-moden age which valorized the perfect middle ground between two extremes: Beware Of entrance to a quarrel; but being in, Bear’t that the opposed may beware of thee.... Costly thy habit as thy purse can buy, But not expressed in fancy; rich, not gaudy. (1.3.64–70) Polonius goes on (and on), but the principle is clear. Don’t be too hot, but don’t be too cold. Don’t be too hard, but don’t be too soft. Don’t be too fast, but don’t be too slow. In each of these formulations, there is no substantive ethical good other than moderation. Virtue is thus fundamentally relational, determined by the extent to which it balances two extremes which, as extremes, are definitionally unethical. “It is no mean happiness, therefore, to be seated in the mean,” as Shakespeare wrote in The Merchant of Venice (1.2.6–7).1 More generally, in Hamlet,ShakespeareparalleledthesituationsofHamlet, Laertes, and Fortinbras (the father of each is killed, and each then seeks revenge) to promote the virtue of moderation: Hamletmovestooslowly,Laertestooswiftly— and they both die at the end of the play—but Fortinbras represents a golden mean which marries the slowness of Hamlet with the swiftness of Laertes. -
Building Fences in Pantomime Performance in Malta by Marco Galea
The Pantomime Other: Building Fences in Pantomime Performance in Malta by Marco Galea Introduction Malta is an island-state at the southern-most tip of Europe. Being roughly equidistant between Sicily to the north and Libya to the south, and because of a history that involved interactions with Europeans, Africans and people from the Near East, the Maltese could not easily be defined by foreigners who visited or settled on the island. Travel writings from the seventeenth to the nineteenth centuries show the struggle that their authors faced to describe the indigenous population; however, this quote from William Lithgow in 1612 is quite typical: The peasant or natural inhabitants are of the Affrican complexion, tanny and sun-burnt; and their language semblable to the Barbarian 1 speech. These rural Maltezes are extremely bent, in all their actions, either to good or evill wanting fortitude of minde, and civil discretion, they can not temper the violent humours of their passions, but as the headstrong tide, so their dispositions runne, in the superfluous excesse of affections. They follow the Romane Church, though ignorant of the way (quoted in Freller 2009, 403-405). European travellers and colonisers created a narrative that described the Maltese as non-European, or at best as a population inhabiting the extreme periphery of Europe and possessing only some qualities usually found in European communities. Throughout the centuries, the Maltese population, or at least that small part of the population that had access to education and had acquired 1 Presumably “Barbarian” refers to the languages spoken in the Maghreb region. -
Hamlet As Shakespearean Tragedy: a Critical Study
SHAKESPEAREAN TRAGEDY HAMLET AS SHAKESPEAREAN TRAGEDY: A CRITICAL STUDY Rameshsingh M.Chauhan ISSN 2277-7733 Assistant Professor, Volume 8 Issue 1, Sardar Vallabhbhai Vanijya Mahavidyalaya,Ahmedabad June 2019 Abstract Hamlet is often called an "Elizabethan revenge play", the theme of revenge against an evil usurper driving the plot forward as in earlier stage works by Shakespeare's contemporaries, Kyd and Marlowe, as well as by the .As in those works avenging a moral injustice, an affront to both man and God. In this case, regicide (killing a king) is a particularly monstrous crime, and there is no doubt as to whose side our sympathies are disposed. The paper presents the criticism of Hamlet as Shakespearean tragedy. Keywords: Hamlet, Tragedy, Shakespeare, Shakespearean Tragedy As in many revenge plays, and, in fact, several of Shakespeare's other tragedies (and histories), a corrupt act, the killing of a king, undermines order throughout the realm that resonates to high heaven. We learn that there is something "rotten" in Denmark after old Hamlet's death in the very first scene, as Horatio compares the natural and civil disorders that occurred in Rome at the time of Julius Caesar's assassination to the disease that afflicts Denmark. These themes and their figurative expression are common to the Elizabethan revenge play genre in which good must triumph over evil.Throughout Hamlet we encounter a great deal of word play, Shakespeare using a vast number of multivalent terms ranging from gross puns to highly-nuanced words that evoke a host of diverse associations and images. While Hamlet can tell this difference between a "hawk and a handsaw," the play challenges the assumption that language itself can convey human experience or hold stable meaning.