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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. -
Fortinbras Program
THE MIT COMMUNITY PLAYERS PRESENT FORTINBRAS BY LEE BLESSING THURSDAY–SATURDAY, MAY 22-24, 1997 KRESGE LITTLE THEATRE ON THE MIT CAMPUS FORTINBRAS by Lee Blessing *Produced by special arrangement with Baker’s Plays The Persons of the Play Fortinbras ...................................... Steve Dubin Hamlet ........................................... Greg Tucker (S) Osric .............................................. Ian Dowell (A) Horatio........................................... Matt Norwood ’99 Ophelia .......................................... Erica Klempner (G) Claudius ........................................ Ben Dubrovsky (A) Gertrude ........................................ Anne Sechrest (affil) Laertes .......................................... Randy Weinstein (G) Polonius......................................... Peter Floyd (A, S) Polish Maiden 1............................. Alice Waugh (S) Polish Maiden 2............................. Anna Socrates Captain .......................................... Jim Carroll (A) English Ambassador ..................... Alice Waugh (S) Marcellus....................................... Eric Lindblad (G) Barnardo ....................................... Russell Miller ’00 The Scenes of the Play Act I: Elsinore — ten minute intermission — Act II: Still Elsinore (“S” indicates MIT staff member, “G” indicates graduate student, “A” indicates alumnus, and “affil” indicates affiliation with a member of the MIT community). Behind the Scenes Director............................................. Ronni -
The Story O/Hamlet
Thestory o/Hamlet The guards of ElsinoreCastle in Denmark have scen a Ghoston the bardcmenrs.Ir lookslike rhe fatherof prince -l'hev Hamlet who died only rwo monrhs bcfore. ask Horario.a youngnobleman and a friendof rhe prrnie, ro watchwith them and to talk to the Ghost.rffhen it appears. it doesnot speak, and disappears from sight. The new King of Denrnark Thc new King ofDenmark is Claudius,Hamler's uncle who hasjust ma[ied the Prince'smother, Gertrude.He allows Laertes,the son of his Lord Chamberlain,polonius. to rcturnto Parrsand urges Hamlel to castoff hismournine. Hamletis srill disrrcssed by his tarher'sdearh and decplv upsel that his mother has marriedbarelv t*o m,rnrh, afterwards.He longsfor deathand cundemnshis mother 'Fraihy, with the words, rhy nameis woman., Hamlet's lorying for death O! that this too too sol llesh toutrt nelt, ThalL)and r.sobe itseu inb a dn) . IInr ueary, shle,tat, and u,tfrolitubb Seemb mea fie usesof rhis;^orLl. Acrr Scii Poloniusbids farewellto hisson.advising him on howa youngman shouldbehave. Polonius's advice to his son l,leithera bonote4 nor a lealer be; Forloa ofi tosesbofi ilsetf dndfri.n t, And bonuA s dul\ th, eds ol hu,bart,j. Thr oboreall. to rhnc mv sctlbe rruc, And mustfoll@^, ttsthe nigtu rheda|, Thoucanst not fien befalse to anJma . Act r Sciii A ghostly rneeting Hamlet,meanwhile, has gone ro the castlebattlcments with Horatio. Vhen the Ghosrappears, he speaksro Hamlel, as the spirit of his dead farhcr. The Ghosrrells how he was l14 hr\ asks.llrrnltt 1o rcvtntle murdcrcd h\ (lhudius lnd lecp thc mcctingsccrer i""ii.-ii"*r",':i;.'. -
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. -
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. -
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. -
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. -
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. -
Language, Humour, Character, and Persona in Shakespeare
Language, Humour, Character, and Persona in Shakespeare Arthur Henry King The rst Oxford English Dictionary (hereafter OED)1 use of “character” as “a personality invested with distinctive attributes and qualities by a novelist or dramatist” is in Fielding’s Tom Jones (1749). OED does not list the Theophrastian2 use reected in sixteenth- and seventeenth-century character-sketches, for example Ben Jonson’s play, Every Man Out of His Humour, “the characters of the persons” (1599),3 those in the then current satires, and in translations and collections.4 Another OED entry under character, “personal appearance” (entry 10) correctly interprets Twelfth Night 1.02.51 “outward character”; but that phrase implies “inward character” too, and OED misinterprets Coriolanus 5.04.26 as the outward sense; but “I paint him in the character” refers to this description of Coriolanus (16-28): He no more remembers his mother now than an eight-year-old horse. The tartness of his face sours ripe grapes. When he walks, he moves like an engine, and the ground shrinks before his treading. He is able to pierce a corslet with his eye, talks like a knell, and his hum is a battery. He sits in his state, as a thing made for Alexander. What he bids be done is nish’d with his bidding. He wants nothing of a god but eternity and a heaven to throne in. I paint him in the character. There is no more mercy in him than there is milk in a male tiger. Compare Coriolanus 2.01.46-65, where Menenius sketches an ironical “character” of himself and makes “character” statements about the tribunes: I am known to be a humorous patrician, and one that loves a cup of hot wine with not a drop of allaying Tiber in’t; said to be something imperfect in favoring the rst complaint, hasty and tinder-like upon too trivial motion; one that converses more with the buttock of the night than with the forehead of the morning. -
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. -
Front Matter
Cambridge University Press 978-1-107-13550-5 — 'Hamlet' and World Cinema Mark Thornton Burnett Frontmatter More Information ‘HAMLET’ AND WORLD CINEMA ‘Hamlet’ and World Cinema reveals a rich history of cinematic pro- duction extending around the globe. Making a case for Hamlet as the world’s most frequently filmed text, and using specially commis- sioned interviews with cast, directors and screenwriters, it discusses films from Africa, Asia, Europe, Latin America and the Middle East. The book argues that the play has been taken up by filmmakers worldwide to allegorize the energies, instabilities, traumas and expec- tations that have defined the twentieth and twenty-first centuries. In so doing, it rejects the Anglophone focus which has dominated criticism up to now and explores instead the multiple constituencies that have claimed Shakespeare’s most celebrated work as their own. ‘Hamlet’ and World Cinema uncovers a vital part of the adaptation story. This book facilitates a fresh understanding of Shakespeare’s cinematic significance and newly highlights Hamlet’s political and aesthetic instrumentality in a vast range of local and global contexts. mark thornton burnett is Professor of Renaissance Studies at Queen’s University Belfast and Director of the Sir Kenneth Branagh Archive. He is the author of Masters and Servants in English Renaissance Drama and Culture (1997), Constructing ‘Monsters’ in Shakespearean Drama and Early Modern Culture (2002), Filming Shakespeare in the Global Marketplace (2007; 2nd edn 2012) and Shakespeare and World Cinema (Cambridge University Press, 2013). His co-edited publications include Shakespeare, Film, Fin de Siècle (2000), Screening Shakespeare in the Twenty-First Century (2006) and Filming and Performing Renaissance History (2011). -
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.