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PDF Download Hamlet: the Texts of 1603 and 1623 Ebook
HAMLET: THE TEXTS OF 1603 AND 1623 PDF, EPUB, EBOOK William Shakespeare,Ann Thompson,Neil Taylor | 384 pages | 31 May 2007 | Bloomsbury Publishing PLC | 9781904271802 | English | London, United Kingdom Hamlet: The Texts of 1603 and 1623 PDF Book The New Cambridge, prepared by Philip Edwards, also conflated while using the Folio as its base text. It looks like you are located in Australia or New Zealand Close. For your intent In going back to school in Wittenberg, It is most retrograde to our desire, And we beseech you bend you to remain Here in the cheer and comfort of our eye, Our chiefest courtier, cousin, and our son. An innnovative and stimulating contribution. On approval, you will either be sent the print copy of the book, or you will receive a further email containing the link to allow you to download your eBook. This wonderful ternion gives the serious students of Hamlet everything they need to delve deeply into the Dane. You can unsubscribe from newsletters at any time by clicking the unsubscribe link in any newsletter. A beautiful, unmarked, tight copy. By using our website you consent to all cookies in accordance with our Cookie Policy. Password Forgot Password? What says Polonius? While Jonson and other writers labored over their plays, Shakespeare seems to have had the ability to turn out work of exceptionally high caliber at an amazing speed. Gerald D. May show signs of minor shelf wear and contain limited notes and highlighting. Who's there? But, look, the morn in russet mantle clad, Walks o'er the dew of yon high eastern hill. -
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 Global Ophelia
The Global Ophelia: Giving a Voice to the Voiceless Erynn Kim Mrs. Hamilton English IV AP Literature: Global Shakespeare 10 January 2013 Kim 1 A voice is a human gift; it should be cherished and used, to utter fully human speech as possible. Powerlessness and silence go together. -Margaret Atwood “Shakespeare does not belong to any one country” (Huang). These are the words of Dr. Alexander Huang, the man who coined the term “Global Shakespeare.” Indeed, nearly every country in the world has integrated Shakespeare into its culture, using his work in many ways: as a means to discuss controversial issues that, in any other context, would be unable to be discussed; as a medium to understand world cultures; and, overall, as a vehicle for cultures to understand and express themselves. Though accurate translation is important, interpretation is just as vital. The unique perspective of each culture results in many different interpretations of Shakespearean works. Writers, artists, and filmmakers often take poetic liberties in order to prove a particular point or support a certain opinion, using the original as a framework upon which they can build their own creations. Many cultures have chosen to create their own interpretations of Hamlet, most often by reshaping the characters of the original and casting them in a different light. Ophelia, in particular, though a very minor character in the original, has taken many new forms in the works of different cultures, whether from political, social, or literary motivations. The Japanese, Arab, and Chinese cultures have all expanded Ophelia’s role in the Hamlet story in order to emphasize their own unique points. -
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. -
Kurosawa's Hamlet?
Kurosawa’s Hamlet? KAORI ASHIZU In recent years it has suddenly been taken for granted that The Bad Sleep Well (Warui Yatsu Hodo Yoku Nemuru, 1960) should be includ- ed with Kumonosujô and Ran as one of the films which Akira Kuro- sawa, as Robert Hapgood puts it, “based on Shakespeare” (234). However, although several critics have now discussed parallels, echoes and inversions of Hamlet, none has offered any sufficiently coherent, detailed account of the film in its own terms, and the exist- ing accounts contain serious errors and inconsistencies. My own in- tention is not to quarrel with critics to whom I am in other ways in- debted, but to direct attention to a curious and critically alarming situation. I For example, we cannot profitably compare this film with Hamlet, or compare Nishi—Kurosawa’s “Hamlet,” superbly played by Toshirô Mifune—with Shakespeare’s prince, unless we understand Nishi’s attitude to his revenge in two crucial scenes. Yet here even Donald Richie is confused and contradictory. Richie first observes of the earlier scene that Nishi’s love for his wife makes him abandon his revenge: “she, too, is responsible since Mifune, in love, finally de- cides to give up revenge for her sake, and in token of this, brings her a [ 71 ] 72 KAORI ASHIZU bouquet . .” (142).1 Three pages later, he comments on the same scene that Nishi gives up his plan to kill those responsible for his father’s death, but determines to send them to jail instead: The same things may happen (Mori exposed, the triumph of jus- tice) but the manner, the how will be different. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
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. -
INEMA INTERNATIONAL Students, Faculty, Staff and the Community Are Invited • ADMISSION IS FREE • Donations Welcome 7:30 P.M
MURRAY STATE UNIVERSITY • Spring 2017 INEMA INTERNATIONAL Students, faculty, staff and the community are invited • ADMISSION IS FREE • Donations Welcome 7:30 p.m. Thursday, Friday and Saturday evenings • Curris Center Theater JAN. 26-27-28 • USA, 1992 MARCH 2-3-4 • USA, 2013 • SHAKESPEARE FESTIVAL THUNDERHEART WARM BODIES Dir. Michael Apted With Val Kilmer, Sam Shephard, Graham Greene. Dir. Jonathan Levine, In English and Sioux with English subtitles. Rated R, 119 mins. With Nicholas Hoult, Dave Franco, Teresa Palmer, Analeigh Tipton, John Malkovich Thunderheart is a thriller loosely based on the South Dakota Sioux Indian In English, Rated PG-13, 98 mins. uprising at Wounded Knee in 1973. An FBI man has to come to terms with his mixed blood heritage when sent to investigate a murder involving FBI A romantic horror-comedy film based on Isaac Marion's novel of the same agents and the American Indian Movement. Thunderheart dispenses with name. It is a retelling of the Romeo and Juliet love story set in an apocalyptic clichés of Indian culture while respectfully showing the traditions kept alive era. The film focuses on the development of the relationship between Julie, a on the reservation and exposing conditions on the reservation, all within the still-living woman, and "R", a zombie…A funny new twist on a classic love story, conventions of an entertaining and involving Hollywood murder mystery with WARM BODIES is a poignant tale about the power of human connection. R a message. (Axmaker, Sean. Turner Classic Movies 1992). The story is a timely exploration of civil rights issues and Julie must find a way to bridge the differences of each side to fight for a that serves as a forceful indictment of on-going injustice. -
By William Shakespeare | Directed by Annie Lareau
By William Shakespeare | Directed by Annie Lareau All original material copyright © Seattle Shakespeare Company 2015 WELCOME Dear Educators, Touring acting companies already had a long history in Shakespeare’s time. Before 1576, there were no theaters in England, and so all actors would travel from town to town to perform their plays. Travel was difficult in Elizabethan England. Not only was the travel slow, but there were dangers of getting attacked by thieves or of catching the plague! Traveling troupes of actors were sponsored by the nobility, who enjoyed the entertainment they provided. They would need a license from a Bailiff to be able to travel around England performing, and these licenses were only granted to the aristocracy for them to maintain their acting troupes. The actors also needed support from their patrons to be able to wear clothing of the nobility! England’s Sumptuary Laws prohibited anyone from wearing clothing above their rank unless they were given to them and approved by their noble patron. Today, much has changed in how we tour our Shakespearean plays, but there are still many similarities between our tour and those early acting troupes. We travel from town to town across the state of Washington, battling long drives, traffic, and snow in the mountain passes to get there safely and perform for the enjoyment of our audiences. We also could not do this tour without the generous support of our own sponsors, who help underwrite our travel, support scholarships for schools in need, and help us pay for costume and set upgrades. Just like the Elizabethan acting troupes, we could not do it without support from our generous, Shakespeare-loving patrons! Thank you for booking a Seattle Shakespeare Company touring show at your school. -
Akira Kurosawa's Lear: Ran and the Failure of the Samurai Ethic
1 Akira Kurosawa’s Lear: Ran and the Failure of the Samurai Ethic “Cineaste: You mentioned in an interview in a Japanese magazine that in Ran you wanted to depict a man’s karma from a “heavenly” viewpoint. Will you elaborate? Akira Kurosawa: I did not exactly say that. Japanese reporters always misunderstand or conveniently summarize what I really say. What I meant was that some of the essential scenes of this film are based on my wondering how God and Buddha, if they actually exist, perceive this human life, this mankind stuck in the same absurd behavior patterns. Kagemusha is made from the viewpoint of one of Kagemusha [shadow warrior—ed.] who sees the specific battles which he is involved in, and moreover the civil war period in general, from a very circumscribed point of view. This time, in Ran, I wanted to suggest a larger viewpoint . more objectively. I did not mean that I wanted to see through the eyes of a heavenly being. I believe that the world would not change even if I made a direct statement: do this and do that. Moreover, the world will not change unless we steadily change human nature itself and our very way of thinking. We have to exorcise the essential evil in human nature, rather than presenting concrete solutions to problems or directly depicting social problems. Therefore, my films might have become more philosophical.” + + + Just as Kurosawa reworked Shakespeare’s Macbeth in his Throne of Blood and reworked the main themes and characters of Hamlet in The Bad Sleep Well, Kurosawa in the last phase of his career chose to rework King Lear in his film Ran (or “Chaos”). -
Shakespeare Wallah
Shakespeare and Film 1910 The film The shortest The film adaptation 1913 Taming of of Hamlet, only the Shrew, 59 minutes, was starring released. 1929 Mary Pickford & Douglas Fairbanks, was the first ‘talkie’ version of a Khoon Ka Khoon (Blood Shakespeare play. for Blood) or Hamlet, 1930 directed by Sohrab Modi, was the first Hindi/Urdu sound film adaptation of a Shakespeare play. 1935 The adaptation 1936 of As You Like It The first television marked the first broadcast of Shakespeare appearance 1937 was on 5 February 1937. of Laurence The BBC broadcast an Olivier as a character in a 11-minute scene from Shakespearean film. As You Like It, starring Margaretta Scott as Rosalind and Ion 1940 Swinley as Orlando. Laurence Olivier’s adaptation of Henry V 1944 was an attempt to boost morale and patriotism “This is the during the Second World War. tragedy of a 1948 man who could not make up his mind…” —From the spoken prologue of Laurence Olivier’s version of Hamlet. 1950 1952 Orson Welles directed “Look upon the ruins/ Of and starred in his film the castle of delusion.” adaptation of Othello. —Lines from the prologue 1957 of the Japanese adaptation of The Bad Sleep Well, a Macbeth, Japanese film involving Kumonosu-jÔ 1960 corporate greed and (Throne of Blood). vengeance, is released as a loose adaptation 1960 of Hamlet. Shakespeare Wallah, though not an adaptation of a play, features a fictional theater troupe The Swedish film Elvira in India that performs 1965 Madigan was reminiscent Shakespeare plays in of Romeo and Juliet, towns across the nation. -
Night Papers V on the Labyrinthitis Stuff By: —Joanna Fiduccia State of Curating Aaron Wrinkle • Brad Phillips • I
LOS ANGELES | 2014 NIGHT GALLERY | 2276 E . 16TH ST. NIGHT PAPERS V ON THE LABYRINTHITIS STUFF BY: —JOANNA FIDUCCIA STATE OF CURATING AARON WRINKLE • BRAD PHILLIPS • I. RADIO HOUR M. CAY CASTAGNETTO • TODAY P6. JPW3 • coutez... Faites silence. Robert Desnos bids you listen — BOB NICKAS & ALLANA DEL RAY SAMANTHA COHEN • and be still, for the evening of Fantômas is beginning. It ZACH HARRIS • is November 3, 1933, and your rhapsode is as far away & MORE Eand near at hand as any voice on the radio — in this case, Radio Paris, which has marshaled its resources to present Desnos’s I MAY BE CRAZY BUT I’M NOT STUPID “Complainte de Fantômas.” A lyrical account of the crimes of the — JOHNNIE JUNGLEGUTS vagabond Fantômas, scheduled to coincide with the release of a P12. new episode in the popular series by Marcel Allain and Pierre Souvestre, Desnos’s poem is an advertisement with an outsize avant-garde pedigree (Kurt Weill composed the background music; Antonin Artaud directed and read the role of Fantômas) that would induct him into minor radio personality fame. The poet had been initiated into the blind art some three years earlier by a young entrepreneur and radio enthusiast by the name of Paul Deharme. Deharme, perhaps more than any of the other lapsed Surrealists that would follow in his path, was devoted to the radio’s novel artistic possibilities. In March 1928, he published “Proposition pour un art radiophonique,” a strangely matter-of-fact manifesto on the potentials of this new “wireless art,” combining a semi-digested Freud with a list of techniques to produce visions in the listener — the use of the present indicative, background music, adherence to chronology, and so forth.