HAMLET by William Shakespeare O Na Dark Winter Night, a Ghost
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View in Order to Answer Fortinbras’S Questions
SHAKESPEAREAN VARIATIONS: A CASE STUDY OF HAMLET, PRINCE OF DENMARK Steven Barrie A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Committee: Dr. Stephannie S. Gearhart, Advisor Dr. Kimberly Coates ii ABSTRACT Dr. Stephannie S. Gearhart, Advisor In this thesis, I examine six adaptations of the narrative known primarily through William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark to answer how so many versions of the same story can successfully exist at the same time. I use a homology proposed by Gary Bortolotti and Linda Hutcheon that explains there is a similar process behind cultural and biological adaptation. Drawing from the connection between literary adaptations and evolution developed by Bortolotti and Hutcheon, I argue there is also a connection between variation among literary adaptations of the same story and variation among species of the same organism. I determine that multiple adaptations of the same story can productively coexist during the same cultural moment if they vary enough to lessen the competition between them for an audience. iii For Pam. iv ACKNOWLEDGMENTS I would like to thank my advisor, Stephannie Gearhart, for being a patient listener when I came to her with hints of ideas for my thesis and, especially, for staying with me when I didn’t use half of them. Her guidance and advice have been absolutely essential to this project. I would also like to thank Kim Coates for her helpful feedback. She has made me much more aware of the clarity of my sentences than I ever thought possible. -
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 Tragedie of Hamlet, Prince of Denmarke (Open Library) 4/18/12 3:12 PM
The tragedie of Hamlet, Prince of Denmarke (Open Library) 4/18/12 3:12 PM Log in / Sign Up SUBJECTS AUTHORS ADD A BOOK Search LISTS RECENTLY ABOUT US One web page for every book. Show only eBooks More search options Last edited anonymously The tragedie of Hamlet, Prince of Denmarke: a March 28, 2012 | History Edit study with the text of the folio of 1623 661 editions By William Shakespeare About the Book The play, set in the Kingdom of Denmark, recounts how Prince Hamlet exacts revenge on his uncle Claudius for murdering the old King Hamlet, Claudius's own brother and Prince Hamlet's father, and then succeeding to the throne and marrying Gertrude, the King Hamlet's widow and mother of Prince Hamlet. The play vividly charts the course of real and feigned madness—from overwhelming grief to seething rage—and explores themes of treachery, revenge, incest, and moral corruption. - Wikipedia SUBJECTS Drama, Princes, Hamlet (Legendary character), Revenge, Murder victims' families, Kings and rulers, Death, Fathers, Succession, Bibliography, Textual Criticism, Quartos, Plays, Regicides, Stage history, English literature, Sources, Juvenile drama, History and criticism, Motion pictures, Hamlet (Motion picture: 1948), Juvenile literature, Criticism and interpretation, Study and teaching, Production and direction, Tragedy, Adaptations, Translations into Russian, Translating into Russian, Collections, Inheritance and succession, Britons, Translations into French, Paper toy making, English Plays, Aging Manage Covers parents, Outlines, syllabi, Scripts, -
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. -
Identity and Role-Playing in Shakespeare's Hamlet
The Mask of Madness: Identity and Role-playing in Shakespeare’s Hamlet Treball de Fi de Grau Grau en Estudis Anglesos Supervisor: Dr Jordi Coral Escola Anna Fluvià Sabio June 2016 Acknowledgments Throughout the writing of this TFG, I have benefited from the advice of Dr Jordi Coral Escola. I am very grateful for his constant support, suggestions and corrections. I would also like to thank my family and friends for having been extremely supportive and encouraging during this process. Table of Contents Introduction ...................................................................................................................... 2 Madness as a Key Theme in Elizabethan Drama.......................................................... 3 The Spanish Tragedy and Hamlet ................................................................................. 4 Chapter 1: Madness .......................................................................................................... 6 1.1 Origins of his Madness ........................................................................................... 6 1.2 Assuming the Role of the Madman ...................................................................... 10 Chapter 2: Theatricality .................................................................................................. 13 2.1 Hamlet’s Role ....................................................................................................... 13 2.2 Metadramatic Elements in the Play ..................................................................... -
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. -
Hamlet (The New Cambridge Shakespeare, Philip Edwards Ed., 2E, 2003)
Hamlet Prince of Denmark Edited by Philip Edwards An international team of scholars offers: . modernized, easily accessible texts • ample commentary and introductions . attention to the theatrical qualities of each play and its stage history . informative illustrations Hamlet Philip Edwards aims to bring the reader, playgoer and director of Hamlet into the closest possible contact with Shakespeare's most famous and most perplexing play. He concentrates on essentials, dealing succinctly with the huge volume of commentary and controversy which the play has provoked and offering a way forward which enables us once again to recognise its full tragic energy. The introduction and commentary reveal an author with a lively awareness of the importance of perceiving the play as a theatrical document, one which comes to life, which is completed only in performance.' Review of English Studies For this updated edition, Robert Hapgood Cover design by Paul Oldman, based has added a new section on prevailing on a draining by David Hockney, critical and performance approaches to reproduced by permission of tlie Hamlet. He discusses recent film and stage performances, actors of the Hamlet role as well as directors of the play; his account of new scholarship stresses the role of remembering and forgetting in the play, and the impact of feminist and performance studies. CAMBRIDGE UNIVERSITY PRESS www.cambridge.org THE NEW CAMBRIDGE SHAKESPEARE GENERAL EDITOR Brian Gibbons, University of Munster ASSOCIATE GENERAL EDITOR A. R. Braunmuller, University of California, Los Angeles From the publication of the first volumes in 1984 the General Editor of the New Cambridge Shakespeare was Philip Brockbank and the Associate General Editors were Brian Gibbons and Robin Hood. -
Jesting with Death: Hamlet in the Graveyard
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RERO DOC Digital Library To be published in: Textual practice, 2010, 24(6), 1003-1018 which should be cited to refer to this work. Indira Ghose Jesting with Death: Hamlet in the Graveyard When Eric Morecambe appeared on stage dressed entirely in black, nursing a skull, even the slightly obtuse Ernie immediately realized what was in the offing: Shakespeare’s Hamlet. The image of Hamlet holding a skull has become iconic for the play itself. In popular memory, it is linked to the other signpost of the play, the tagline ‘To be or not to be’. What is often forgotten is the fact that the skull only surfaces in the graveyard scene, in which the Prince meditates on death and engages in a battle of wits with a gravedigger. Ironically, it is precisely the graveyard episode that drew the ire of generations of critics. Voltaire’s comments on the scene are devastating. In his Dissertation sur la tragédie ancienne et moderne he writes, ‘[A] grave is dug on the stage; some gravediggers, holding skulls in their hands, make bad puns worthy of their sort; to their abominable scurrilities, Prince Hamlet makes nonsensical replies that are no less disgusting’.1 For critics like Voltaire, macabre humour was a breach of decorum, an unforgivable transgression of the aesthetic code that called for a rigid divide between the genres of comedy and tragedy. Long before Voltaire, neoclassical critics such as Sir Philip Sidney had patrolled the boundaries between both genres, deploring the insertion of comic matter in tragedies as vulgar. -
HAMLET Hamlet William Shakespeare’S William Shakespeare's Hamlet
HAML ET hamlet william shakespeare’s william shakespeare's Hamlet directors Cecily Pincsak, Greg Schiedler, & Kathy Wiseman designers Laura Dixon & Cecily Pincsak Directors' Note dead father, who informs his son that Claudius murdered him. Faced with hamlet is widely recognized as one of this heartbreaking knowledge, Hamlet begins to plot against Claudius to take william shakespeare’s darker tragedies, so when we were initially revenge as his father instructed. Paranoid and unsure of whom he should discussing how to stage the play we decided to take a slightly more humorous trust, Hamlet chooses to depend on and trust one man only: his closest approach to the story. It is not intended to be satirical by any means, but friend, Horatio. Others who are drawn into the feud between Hamlet and we tried to lighten up some of the darker lines in one of the play’s most Claudius include a family close to the royals, consisting of Polonius and his somber scenes through the actions and reactions of our actors. We also two children, Laertes and Ophelia. They are all directly affected by the results understand that Shakespearean language can be hard to comprehend for a of both Claudius’ and Hamlet’s actions. Ophelia is in love with Hamlet, and modern audience, so if the actions of the actors do not immediately grab while Hamlet does appear to have feelings for her as well, he is forced to viewers’ interest there is a chance they will become confused or bored very manipulate those feelings in order to exact his revenge. -
The Tragedy of Hamlet, Prince of Denmark Was Written by Shakespeare Between 1599 and 1602
The Tragedy of Hamlet, Prince of Denmark was written by Shakespeare between 1599 and 1602. Hamlet is Shakespeare's longest play and among the most powerful and influential.It has inspired writers from Goethe and Dickens to Joyce. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet on his uncle Claudius for the murder of Hamlet's father in order to take his throne and this wife Gertrude. Denmark has a long-standing feud with neighbouring Norway, and an invasion led by the Norwegian prince, Fortinbras, is expected. The play vividly portrays the themes of treachery, revenge, incest, and moral corruption as well as Hamlet’s true and feigned madness and emotional changes going from overwhelming grief to rage. Shakespeare created the title role for Richard Burbage, the leading tragedian of the time. Two different quartos (one from 1676 and the second discovered in 1823) of the play and one folio version (in the First Folio 1623) are preserved. Each version includes lines, and even entire scenes, missing from the others. One such example is the centuries-old debate about Hamlet's hesitation to kill his uncle, which some see as a mere plot device to prolong the action, but which others argue is a dramatization of the complex philosophical and ethical issues that surround cold-blooded murder, calculated revenge, and thwarted desire. Traditionally, editors of Shakespeare's plays have divided them into five acts. None of the early texts of Hamlet, however, were arranged this way, and the play's division into acts and scenes derives from a 1676 quarto. -
Literature and Film: Midterm Study Guide
Literature and Film: Midterm Study Guide On the midterm, you will answer two essay questions: one on Hamlet and one on “Ball of Fat,” “Last Stage to Lordsburg,” and “Stagecoach.” For each essay question, you choose two of the three works to analyze. You may bring a list of characters for each work to the midterm. Your essay must be clear, organized and reasonably correct grammatically. You should refer specifically to the written texts and movies (but do not retell the story). You may consult your list of characters but not the books or your notes. Possible questions on Hamlet: 1. Shakespeare, Olivier, and Almereyda interpret the relationships of characters differently. Choose one of the following relationships; discuss how two of these three (Shakespeare, Olivier, Almereyda) present that relationship. a. Hamlet and Ophelia b. Hamlet and Gertrude c. Gertrude and Claudius d. Ophelia, Laertes, and Polonius e. Hamlet and Horatio 2. Shakespeare, Olivier, and Almereyda present the characters differently. Choose one of the following characters; discuss how two of these three (Shakespeare, Olivier, Almereyda) characterize that individual. a. Hamlet b. Claudius c. The Ghost d. Ophelia e. Gertrude. 3. Discuss at least three differences between Olivier’s Hamlet and Almereyda’s Hamlet and the significance of those differences, that is, how they affect characterization, theme, etc. 4. In what ways does Olivier’s shooting in black and white and Almereyda in color affect their films? 5. Discuss the importance of setting, costuming, and/or lighting in Olivier’s Hamlet and Ametreyda’s Hamlet. 6. Almereyda transforms Shakespeare’s Kingdom of Denmark into the Denmark Corporation. -
Gertrude's Role in <I>Hamlet</I>
Eastern Michigan University DigitalCommons@EMU Senior Honors Theses Honors College 2013 Gertrude's Role in Hamlet Emily Graf Follow this and additional works at: http://commons.emich.edu/honors Part of the English Language and Literature Commons Recommended Citation Graf, Emily, "Gertrude's Role in Hamlet" (2013). Senior Honors Theses. 359. http://commons.emich.edu/honors/359 This Open Access Senior Honors Thesis is brought to you for free and open access by the Honors College at DigitalCommons@EMU. It has been accepted for inclusion in Senior Honors Theses by an authorized administrator of DigitalCommons@EMU. For more information, please contact lib- [email protected]. Gertrude's Role in Hamlet Abstract Typically, Gertrude's character in productions of Hamlet has been limited by her guilt and sexuality. However, lacking the social and political conventions that confined Elizabethan England, it would seem that there is another possible interpretation of Hamlet's mother. Degree Type Open Access Senior Honors Thesis Department English Language and Literature First Advisor Craig Dionne Keywords Queen Elizabeth, Patriarchy, Gertrude's Guilt, Independent and Moral Being, Elizabethan Law Subject Categories English Language and Literature This open access senior honors thesis is available at DigitalCommons@EMU: http://commons.emich.edu/honors/359 GERTRUDE'S ROLE IN HAMLET By Emily Graf A Senior Thesis Submitted to the Eastern Michigan University Honors College In Partial Fulftllment of the Requirements for Graduation With Honors in English Language, Literature, and Writing Approved at Ypsilanti, Michigan, on this date: fVl 'J.:{ 1-- ~ 1 1,c:? IJ 2 Table of Contents Introduction 3 How are women regarded in Elizabethan England? 5 Part One: How is Gertrude read and why? 16 Part Two: What is Gertrude actually guilty of? 25 Part Three: How should Gertrude be read? 32 Conclusion 46 Bibliography 47 3 Introduction Although much has changed in the way that we read, v1ew, and understand literature in the past 400 years, it often seems as though some things have stayed the same.