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A Psychoanalytic Reading of Hamlet
A Psychoanalytic Reading of Hamlet William Shakespeare's Hamlet is different from other Elizabethan revenge plays in the sense that the playwright did put much effort in depicting the psychological make-up of his hero Hamlet. The way Shakespeare portrays the psychological complexities of Hamlet, the play has become a lucrative text to the critics to see through the psychoanalytic lens. Analysis of Hamlet using psychoanalytic criticism reveals the inward states of Hamlet’s mind. Among the various aspects of Hamlet’s character, the thing that instantly draws our attention is his relation with his mother Getrude. It is here the psychoanalytic ckritics opine that Hamlet has an Oedipus Complex to his mother. Freud developed the theory of Oedipus complex, whereby, says Freud, the male infant conceives the desire of eliminate the father and become the sexual partner of the mother. Hamlet, too, has several symptoms to suffer from Oedipus Complex. Hamlet’s Oedipus Complex: A fundamental basis for all of Freudian psychology resides in the Oedipal feelings which Freud believed are common to all male children. The major psychological distinction between one person and another was said to come from the way the person handled those feelings and the way that handling was represented in everyday life( how the hell do you write such nonsense sentences?). Freud is categorical about the existence of the Oedipal impulse “It is the fate of all of us, perhaps, to direct our first sexual impulse towards our mother and our first hatred and our first murderous wish against our father. Our dreams convince us that that is so. -
Psychoanalysis and the Problem of Evil: Debating Othello in the Classroom
Barbara A. Schapiro 481 BARBARA A. SCHAPIRO Psychoanalysis and the Problem of Evil: Debating Othello in the Classroom Since “evil” has become a term much in vogue in our current political climate, it seems ever more important to explore its psychic meanings and origins. What, first of all, do analysts and therapists mean by the word “evil”? The grandios- ity of the term, as well as its traditionally religious connota- tions, perhaps make it unsuited to the therapeutic context. As Ruth Stein (2002) has commented, “’Evil’ may sound too allegorical or too concrete, too essentialist or too objective for psychoanalytic ways of thinking that are oriented towards the study of individual subjectivity” (394). In an article entitled “Evil in the Mind of the Therapist” (2001), Robert Winer surveyed a number of practitioners and found a general consensus that “an evil person is someone who knowingly deeply hurts innocent people” (613). The emphasis here, he says, is on the “knowingly”—conscious deliberateness is key— as it is on the extremity of the hurt inflicted: “negating the other person’s soul, . destruction as an end in itself” (613). Winer discusses how his own psychological engagement with a patient works against his ever seeing that patient as evil, “no matter how outrageous his crimes” (614). The social psycholo- gist Roy Baumeister (1997) has observed that even serial killers never see themselves as evil but “regard themselves as victims” (47). Winer suggests that it is easier to experience characters in books and movies as evil because we know them only through their evil actions. -
DOCID: 3700821 Communications Security and the Problem of Hamlet
.DOCID: 3700821 UNCLASSIFIED Communications Security and the Problem of Hamlet: To Be or Not to Be DANIELJ. KNAUF Editor's Note: Mr. Knauf presented this paper at the conuention of the Armed Forces Communications Electronics Association (AFCEA) in Anaheim, California, on 29 January 1986. We believe that Mr.Knauf 's comments on communications security from the perspective ofa Shakespearean tragedy will be of interest to many ofour readers. 1. INTRODUCTION At risk of offending the many serious students oi Shakespeare, all English majors, and assorted other literati, I should like to examine the communications security of the United States against a slightly unusual backdrop: the tragic story of Hamlet, Prince ofDenmark. William Shakespeare, aft.er all, begins this psychologico.l drama with two words of special interest to those of us in the telecommunications business: "Who's there?" asked by a soldier named Bernardo. The guard to whom he addresses this question, Francisco, has obviously been briefed on proper challenge-and-reply authentication procedures (i.e., that the called party must always initiate the challenge), and stoutly replies: Nay, answer" me: stand, and unfold yourself. Fortunately for Bernardo, they are using an easy-to-remember if not-very- secure password ("Long Live the King"), and so we are allowed to enter into one of the greatest plays ever written - one which adds to its greatness by clearly showing the consequences of poor communications security (Comsec). We may admire, for example, Hamlet's use of Comsec as a "force multiplier" in his neat disposal of that treacherous duo, Rosencrantz and Guildenstern, as he tells his friend, Horatio, in Act V: Scene 2. -
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. -
Maternal Mistreatment in Shakespeare's Roman Plays Anne Mcilhaney Webster University, [email protected]
The University of Akron IdeaExchange@UAkron Selected Papers of the Ohio Valley Shakespeare Literary Magazines Conference March 2018 "Christen it with thy Dagger's Point": Maternal Mistreatment in Shakespeare's Roman Plays Anne McIlhaney Webster University, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/spovsc Part of the Literature in English, British Isles Commons Recommended Citation McIlhaney, Anne (2016) ""Christen it with thy Dagger's Point": Maternal Mistreatment in Shakespeare's Roman Plays," Selected Papers of the Ohio Valley Shakespeare Conference: Vol. 9 , Article 7. Available at: http://ideaexchange.uakron.edu/spovsc/vol9/iss1/7 This Article is brought to you for free and open access by Literary Magazines at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Selected Papers of the Ohio Valley Shakespeare Conference by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. “Christen it with thy Dagger’s Point”: Maternal Mistreatment in Shakespeare’s Roman Plays Anne McIlhaney, Webster University he non-Roman women of Shakespeare’s Roman plays are set apart from the dominant culture not only by sex and T gender, but also by culture and nationality and, in some cases, by race. More specifically, the non-Roman mothers in these plays— women who have borne children who are also, by birth, “other,” must deal not only with their own alienation but also with that of their children. -
Edgar in King Lear: the Travels and Travails of the Once and Future King
TCNJ JOURNAL OF STUDENT SCHOLARSHIP VOLUME XI APRIL, 2009 STILL THROUGH THE HAWTHORNE BLOWS THE COLD WIND Edgar in King Lear: The Travels and Travails of the Once and Future King Author: John Silver Faculty Sponsor: David Venturo Department of English Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. (W.B. Yeats, “The Second Coming”) “When a man is prey to anger, he is moved by outside things; when he holds his ground in patience patience patience, that is action or beauty,” the soldier’s defence and hardest armor for the fight. (Marianne Moore, “In Distrust of Merits”) - 1 - J. SILVER: STILL THROUGH THE HAWTHORNE BLOWS THE COLD WIND ABSTRACT and INTRODUCTION The figure of King Lear looms large in the pantheon of Shakespearean protagonists. For some readers, like myself, Lear is the “towering dead,” the sine qua non. If so, when writing about the play, why focus on anyone else? Are all the major figures but aspects of the King? One could argue that the Fool expresses Lear‟s subconscious or repressed rationality, but please do so gently. Other characters, like Lear‟s two evil daughters, give us insights into Lear‟s past behavior. And Gloucester certainly represents a mirror image of the King. There are only two foolish fathers in the story, and he is one of them. -
Olivier Observed That His 1948 Film Production of Hamlet Is Hamlet's
Olivier’s Hamlet: A Creature Swimming Rachel Zlatkin Olivier’s Hamlet: A Creature Swimming By Rachel Zlatkin Olivier observed that his 1948 film production of Hamlet is Hamlet’s point of view, and that if Hamlet is not in a scene, then it is Hamlet’s imagination. He makes a “study” of Hamlet, as he came to say in defense of his choices to cut Rosencrantz, Guildenstern, and Fortinbras. The scope of the play becomes a character study that places all other characters in question, situated as they are in what Olivier interprets as Hamlet’s point of view. His film is simply not the play, and yet much of the criticism is based on the expectation that it is. In part Olivier’s choice to thus focus the film production is due to his insistence on the Oedipus Complex as a means to understanding Hamlet’s character and his relations with Ophelia, Gertrude, the ghost, and Claudius. Olivier was admittedly convinced by the theory since before the theater production at the Old Vic in 1937, more than 10 years before the making of the film. While the play was in pre-production, Olivier, Tyrone Guthrie, and Peggy Ashcroft visited Ernest Jones, the foremost Freudian in the U.S. at the time, to discuss his analysis of Hamlet (On Acting 77-78). The discussion reviewed Hamlet’s “inner involvement with his mother” and “excessive devotion to his father.” Olivier argued afterward that “Nobody’s that fond of his father unless he feels guilty about his mother, however subconscious the guilt may be” (78). -
Gendered Temporalities in the Early Modern World
GENDERING THE LATE MEDIEVAL AND EARLY MODERN WORLD Wiesner-Hanks (ed.) in the Early Modern World Modern Early the in Gendered Temporalities Edited by Merry E. Wiesner-Hanks Gendered Temporalities in the Early Modern World Gendered Temporalities in the Early Modern World Gendering the Late Medieval and Early Modern World Series editors: James Daybell (Chair), Victoria E. Burke, Svante Norrhem, and Merry Wiesner-Hanks This series provides a forum for studies that investigate women, gender, and/ or sexuality in the late medieval and early modern world. The editors invite proposals for book-length studies of an interdisciplinary nature, including, but not exclusively, from the fields of history, literature, art and architectural history, and visual and material culture. Consideration will be given to both monographs and collections of essays. Chronologically, we welcome studies that look at the period between 1400 and 1700, with a focus on any part of the world, as well as comparative and global works. We invite proposals including, but not limited to, the following broad themes: methodologies, theories and meanings of gender; gender, power and political culture; monarchs, courts and power; constructions of femininity and masculinity; gift-giving, diplomacy and the politics of exchange; gender and the politics of early modern archives; gender and architectural spaces (courts, salons, household); consumption and material culture; objects and gendered power; women’s writing; gendered patronage and power; gendered activities, behaviours, rituals and fashions. Books in the series: Gendered Temporalities in the Early Modern World English Aristocratic Women’s Religious Patronage, 1450-1550: The Fabric of Piety Chivalry, Reading, and Women’s Culture in Early Modern Spain: From Amadís de Gaula to Don Quixote Gendered Temporalities in the Early Modern World Edited by Merry E. -
The Ears of Hermes
The Ears of Hermes The Ears of Hermes Communication, Images, and Identity in the Classical World Maurizio Bettini Translated by William Michael Short THE OHIO STATE UNIVERSITY PRess • COLUMBUS Copyright © 2000 Giulio Einaudi editore S.p.A. All rights reserved. English translation published 2011 by The Ohio State University Press. Library of Congress Cataloging-in-Publication Data Bettini, Maurizio. [Le orecchie di Hermes. English.] The ears of Hermes : communication, images, and identity in the classical world / Maurizio Bettini ; translated by William Michael Short. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1170-0 (cloth : alk. paper) ISBN-10: 0-8142-1170-4 (cloth : alk. paper) ISBN-13: 978-0-8142-9271-6 (cd-rom) 1. Classical literature—History and criticism. 2. Literature and anthropology—Greece. 3. Literature and anthropology—Rome. 4. Hermes (Greek deity) in literature. I. Short, William Michael, 1977– II. Title. PA3009.B4813 2011 937—dc23 2011015908 This book is available in the following editions: Cloth (ISBN 978-0-8142-1170-0) CD-ROM (ISBN 978-0-8142-9271-6) Cover design by AuthorSupport.com Text design by Juliet Williams Type set in Adobe Garamond Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American Na- tional Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Translator’s Preface vii Author’s Preface and Acknowledgments xi Part 1. Mythology Chapter 1 Hermes’ Ears: Places and Symbols of Communication in Ancient Culture 3 Chapter 2 Brutus the Fool 40 Part 2. -
Edipo Re E Hamlet: Una Discesa Ai Padri
Edipo re e Hamlet: una discesa ai padri Chiara Lombardi Nel Faust di Goethe, Mefistofele offre al protagonista una chiave che lo guiderà alle Madri. La parola provoca in Faust spavento e «un brivido di meraviglia» (vv. 6271-74): si tratta di sprofondare «ai regni delle forme possibili» (v. 6276) 1 . Alla luce di un tripode infuocato, Mefistofele gli mostrerà le Madri, avvolte dalle immagini di tutte le creature, in quelle profondità dove ogni cosa si forma e si trasforma. È qui che si rivela Elena di Troia, fonte di bellezza, alla quale Faust consacra l’essenza della passione, amore, devozione, follia (vv. 6499- 6500). Secondo Hermann Broch, per Goethe il compito conoscitivo della poesia consiste infatti nel «portare la conoscenza razionale al di là dei confini razionali, in una discesa verso l’irrazionale e verso le forze madri» ([1955] 1966: 96)2. In questo contributo mi propongo di prendere in considerazione l’Edipo re di Sofocle e l’Hamlet di Shakespeare, leggendo questi drammi come tragedie di potere di cui si rappresentano i meccanismi e le distorsioni attraverso una discesa simbolica dei loro protagonisti ‘ai padri’. Riguardo alla relazione tra i due autori, ritengo fondamentale partire dalle riflessioni che Freud presenta nelle lettere (a Fliess il 15 ottobre 1897; a Zweig il 2 aprile 1937) e in alcune opere (L’interpretazione 1 L’edizione citata è Goethe 1994. 2 Freud cita questo episodio in una lettera del giugno 1932 a Zweig, a proposito di un caso clinico di Breuer sull’isteria (Freud 1990: 378-79). Secondo Jung, l'episodio simboleggia anche un approdo agli archetipi dell’inconscio collettivo e alle forme del nostro inconscio dalle quali tutto deriva e dove tutto è ancora possibile (Jung 1977). -
Martial Cleopatra and the Remasculation of Antony
Martial Cleopatra and the remasculation of Antony View metadata, citation and similar papers at core.ac.uk JAMES W. STONE brought to you by CORE provided by The University of Sydney: Sydney eScholarship Journals online Shakespeare’s Antony and Cleopatra hold out the promise of androgyny, of two lovers who defy the straitjacketed gender expectations imposed by Roman masculinism. The lovers die for their temerity in preferring love to war, but their deaths resist all efforts of Roman triumphalism to co-opt them as trophies. Cleopatra’s defiance of Caesar’s masculinism finds its triumph in a phoenix-like self-immolation, by which desire renews itself and its object, impossibly, at the moment of death. Cleopatra is the outside-the-law that ruptures the Roman legal claim to sexual and juridical order, even as that claim seeks to secure its foundation in opposition to the likes of Cleopatra. Antony is caught in the middle between the laws of his Roman heritage and the Egyptian pleasure that offers to free him from historical embeddedness. The temptations of such pleasure, obsessively figured in this play in terms of dissolving the integral self in water (liquefaction), threaten the integrity of his proper name, ‘Antony’. Cleopatra makes of ‘Antony’ something other than what it is, rending the name and dissolving its bearer, as Antony intuits and his Roman peers constantly taunt him for. But extraordinarily in the Shakespearean canon, Cleopatra makes a strong claim to restore Antony to life and integrity in her suicide-finale. She re- members and re-integrates the shambles of her lover, fractured in name but resurrected in body. -
The Tragic Perspective in Hamlet's Character During the Play-Scene Malik Hashim Hassan
International Journal of English, Literature and Social Sciences (IJELS) Vol-4, Issue-6, Nov – Dec 2019 https://dx.doi.org/10.22161/ijels.46. 33 ISSN: 2456-7620 The Tragic perspective in Hamlet's character during the play-scene Malik Hashim Hassan Ministry of education, Education General directorate in Thiqar, Iraq [email protected] Abstract— The researcher explains the tragic of the play represented with Hamlet's father death. The most familiar image of the play is the young prince contemplating how he will revenge., the overriding theme being how people react to death. Though every version has the basic central story of Hamlet’s revenge for his father’s murder, each inevitably presents a more or less subtly different narrative, some omitting whole scenes and even major story threads. All this helps to explain why the play—and its central character—have been subject to an exceptionally wide range of interpretation. The researcher in this paper, will concentrate on one of the tragic situation for the protagonist of the play that father's murder by his mother and uncle. Keywords— Hamlet's character, play-scene. I. INTRODUCTION his central moral dilemma transcends the Elizabethan Although this play is over four hundred years old, the period, making him a man for all ages. In his difficult conflicts of these characters are still relevant today. struggle to somehow act within a corrupt world and yet Hamlet is uncertainly the most well-known play in the maintain his moral integrity, Hamlet ultimately reflects the English language. it is written Probably in 1601 or 1602, fate of all human beings, even in this day and age.