Hamlet: No Fear Shakespeare
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
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 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. -
SCENE ONE (An Empty Stage. There Is a Podium and a Projector Screen
SCENE ONE (An empty stage. There is a podium and a projector screen emblazoned with the logo “WELLSTONE PROJECT.” A spotlight comes up on STEPHEN, who stands at the podium, dressed in formal attire. He carries a drink in his hand.) STEPHEN Thank you all for being here tonight – for your support – for honoring my brother’s life and legacy. (as HE speaks, the screen behind him flashes a portrait of Paul Wellstone) It would mean the world to them – Paul, and Sheila (the screen flashes a photo of Paul and Sheila together) – to see you all here tonight. (he sips his drink liberally and shakes himself out) I just want to apologize in advance – I never had my brother’s knack for public speaking. (HE chuckles nervously) But I always said… I always said my brother had a way of bringing people together… Sometimes in ways we might not expect. But – (the screen flashes a photo of a beach in Maryland) One way or another, it all leads back… to this. (without looking backward, the screen raises out of view, and the set changes to the beach seen in the photo, complete with a sunbathing SHEILA, reclining on a beach chair, reading a book) The beaches our parents took us to as kids… I haven’t set foot here in years, but I can still see it all like it was yesterday. (HE mimes to various parts of the set) The stand where they used to sell popsicles on hot days. (another) And over there, see? That’s where I built the biggest sandcastle you’d ever seen… Until Paul stepped in it. -
The Dramatization of the Diary of Anne Frank and Its Influence on American Cultural Perceptions
GOOD AT HEART: THE DRAMATIZATION OF THE DIARY OF ANNE FRANK AND ITS INFLUENCE ON AMERICAN CULTURAL PERCEPTIONS A thesis submitted to Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Whitney Lewis Stalnaker May, 2016 © Copyright All rights reserved Except for previously published materials Thesis written by Whitney Lewis Stalnaker B.S., Glenville State College, 2011 M.A., Kent State University, 2016 Approved by Dr. Richard Steigmann-Gall , Advisor Dr. Kenneth Bindas , Chair, Department of History Dr. James Blank , Dean, College of Arts and Sciences TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................................... iii PREFACE ........................................................................................................................................v ACKNOWLEDGMENTS ............................................................................................................. ix INTRODUCTION ...........................................................................................................................1 Historiography ...............................................................................................................5 Methodology ..................................................................................................................9 Why This Play? ............................................................................................................12 CHAPTERS -
Download The
On the Human Soul Reports from the Eastern Highlands of New uuinea By H enry Aufenanger Sidney Contents: I. Introduction II. The names of the contributing tribes. III. The reports on the human soul. IV. Selected bibliography. Introduction, The statements on the human soul,I submit here, I gathered from the people on both sides of the Bismarck-Mountains and on the banks of the Chimbu and the Wahgi rivers. For many years I lived with these tribesmen, whose material and spiritual life had not yet been influenced by the western culture. Several of their languages I learned to speak fluently. The Gende and the Nondugl language I was able to publish in the Micro Bibliotheca Anthropos Nr. I. and The names of the contributing tribes: I . Deglagu 2. Vandeke 3. Komkane 4. Siako 5. Kulxkane 6. Kigin 7. Dagl 8. Naruku 9. Kamanugu 10. Vaugla I I . Tsambugla 12. Nauru 13. Yuri 14. Kuma IS. Kuna- nagu 16. Dom 17. Golin 18. Ndika 19. Duakai 20. Guyebi 2 1 .Gegeru 22. Karizoko 23. Mendi 24. Nombri 25. Bundi 26. Vamizuhu 27. Biyom 28. Kondelxka 80 HENRY AUFENANGER Selected Bibliography, Aufenanger Henry: The Passing Scene in North-East New-Guinea. Collectanea Instituti Anthropos. 1972. Aufenanger Henry: The Great Inheritance in JNorth-East New-^uinea. Collectanea Instituti Anthropos. 1975. Kay Birket-Smith: Geschichte der Kultur. 1948. Fischer, Hans: Studien iiber Seelenvorstellungen in Ozeanien. Miinchen 1965. Holtker, Georg.: Menschen und Kulturen. Studia Instituti Anthrop. 1975. Lawrence P. and Meggit M. Gods: Ghosts and Men in Melanesia. Melbourne 1965. Luzbetak, L .: Worship of the Dead in the Middle Wagi. -
Still Competition : the Listeners Guide to Cheap Trick Kindle
STILL COMPETITION : THE LISTENERS GUIDE TO CHEAP TRICK PDF, EPUB, EBOOK Professor of Psychology Robert Lawson | 282 pages | 20 Nov 2017 | Friesenpress | 9781525512261 | English | none Still Competition : The Listeners Guide to Cheap Trick PDF Book Nice book of different licks alot of what Rick uses in his music. Refresh and try again. View Product. The Joe Budden Network. Questlove Supreme. A must read for hardcore Cheap Trick fans and even for the casual fan or, especially any new, first-time fans. About this product Product Information Guitar Educational. Although, the author doesn't pull any punches about some of CT's failings in the mid thru late '80s. Short and sweet, about 25 minutes per. Fresh new killer format for a rock book - I learned a ton about Cheap Trick from this book. Barstool Sports. Pepper Live. Surrender Outtake Carlton Duff. Highly recommend this publication. Return to Book Page. Apparently the co. Obviously, the song makes the story sound like it's about a young woman. Rush: The Illustrated History 4. Lawson, but the Cheap Trick fan community, too. June 9 Ken can I buy you a beer?! Since the s, Cheap Trick has entertained countless audiences across the world with their unique brand of rock 'n' roll, featuring the eccentric stylings of guitarist Rick Nielsen. Mind you, I understand personal opinions will vary tremendously when it comes to music. December 8, Format: Paperback This book is a must buy! Still Competition : The Listeners Guide to Cheap Trick Writer Cheeeek that out dude. Warner Bros. Add Comment. Help Learn to edit Community portal Recent changes Upload file. -
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. -
Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet's Uncl
Hamlet Study Guide Levels Two & Three Wilson Know the Characters: Hamlet – Prince of Denmark Claudius – Hamlet’s Uncle; he was recently crowned king of Denmark Gertrude – Queen of Denmark; Hamlet’s mother Polonius – Advisor to the King Ophelia – Hamlet’s love interest; Polonius’ daughter Laertes – Polonius’ son Ophelia’s brother Horatio – Hamlet’s best friend; voice of reason in the play Fortinbras – Prince of Norway; wants to regain land lost by his father Courtiers: Rosencrantz – Noblemen and acquaintances of Hamlet invited to cheer him Guildenstern – up Osric - Cornelius Voltemand – Ambassador charged with going to Norway Officers, Soldiers, and Servants: Francisco – Marcellus – Soldiers who first witness the ghost while on guard Bernardo – Reynaldo – Servant to Polonius Act One, Scene One 1. What is the setting for the play? Denmark; Elsinore Castle 2. What are Bernardo and Francisco doing at the beginning of the play? They are on watch waiting for their replacements. 3. What is going on that makes this necessary? There is a military threat from Norway, in the form of Young Fortinbras. 4. Why is Horatio summoned to the roof of the castle? The want him to witness and/or validate the appearance of the ghost of the dead king. 5. What decision does Horatio make after witnessing what he does? He decides to tell young Hamlet, because he thinks the ghost will speak to him. Act One, Scene Two 6. What has recently happened in Hamlet’s family? His father died and his mother married his uncle. 7. Why is Hamlet being scolded by his uncle? His uncle feels Hamlet has been mourning his father for too long. -
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.