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Dissertations / Theses on the topic 'Hamlet'
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Prendergast, Jane Margaret. "Mapping feminism in Shakespeare's Hamlet: 'I Hamlet'." Thesis, Prendergast, Jane Margaret (1999) Mapping feminism in Shakespeare's Hamlet: 'I Hamlet'. PhD thesis, Murdoch University, 1999. https://researchrepository.murdoch.edu.au/id/eprint/52929/.
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In this dissertation I have endeavoured through words and figures to 'map' my performance of Hamlet from a feminist perspective. Assuming that both the audience and the reader are familiar with Shakespeare's text, I have centred my project around an adaptation and performance of Hamlet called 'I, Hamlet'. 'I, Hamlet' is a perspective of the play, scripted for three actors, that focuses on the performance of gender and identity. The resultant map, this dissertation, is constructed out of several different 'mappings' that intersect and inform one another. These mappings include:
1. A critical and narrative mapping that is word-and image-based.
2. The performance text: 'I, Hamlet'.
3. A video documenting the performance 'I, Hamlet'.
4. A video journal mapping experiences of the 'I, Hamlet' tour across Europe.
I am as central to this project as Hamlet is central to Hamlet. I have situated myself both inside and outside my discourse: inside, because I am embodying the text in performance; and outside, because I am analysing my process from a distance. My mappings therefore attempt to reflect this inside/outside, theory/practice, praxis.
Although I observe a fairly traditional written layout and offer the work in sequential Chapters, I have adopted strategies of performative writing in order to "deterritorialize" this linear mode. To do this, I have ventured on a "line of flight," living 'in-between' texts as performer, narrator and critic.2 As an investigative work it is open to multiplicities of meaning: it seeks to be open-ended and generative, rather than closed and conclusive.
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Barreto, Eduardo. ""Hamlet" and Marginality." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1859.
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This research aims to explore the place of marginality (or that which is not the immediate focus of narrative) in the context of the play and through the examination of the characters of Fortinbras and Horatio, in William Shakespeare’s Hamlet. The intended outcome is to encourage diversified perspectives and approaches to the play by focusing on the marginal themes and/or characters.
The chapters address the characters of Fortinbras and Horatio; the first inverts the protagonist/foil relationship by reading Hamlet as a foil to Fortinbras, while the second uses Freud’s “The Uncanny” as a way to understand Horatio’s role in the play, as its uncanniest phenomena. Both are marginal to the text, but both are significant to the understanding of the text.
Essentially, the objective is to encourage readings of the play, and of narratives, that appreciate the complexity of marginality, in order to broaden the language for future research.
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Sharif, Mohammad Muazzam. "Hamlet in Pakistan." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417235/.
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This thesis tests and questions the concept of revenge in Hamlet against the context of Pukhtun culture in the Khyber Pukhtunkhwa (KP) province of Pakistan. As this study seeks to understand the emotive meaning of revenge in a range of cultural contexts, I explore the way in which Hamlet is read and interpreted in a culture where revenge, as in the debased form of badal, is both current and pervasive. The KP universities‘ students who belong to the culture, where revenge is considered obligatory, tend to identify themselves with various characters of the play, particularly Hamlet. This study seeks to ascertain the experience of the play as a dramaturgical construct which questions the revenge ethos capable of modifying entrenched beliefs among young Pakistanis engaged in reading the play at KP universities. As a result, I explore the role and use of Hamlet as an educational tool to combat revenge practices in Pakistan. This research contributes to the growing work on Shakespeare criticism and performance in different cultures around the world by presenting the relevant appropriations of the play in Pakistan and worldwide.
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Semenenko, Aleksei. "Hamlet the Sign : Russian Translations of Hamlet and Literary Canon Formation." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7148.
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This work is an attempt to answer one simple question: What is Hamlet? Based on the material of Hamlet translations into Russian, the dissertation scrutinizes the problems of literary canon formation, translation and textuality proceeding in two parallel directions: the historical analysis of canon formation in translation and the conceptualization of Hamlet’s textuality. The methodological framework is defined in the context of Jurij Lotman’s semiotics of culture, which is invaluable for an understanding of the mechanisms of literary evolution, the theory of translation and literary canon formation. The study examines the history of Hamlet in Russia from 1748 until the present with special attention to analysis of the canonical translations, theater productions of the Shakespearean classic and the phenomenon of Hamletism. The case study of the 1964 film by Grigorij Kozincev focuses on the problem of the cinematographic canon of Hamlet. Further, the work scrutinizes various types of representation of Hamlet in such semiotic systems as the theater, the cinema, and the pictorial arts, and also examines how Hamlet functions as a specific type of sign. The final section returns to the question of canon formation and textuality. The results of the research show that 1) the literary canon appears to be closely associated with the concepts of genre and myth, 2) in order to become canonical it is imperative for a literary text to function on the level of microcanon and to be represented in modes other than the written.
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Nicholas, Simon. "Is Hamlet untranslatable? : renegotiating the boundaries of translatability in twentieth century German Hamlets." Thesis, De Montfort University, 2002. http://hdl.handle.net/2086/10727.
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This thesis will focus on twentieth-century German translations and adaptations of Shakespeare's Hamlet. Some of the pre-requisites of a work's translatability are that it must exist in a stable text, its meaning should be accessible to interpretation, and it should provide a unitary comment that can be re-constructed in a second language and culture. I do not believe that Hamlet satisfies any of these pre-requisites. There is no transcendent text, it seems to resist interpretation, and the lack of a unitary comment problematises the articulation of a response to the play that can be re-coded in the target text. Translators seek to stabilise and interpret, whereas Hamlet is semantically and formally in continuous motion and resists attempts at closure. The demands of translation and the nature of Hamlet seem to be in direct conflict, and I begin my investigation with a hypothesis that Hamlet is 'untranslatable'. I have conducted a series of interviews with German translators of Hamlet, and I have used these discussions to construct a dialogue in this thesis. In Part 1 of the study I will focus on those translators of the play that have agreed that Hamlet is a flawed work, which must be repaired and improved before it can be translated. This dialogue explores the assumptions about Shakespeare's 'artistic failure' and how changes to the text are thought to facilitate its translatability. There will be an investigation of how translators and editors have continually rewritten Hamlet based on notions of 'correct' text. I will examine the validity of concepts such as the 'originar work and 'fidelity' to originals, as the premise on which translation is based, and I will question whether the work of these translators is phenomenologically flawed. In Part 2 of this thesis I will proceed to consider whether Hamlet has been rejected as untranslatable because of metaphysical qualities that foreground our notions of the play. It seems to be the case that translators only experience the problem of untranslatability, or of Hamlet as a flawed work, when certain demands are made on the transcendent text in which Hamlet is believed to exist. The translators and adapters, whose work is the object of my analysis in the second part of this study; have been able to circumscribe the issue of translatability by changing the way they have understood the ontology of Hamlet. By deconstructing notions of the unitary work or the transcendent text, and conceiving of Hamlet as a series of enactments or a methodological field, it becomes possible to trahslatethe material across the boundaries of language and culture. I will thus develop the argument that by moving away from traditional notions of a 'work' to understand Hamlet as a broader cultural text, we can re-think the interpretive possibilities of the play and push back the boundaries of what has been traditionally possible through the limited practice of translation. I will be working towards the conclusion that translation theorists should re-think their conceptions of the 'source text' and the function of translation, working from a field of cultural material, rather than attempting to translate a non-existent transcendent text. The work of translators and adapters examined in the second part of my study presents a more productive approach to translation, and a more realistic II understanding of the ontology of literary works, compared with the attempts of other translators, who continue in their search for the play's lost echt. My research methodology, which involved the construction of a dialogue between translators, is also an attempt to promote a method of analysing and evaluating translations that includes the translator. Analyses of translations too often treat the translation as if it had been written in a social, political, linguistic and cultural vacuum. In fact, there are many factors that decide how a text is going to be translated even before the translator reaches his text. There have been many forces that have shaped and conditioned the way Hamlet has been translated and appropriated in German, ranging from large-scale intervention from political regimes like the Nazi Party and the Socialist State in East Germany, to small-scale domestic quarrels with a spouse. My thesis combines textual analysis and detailed discussions with translators, in order to develop a fuller understanding of the pragmatics of translation, and the need for a new interpretative methodology.
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Roesler, Stephanie. "Yves Bonnefoy et «Hamlet»." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86507.
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Between 1957 and 1988, the contemporary French poet Yves Bonnefoy translated Shakespeare's Hamlet five times. This thesis is an in-depth analysis of these five translations and of their evolution: above all, it explores Yves Bonnefoy's poetics of translation. The first section examines Bonnefoy's articulated understanding of poetry, translation and their relationship, but also of Shakespeare and Hamlet, in order to contextualize the translations and define Bonnefoy's approach to the translation process (position traductive) and his translation project, according to the method proposed by Antoine Berman.The second section provides a survey of Bonnefoy's translations through the study of two passages of the play, followed by a detailed analysis. The objective is to characterize Bonnefoy's translations at the lexical, syntactic and poetic levels. Questions addressed in this section include: Is Bonnefoy faithful to the original text, or does he translate creatively? Does he successfully combine the ethical and poetic dimensions of translation? We will explore Bonnefoy's translation poetics and practice through the hypothesis that the notions of dialogue and dialectics are the most appropriate conceptual tools for describing his translation practice as revealed in the five translations of Hamlet. These two concepts also involve the notion of voice, and one is moved to enquire whose is more audible in these five versions, Shakespeare's or Bonnefoy's.
The detailed analysis is followed by a critical examination of Bonnefoy's five versions of Hamlet by means of a forced confrontation between the poet's texts and his declared translation project. Here, the notion of re-enunciation is introduced in order to complement the ideas of dialogue and dialectic, and thereby re-define and better characterize the faithfulness and the creativity practiced by Bonnefoy. The creative aspect of translating is re-examined through the concepts of domesticating and appropriating. Finally, while exposing the gaps between theory and practice in Bonnefoy's oeuvre as a translator, this thesis aims at defining the general trend of Bonnefoy's translations while emphasizing his originality as a translator.
Entre 1957 et 1988, le poète français contemporain Yves Bonnefoy a traduit le Hamlet de Shakespeare à cinq occasions. Cette thèse se veut une analyse approfondie de ces cinq traductions et de leur évolution, dans l'objectif de caractériser la poétique de traducteur d'Yves Bonnefoy. Pour ce faire, nous examinons dans notre première section le rapport de Bonnefoy à la poésie et à la traduction, puis à Shakespeare et à Hamlet afin de contextualiser les traductions et de définir la position traduisante et le projet de traduction de Bonnefoy, selon la méthode proposée par Antoine Berman.
La seconde section est consacrée à l'analyse proprement dite, que nous entamons en donnant un aperçu des traductions de Bonnefoy à travers deux passages de la pièce, avant de nous lancer dans l'analyse détaillée des traductions. Dans le cadre de celle-ci, nous cherchons à caractériser les traductions de Bonnefoy au niveau lexical, syntaxique et poétique : Bonnefoy est-il fidèle au texte original ou davantage créateur ? Parvient-il à allier les dimensions éthique et poétique du traduire ? Nous avançons l'hypothèse selon laquelle les deux notions de dialogue et de dialectique sont deux outils conceptuels qui nous permettent de décrire la pratique traduisante de Bonnefoy telle qu'elle se manifeste dans les cinq traductions de Hamlet. Ces deux concepts mettent en jeu la notion de voix : qui de Shakespeare ou de Bonnefoy est le plus audible dans les cinq traductions ?
Enfin, l'analyse détaillée est suivie d'un commentaire et d'une critique des traductions, qui passe par une confrontation des traductions au projet du traducteur. Les notions de dialogue et de dialectique sont complétées par celle de ré-énonciation, afin de redéfinir et de caractériser plus avant la fidélité et la création telles que Bonnefoy les pratique. Nous réexaminons le pôle de la création à l'aide des notions traductologiques de domestication et d'appropriation. Finalement, tout en soulignant les écarts entre théorie et pratique, nous tentons de dégager le mouvement d'ensemble des traductions de Bonnefoy et de mettre en valeur l'originalité de sa poétique de traducteur.
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Blair, David. "Hamlet from The Stage." Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1671.
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Hamlet From The Stage is a video production designed to be an extra feature on the DVD video of the stage production of Hamlet, performed by the Division of Theatre and Dance at East Tennessee State University, and filmed by the Department of e-Learning during the Spring Semester of 2009. Hamlet From The Stage is a professional interview style video package of the cast of Hamlet designed to help inexperienced collegiate actors learn some useful tools when approaching a Shakespearean audition or performance. This video package represents over eleven months of production: concept, writing, set design and studio setup, interview scheduling, filming, editing, audio enhancements, and video color correction. The ETSU Department of e-Learning is scheduled to have the post-production on the Hamlet DVD production completed by the end of Spring 2010 and Hamlet From The Stage will be packaged and released as the Hamlet Bonus Features on that DVD.
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Evans, Madisen Jade. "An All-Female Hamlet." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/510.
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Sessler, Brigitte. "Hamlet - ein lyrisches Politikum? Hamlet in deutschsprachigen Gedichten vom 18. Jahrhundert bis heute." Heidelberg Winter, 2007. http://d-nb.info/987386263/04.
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Sessler, Brigitte. "Hamlet - ein lyrisches Politikum ? : Hamlet in deutschsprachigen Gedichten vom 18. Jahrhundert bis heute /." Heidelberg : Winter, 2008. http://d-nb.info/987386263/04.
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Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.
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Barrus, David W. "Hamlet : the design as process." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.
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This thesis represents the written portion of the Degree Requirements of
the Master of Fine Arts in Theatre Design.
The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian
C. Parkinson), was the University of Lethbridge Department of Theatre and
Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season,
running February 14 – 18, 2012, performed at the University Theatre in the
University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET
was directed by Brian C. Parkinson, with the assistant direction of L. Jay
Whitehead and Yvonne Mandel.
Contained within this written portion of the thesis is a discussion of the
design concepts for this production, along with photographic records of
models, technical drawings, and other pertinent information.viii, 176 leaves : col. ill. ; 29 cm
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Breedlove, Allegra B. "The Digital Soliloquies of Hamlet." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/618.
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Bjurström, Andrea. "Screen:play : Hamlet genom okända skärmdumpar." Thesis, Konstfack, Grafisk design & illustration, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7359.
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For my graduation project I was interested in title cards, intertitles and captions from past films and clips. I am fascinated by their typography and art, but also the visual aspects of age and use. Aided by the writings of the artist and filmmaker Hito Steyerl, I explored the world of the poor quality image, an image that has been copied and pasted into different (mainly digital) channels of distribution. I found my own way of translating the visual language of an image with a past. Quoting one of the most retold (copied and pasted) plays; The Tragedy of Hamlet, Prince of Denmark written by William Shakespeare, ca 1600.
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Malm, Lauren Lynnae, and Lauren Lynnae Malm. "Hamlet, Conscience, and Free Will." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625077.
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This thesis examines William Shakespeare's Hamlet through the historical conflict between Protestantism and Catholicism. Shakespeare writes in a religious atmosphere heavily informed by the sixteenth-century religious conflict between the Protestant Church of England and Catholic ideology. While the Church of England controlled English religious thought through strict censorship of Catholic theology, the Church was unable to erase the Catholic history of the country. In Hamlet, these two opposing ideologies come face to face. Prince Hamlet, linked to the Protestant Reformer Dr. Martin Luther through an education at Wittenberg, demonstrates great courage through his trust in God's sovereignty. Hamlet finds his religious conscience crippled by the appearance of the Ghost of his father from Purgatory, a uniquely Catholic view of the afterlife. The confusion caused by Catholic theology continues when Claudius, responsible for the death of Hamlet’s father, is unable to repent of his sins due to his belief in Catholic works-based salvation. Until Hamlet regains his Protestant faith in grace-based salvation and God's predestined control of fate, he cannot take his revenge. Once Hamlet regains his Protestant faith, his trust in predestined fate leads to death. In Hamlet, acceptance of predestination lead to the destruction of the individual.
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Berger, Amy White. "Claudius' story in Shakespeare's Hamlet." Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.
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Sanchez, Isabel M. "The Root of the Recycled: A Comparative Analysis of Shakespeare's "Hamlet" and the Mythological "Ur-Hamlet"." FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/782.
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The purpose of my thesis was to explore the problem surrounding the sources believed to constitute the Ur-Hamlet from which Shakespeare derived Hamlet. By utilization of close reading, analysis, and archetypical criticism, my thesis confirms Shakespeare’s usage of the “Hero as Fool” archetype present in the Danish legend of Amleth, translated by Saxo Grammaticus and Francois Belleforest, as the Ur-Hamlet.
My study is significant because it further develops the notion that the earlier legend served as the originary source for Hamlet, while providing evidence that rejects the validity of other sources of the Ur-Hamlet. The evidence was corroborated by presenting analytical comparisons of the framework both works share. Focusing on the archetypal origins of Shakespeare’s plot, characters and their actions revealed a more complex understanding of the play. These findings indicate and substantiate the claim that the Ur-Hamlet can be no other source but the Danish legend of Amleth.
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Sander, Johanna. "Hamlet på motorcyklar : En komparativ analys av TV-serien Sons of Anarchy och Shakespeares drama Hamlet." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6947.
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In 2008 Fox first aired its hit show Sons of Anarchy, a drama series about a Californian motorcycle club. The main thrust is about the club’s vice-president and his struggle to find his place in a life of violence. According to creator Kurt Sutter the series is partly based on Shakespeare’s 16th century drama Hamlet - Prince of Denmark, which causes the show to often be referred to as ”Hamlet on Harleys”. Focusing on the first two seasons of the series, this essay looks into the relationship between the two works of art. Asking how the inspiration of the play is reflected in the television series, it compares the stories’ main themes and motives with help of the actantial model, as well as the different characters and their relationships with each other. A major motive in both pieces being vengeance and violence, the last chapter of the analysis looks into those themes and their importance for the main character. The series uses Shakespeare´s play as an inspiration and an underlying superstructure, there are remarkable similarities in these seemingly completely different stories. The characters are the main driving force of both tales, and the greatest link between the works consists in them trying to expose the workings of the human mind and their study of human behavior and relationships.
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Pettersson, Frida. "Från Hamlet till 3D : Lejonkungens marknadsföringsprocess." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24131.
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Den här uppsatsen handlar om hur film marknadsförs via trailrar, exemplet är filmen Lejonkungen från 1994 och dess uppföljare samt en nyutgåva. Syftet är att undersöka vad det är som hamnar i fokus i filmernas trailrar, vad de har gemensamt och vad som skiljer dem åt, samt hur berättelsen förnyas. Uppsatsen tar upp forskning om high concept, trailrar och Disney för att få en teoretisk grund till analysen av vad som hamnar i huvudsakligt fokus i trailrarna och vad det fyller för funktion. Med hjälp av tidigare forskning och analys av trailrarna undersöker uppsatsen vilka strategier filmskapare använder för att locka en publik att gå och se deras filmer.
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Loberg, Harmonie Anne Haag. "Hamlet haven : an online, annotated bibliography." University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000036.
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Loberg, Harmonie. "Hamlet Haven: An Online, Annotated Bibliography." Scholar Commons, 2002. https://scholarcommons.usf.edu/etd/1524.
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The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over.
The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis.
Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded.
Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship.
Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.
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Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.
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This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored actor’s script are the Sanford Meisner Techniques of moment-to-moment analysis and actioning as it relates to Konstantin Stanislavski’s system, as well as any additional actor’s notes that may have contributed to character development.
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Records, Nathan D. Beard DeAnna M. Toten. "A director's approach to William Shakespeare's Hamlet." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5082.
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Lee, John. "Shakespeare's Hamlet and the controversies of self." Thesis, University of Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295030.
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Barros, Edlúcia Robélia Oliveira de. "Performances em Hamlet: textualidades, teatralidades e liminaridades." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5950.
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This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet.
Essa dissertação é resultante de uma pesquisa bibliográfica diversa e tem por objetivo analisar em múltiplos aspectos a tragédia Hamlet, Príncipe da Dinamarca (1600-1601), do inglês William Shakespeare (1564-1616), como um texto performativo. Para tanto, estabelece relações entre essa tragédia e algumas questões discutidas pelos estudos da performance, especificamente a teatralidade, a liminaridade e a textualidade. A história de Hamlet é relacionada principalmente ao conceito de teatralidade do dramaturgo e diretor teatral russo Nicolas Evreinov (1879-1953), bem como dialoga com a noção de liminaridade discutida pelo folclorista e etnógrafo germânico Arnold van Gennep (1873-1957), e com as ideias do pensador russo Mikhail Bakhtin (1895-1975) acerca da performance da linguagem, dentre outras noções acerca das práticas performáticas e performativas humanas. Hamlet, o texto, é apresentado no limiar, entre a completude e o movimento, entre a textualidade e a teatralidade, entre leituras e culturas. É descrita e analisada ainda a montagem de Hamlet no Teatro de Arte de Moscou (TAM), uma das famosas leituras e reescritas da tragédia shakespeariana. Uma produção cênica que apresenta o diálogo e o embate entre texto e cena, entre estéticas, entre leituras da tragédia que se expressam através das performances do encenador, do ator e do espectador. Finalmente, trata de aspectos da recepção de Hamlet.
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Hatab, Hanan Abou. "Arab Shakespeare : six Arab adaptations of Hamlet." Thesis, University of Essex, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548589.
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Walsh, James Jason JR. "American Hamlet: Shakespearean Epistemology in Infinite Jest." Cleveland State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=csu1409079425.
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Gorini, F. M. "SHAKESPEARE AL CINEMA: HAMLET SECONDO KENNETH BRANAGH." Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/173515.
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This thesis focuses on the popularization on film of William Shakespeare’s plays. If the Shakespearean pictures shot in the silent era were more similar to filmed theatre performances than to adaptations, in the 1920s the Bard’s works start to be adapted for the cinema in order to reach a new and wider audience, thus triggering the phenomenon of the popularization of his plays. This process achieves a significant phase in the 1990s thanks to Kenneth Branagh’s adaptations, which cause a revival of the genre. Branagh’s experience is crucial in that he begins his artistic career in the theatre and afterwards takes on the role of actor and film director.
I present two case-studies: In the Bleak Midwinter, directed by Branagh in 1995, and William Shakespeare’s Hamlet, directed and interpreted by Branagh in 1996. They both rework the tragedy of Hamlet but from different perspectives: the former appropriates the anxieties of the Shakespearean characters and transfers them to the members of an eccentric, contemporary theatre company, while the latter adapts the integral version of Shakespeare’s play for the screen. That is why In the Bleak Midwinter is defined as an “appropriation” of Hamlet whereas William Shakespeare’s Hamlet is defined as an “adaptation”.
The relationship between the two screen versions is investigated. The analysis is based on the exploration of their intertextual connections and on the factors which in the two films contribute to the popularization of the source text. Not only does Branagh interpret the popularization of Shakespeare’s Hamlet as a compromise with Hollywood commercial values but he also includes a deep political awareness epitomized by the persistent presence of the Norwegian prince Fortinbras.
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Linda, Nilsson. "Att återge Hamlet : Översättningsnormer och strategier vid teateröversättning." Thesis, Stockholms universitet, Institutionen för svenska och flerspråkighet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-133981.
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Denna uppsats ämnar göra ett nedslag i svensk teateröversättning för den svenska teaterscenen. Teateröversättning är ett relativt outforskat forskningsfält generellt, men i synnerhet råder det en avsaknad av studier som fokuserar på svenska teateröversättningar. I detta syfte har undersökningen valt att analysera William Shakespeares, Hamlet, genom att analysera ett urval av svenska Hamletuppsättningar och tillhörande metatexter återskapas de strategier och normer som översättaren inkorporerar vid nyöversättning från den engelska källtexten till den svenska måltexten. Tre spelversioner av Hamlet från produktioner i Dramatens regi åren 1974 i översättning av Allan Bergstrand, 1986 i översättning av Britt G. Hallqvist och 2008 i översättning av Ulf Peter Hallberg utgör studiens material. Vidare har en variabelanalys genomförts där variablerna strykning, textindelning, pronominalbruk och bildspråk analyserats, både på makrotextuell nivå och mikrotextuell nivå. Resultatet visar att spelversionerna skiljer sig något åt när det kommer till strategier och textuella normer. Hamlet från 1974 tenderar att vara mer adekvansinriktad medan Hamlet från 1986 och 2008 tenderar att vara mer acceptansinriktade. Studien fann även att ingen av de undersökta spelversionerna lever upp till rådande normer när det kommer till mottagande.This thesis seeks to touch upon Swedish theatre translations produced for the Swedish stage. Theatre translation is generally an relatively unchartered field, but there is particularly a lack of studies focused on Swedish theatre translation. For this reason this thesis has chosen to analyse William Shakespeare’s Hamlet. By analysing a selection of Hamlet productions and corresponding metatexts this thesis recreates strategies and norms incorporated in a retranslation of the English source text into a Swedish target text.Three stage versions of Hamlet, all productions of Dramaten from the years 1974, translated by Allan Bergstrand, 1986, translated by Britt G. Hallqvist, and 2008, translated by Ulf Peter Hallberg, were selected for this purpose. In addition, the following variables where investigated: reduction, textual structure, pronouns and imagery. This analysis was conducted both on a macro texual level and a micro textual level. The study shows that the stage version of Hamlet 1974 tends to be more adequate while the stage versions from 1986 and 2008 tend to be more acceptable when it comes to strategies. The thesis also found that none of the investigated stage versions fulfilled the expectancy norms of the audience.
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Lessard, Bruno. "The mind's I, moral agency in Shakespeare's Hamlet." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61352.pdf.
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Suratos, Jennifer. "Hamlet, Nora, and the changing form of tragedy." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/788.
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William Shakespeare’s influence on the genre of tragedy is both powerful and undeniable, while contemporary notions about tragedy have shifted into a modern light through the influence of Norwegian playwright Henrik Ibsen. This study concentrates specifically on Hamlet and A Doll’s House in order to indicate the ways in which ideas of tragedy have evolved. By investigating the effect of religion in Hamlet and the absence of it in A Doll’s House, I will argue that the main shift in tragedy is the loss of God. This thesis examines the transformation of the two heroes throughout the course of their respective plays and, in doing so, identifies the formal features which mark their claims to tragedy. While their processes differ greatly—Hamlet’s transformation is through a super-textual and self-analytic process while Nora’s process is one that emphasizes action over thought—both of their journeys are tied to the crucial and utterly tragic truth that they must face: the breakdown of their family.
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Cinpoeş, Nicoleta. "'As a stranger give it welcome' : Romania's Hamlet." Thesis, University of Warwick, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.426749.
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Brunner, Julia. "Christa Wolf's "Hamlet" intertextuality in Christa Wolf's "Kassandra" /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 132 p, 2009. http://proquest.umi.com/pqdweb?did=1885467551&sid=7&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Leibnitz, Kimiko. "Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts." Doctoral thesis, Saarbrücken VDM Verlag Dr. Müller, 2005. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-19478.
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Diese Dissertation liefert einen kulturhistorischen Überblick über die Darstellung der Frauenfiguren Gertrude und Ophelia in Hamlet-Verfilmungen des 20. Jahrhunderts. Die beiden weiblichen Gestalten werden dabei im Hinblick auf ihr äußeres Erscheinungsbild wie auch ihre Charakterzeichnung vor dem historischen, kulturellen, politischen und gesellschaftlichen Entstehungshintergrund der Filme beleuchtet. Die Analysen konzentrieren sich ausschließlich auf Kinofilme, da diese ein wesentlich breiteres Publikum erreichen als etwa die diversen Bühnen- oder Textfassungen des Stücks. Die erste der insgesamt zwanzig untersuchten Leinwandfassungen entstand im Jahre 1900, die letzte kam 2000 in die Kinos – die vorliegende Arbeit behandelt also eine genau 100-jährige Tradition der Hamlet-VerfilmungenThis doctoral thesis provides a comprehensive historico-cultural analysis of the figures of Gertrude and Ophelia as portrayed in Hamlet film adaptations of the 20th century. The two female figures are examined with a special emphasis on their outward appearance and character disposition, which are set against the historical, cultural, political and social background of when the films were produced. These analyses focus exclusively on film adaptations made for cinematic release, which have a larger audience than the various book versions and TV and stage productions of the play. The first of the overall twenty Hamlet films discussed here was made in 1900, the last one in 2000 – the work at hand comprises therefore a one-hundred-year-old tradition of Hamlet film adaptations
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Vieira, Erika Viviane Costa. "Espectros de Hamlet: questões de adaptação e apropriação." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/ECAP-8URFXN.
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Este trabalho analisa algumas adaptações de 'Hamlet', que são os romances 'The Prince of West End Avenue', de Alan Isler, 'Gertrude and Claudius', de John Updike, o conto 'Gertrude Talks Back', de Margaret Atwood, e a apresentação teatral 'Elsinore', de Robert Lepage, sob a ótica da espectralidade de Derrida. Este aspecto se apresenta de forma distinta em cada uma dessas obras, embora todas elas realizem uma intensa atividade intertextual. A espectralidade de 'Hamlet' ronda esses textos e propõe-se que este aspecto perpassa as adaptações de Shakespeare de maneira geral. Discute-se ainda a distinção entre adaptação e apropriação e constata-se que a definição de adaptação é controversa. Influenciada por discursos políticos da atualidade, as adaptações se dividem entre atitudes de reverência e de resistência a Shakespeare. O presente estudo faz uma análise das obras e procura identificar o espectral em cada uma delas como uma estratégia de sobrevivência textual.
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Franzini, Miriam <1982>. "Resurrecting Ophelia: rewriting Hamlet for Young Adult Literature." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/4705.
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This dissertation is concerned with understanding how the rewritings and adaptations of the Shakespearian masterpiece Hamlet have changed the figure of Ophelia, both in terms of the history of the character, both as for what regards its psychology, and how these new texts have made this literary figure suitable for novels written for young readers, especially those who are in their teenage or youth.
Young Adult literature, in addition to becoming a real genre, distinct from the wider Children's literature (which originally was meant for readers of various ages, sometimes up to the older adolescents), has also sought new thematic horizons, more suitable for young readers. Consequently, adaptations, or in some cases appropriations, of literary classics may be considered a result of this modus-operandi, thus providing interesting subjects of research.
In this field of studies Hamlet has a very important role since several texts in “second-degree”, as Genette defined those rewritings, of the Shakespearian play may be found in this literary genre. Therefore this thesis wants to emphasize how a secondary character as Ophelia has received more and more attention both from mainstream and from fringe writers, who have personalized its figure, contextualized (in more or less modern ages) its story and given it a new life.
Starting from an analysis of the Shakespearean character and from the works of Mary Cowden Clarke and the Lambs, the focus of this study is concentrated on novels written in the 21st century, with the aim of understanding the evolution of Ophelia’s figure through various books: some writers have preferred to maintain Ophelia in the historical context where she had been originally collocated, others have thought it was more appropriate to bring this character closer to the experience of the reader, giving a more contemporary version of her figure, while others have given Ophelia another chance, even if post-mortem.
It is possible then to recognize a new Ophelia, with greater charisma and personality, more disconnected from the male figures of power which surround her, even if some of the Shakespearian features are still preserved: the original “green girl” in Hamlet slowly becomes a woman who knows what she wants, a spirit that seeks freedom and a much more complex and elaborated character.
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Clay, Terrie Lynn. "Elaborate Performance: How Satan and Hamlet's Thwarted Ambition Shapes Interactions in Paradise Lost and Hamlet ." University of Toledo Honors Theses / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1386875204.
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Nielsen, Isho Paul. "The Prototypical Avengers in The Spanish Tragedy and Hamlet." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35317.
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During the height of the English Renaissance, the revenge tragedies The Spanish Tragedy and Hamlet were introduced to the English literary canon. In this essay, I will focus on the similarities that the protagonists, Hamlet and Hieronimo, share as prototypical avengers. Although Hamlet’s contribution to the genre should not be discredited, I will argue that the similar characterisation of Hieronimo in The Spanish Tragedy, portrays the same depth and entitlement to the acclaim as a prototypical avenger as Hamlet. Even though their portrayal may differ in tone, their shared commonality attributes equal complexity to both characters. I will compare and analyse the two plays in order to demonstrate that both characters should be considered prototypical avengers. The essay concludes that a reluctance to revenge and a tendency to contemplate the morality of the action is prominently shared by both prototypical avengers. Although critics generally infer Hieronimo is a less complex character in comparison with Hamlet, this essay will show how both avengers deserve equal credit. This essay illustrates this statement by juxtaposing their equal need to find justification before taking revenge, use of suicide to emphasise their moral dilemma, and comment on the tragic consequences of revenge.
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Shurafa, Nuha Suleima Daoudi. "A critical study of the Arabic translations of Hamlet." Thesis, University of Salford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.239974.
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Muttaleb, Fuad Abdul. "Shakespeare, Chekhov and the problem of the Russian Hamlet." Thesis, University of Essex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328343.
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Ferretti, Mariana Galletti. "O sujeito e o Outro no conflito de Hamlet." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/16908.
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This work intends, starting from Shakespeare s intuition about the human condition expressed in the vicissitudes of Hamlet s character, to deepen a reflection on the concept of subject in Lacan s theory articulated to the formularization of the author concerning the structure and the logic times of the subject s constitution. Is extremely important to emphasize that Hamlet won t be understood as a representation of one subject in constitution. The approach to this character must be comprehended merely as propitious context to ponder on fundamental aspects of the subject s structure. This research is organized in four main stages: the first aims to introduce the reader to the question of the existing connection between psychoanalysis, art and literature; the second concerns the singularity intrinsic to the work on this famous Shakespearian production Hamlet; in the third stage, the Lacanian concepts of subject and the Other were developed; in the fourth, the connection between the concepts of Oedipus complex and the paternal metaphor was discussed trying to make clear and bring to context the articulations of both within the Shakespearian play. These concepts, that represent capital points of the Freudian and Lacanian theories, respectively, have common aspects, but aren t synonymous. Since the Lacanian theory, in which this research is based on, has many unfoldings, it was necessary to establish a delimitation of the study, that aimed to embrace the Lacanian theorizations endeavoured up to the The Seminar 10. It was possible to regard Hamlet as a portrait of the contingencies of neurosis. That being a psychic structure resulting from a determinate function of the Other, we may say that the conflict in Hamlet has clear connection with the social bonds that are established between him and the Other. Still, the question of the structure is, for Lacan, anterior and subjacent, always in the logic sense, to the establishment of the social bonds. The structural lack generates determinate effects that influence the relation between the subject and the Other. Hamlet suffers from the contingencies of his structure in the bond with the Other
O presente trabalho pretende, partindo das intuições shakespearianas sobre a condição humana expressas nas vicissitudes da personagem Hamlet, aprofundar uma reflexão sobre o sujeito em Lacan articulada às formulações do autor sobre a estrutura e os tempos lógicos da constituição do sujeito. É de extrema importância frisar que Hamlet não será entendido como a representação de um sujeito em constituição. A abordagem desta personagem deve ser compreendida tão somente como contexto oportuno para refletir a respeito de aspectos fundamentais da estrutura do sujeito. Esta pesquisa está organizada em quatro principais etapas: a primeira visa a introduzir o leitor à questão da relação existente entre a psicanálise, a arte e a literatura; a segunda se caracteriza por tratar das particularidades intrínsecas ao trabalho com a famosa obra shakespeariana Hamlet; na terceira etapa, foram desenvolvidos os conceitos de sujeito e de Outro em Lacan; já na quarta, foi discutida a relação entre os conceitos de complexo de Édipo e de metáfora paterna procurando evidenciar e contextualizar a articulação da obra Hamlet com ambos. Estes conceitos, que representam pontos capitais das teorias, respectivamente, de Freud e Lacan, possuem aspectos em comum, porém não são sinônimos. Visto que a teoria lacaniana, na qual esta pesquisa se baseou, possui muitos desdobramentos, foi necessário estabelecer uma delimitação do estudo, que visou a abranger as teorizações lacanianas empreendidas até a época do Seminário 10. Foi possível considerar Hamlet como o retrato das contingências da neurose. Sendo esta uma estrutura psíquica decorrente de uma determinada função do Outro, podemos dizer que o conflito de Hamlet tem claras ligações com as relações sociais que se estabelecem entre ele e o Outro. Entretanto, a questão da estrutura é, para Lacan, anterior e subjacente, sempre no sentido lógico, ao estabelecimento dos vínculos sociais. A falta estrutural gera determinados efeitos que repercutem no modo de relação que se dá entre o sujeito e o Outro. Hamlet sofre pelas contingências de sua estrutura no vínculo com o Outro
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Nicholson, Jennifer Ellen. "Shakespeare’s French: Reading Hamlet at the Edge of English." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20975.
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Hamlet is not written in English. Instead, Shakespeare’s working knowledge of French produces what I call a French English dialect in the three Hamlet texts. My thesis argues that two French language sources influenced Hamlet: the Amleth myth as translated by François de Belleforest and Les Essais by Michel de Montaigne. I begin by establishing extant scholarship on the relationships between Belleforest’s tale, Montaigne’s essays, and the Hamlet texts. My first chapter considers the French text of the Amleth narrative alongside the Hamlet texts. The second chapter considers the history of Montaigne’s essays being mediated in Shakespeare studies by John Florio’s English translation in 1603. I address ways in which this mediating text is an inadequate source for the three Hamlet texts. Referring to the short essay “De l’Âge”, I show how source study can produce an alternative chronology for Hamlet. In the middle two chapters of my thesis I use ideas about diachronic and synchronic source study to inform my analysis of the shared philosophical concerns between Montaigne and Shakespeare’s respective texts. The third chapter focuses on each text’s interest in philosophy and repentance, exploring how Montaigne’s discussion of those ideas can be found in the different Hamlet texts. The fourth triangulates ideas about faith, fellowship, and doubt, comparing Shakespeare and Montaigne’s synchronic responses to early modern concerns about classical and Christian fellowship. My final two chapters argue that Montaigne’s ideas about textual and editorial fragmentation can also be located in the Hamlet texts and their critical history. In my fifth chapter I compare Montaigne and Shakespeare’s use of terms like “pieces”, “patches”, “shreds”, and “flaps”, and how they capture ideas about the fragmentary nature of theatre. My final chapter then develops from their shared terminology about fragmentation to the editorial practices that frame any reading of their texts. Using Montaigne’s own editorial theory, I suggest that the Hamlet texts can be productively read as essays. Each of my comparative chapters draws attention to the borders between languages and texts. By redefining Shakespeare’s language in Hamlet as French English, I ask how readings of Hamlet might change if divorced, or at least estranged, from English and Englishness.
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Ehsan, Arooj [Verfasser]. "Disrupting the Symbolic Hamlet: A Semiotic Reading / Arooj Ehsan." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1224884000/34.
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Crivellari, Carlotta <1991>. "Hamlet, a critical analysis of its most relevant parodies." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8248.
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Brown, Angela. "Earthbound Humors: An Ecocritical Approach to Melancholy in As You Like It and Hamlet." ScholarWorks@UNO, 2010. http://scholarworks.uno.edu/td/1169.
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Ecocriticism explores the way in which artists interact with, interpret and represent the natural world. The concept of “nature,†according to ecocriticism, goes beyond simply flora and fauna, extending to human nature as well. In Shakespeare's England, a person's nature was determined by his bodily humors, so the melancholy humor particularly lends itself to an ecocritical approach because it is inextricably linked to the natural world. Transcending genre, melancholy is not limited to the green world of comedy but rather appears in tragedy as well. In As You Like It, the melancholy Jaques offers a foil for the forest teeming with sanguine lovers. In Hamlet, however, melancholy becomes a much more bleak and ambiguous quality, raising questions concerning the nature of acting and suicide. In the study of melancholy within As You Like It and Hamlet, an ecocritical perspective offers a unique insight into the way Shakespeare experiences and interacts with the natural world.
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Wilhelm, Kristina. "Protein complexes : assembly, structure and function." Doctoral thesis, Umeå universitet, Medicinsk kemi och biofysik, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-29792.
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Most proteins must fold into their native conformations to fulfil their biological functions. Failure of proteins to fold leads to cell pathology and a broad range of human diseases referred to as protein misfolding disease, e.g., Alzheimer’s disease, Parkinson’s disease, and type II diabetes. More than 40 proteins are known to be connected with misfolding diseases. These proteins share no sequence homology but all assemble into cross-b sheet containing insoluble fibrillar aggregates. Despite the pathological conditions that these proteins can induce, living organisms can take advantage of the inherent ability of these proteins to form such structures and to generate novel and diverse biological function, the functional amyloid. This thesis examines different aspects of cross-b sheet containing aggregates. The first paper describes the humoral response to aggregated structures of insulin and the astrocytical biomarker S100B in patients suffering from Parkinson’s disease. We show that the patients have an increased immunreactivity towards insulin and S100B in Parkinson’s disease patients compared to a control group. The second part of this work focuses on a functional amyloid. HAMLET (human a-lactalbumin made lethal for tumour cells) is a complex of a-lactalbumin and oleic acid, which kills tumour cells but not healthy differentiated cells. We wish to expand the concept of HAMLET to a structurally related protein and therefore create and characterize a complex of equine lysozyme and oleic acid (Paper II). We chose equine lysozyme because both proteins (equine lysozyme and a-lactalbumin) share common ancestors and are spatially related. The newly designed complex was named ELOA, for equine lysozyme with oleic acid. ELOA represents a functional oligomer due to its multimeric state and its ability to bind amyloid specific dyes. In the third paper, we investigate the interaction of the cytotoxic ELOA with live cells in real time to find a mechanistic model (Paper III). It is known that HAMLET is not only tumouricidal but is also toxic towards many bacteria. Therefore in the last part of the thesis, we investigated the effects of ELOA on different bacterial strains and focused on its interplay Streptococcus pneumoniae (Paper IV). These studies have added significantly to many aspects of protein folding and misfolding from its involvement in Parkinson’s disease to the newly gained functions and structural aspects of de novo produced ELOA.
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Löthberg, Erika. "Var tid har sin Hamlet : - En semiotisk studie av Hamletaffischer." Thesis, Linköping University, Department for Studies of Social Change and Culture, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-17726.
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I uppsatsen studeras representationen av William Shakespeares pjäs Hamlet i affischsammanhang. Ett antal Hamletaffischer från 1900-talet framtill 2008 beskrivs, tolkas och analyseras. Fokus ligger främst på det aktuella anslaget från 2008 års produktion på Dramaten i Stockholm. Bakgrunden innehåller kortare teoriavsnitt om klassisk och visuell retorik, bildstruktur, semiotik samt affischens historia och roll i dag. En kortare beskrivning av pjäsens handling ger en naturlig ingång till den kortare presentationen av samtliga affischer som följer. I analysen studeras Hamlet från 2008 i en djupare dimension, där en analysmodell av Roland Barthes tillämpas på ett detaljerat plan. Därefter följer en jämförande analys med tidigare affischer, vilket avslutningsvis följs av en sammanfattande diskussion kring tidigare affischer och hur dess framtida representation kan tänkas ta form.
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Pickett, Lewis. ""In What Particular Thought to Work": Hamlet and Manic-Depression." TopSCHOLAR®, 1996. http://digitalcommons.wku.edu/theses/797.
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By means of contemporary diagnostic criteria, Prince Hamlet may be demonstrated to be a Bi-Polar I Manic Depressive. Because current genetic research suggests that this disease is inherited, it is logical to ask if Claudius also suffers from this disorder. It can be demonstrated that he does. We may conclude that Claudius murdered the late King of Denmark during a manic episode similar to the one in which Hamlet kills Polonius.
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Woolff, Nicola. "Shakespeare's tragic family, sacrificers and victims from Cain to Hamlet." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0003/MQ35091.pdf.
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Laqué, Stephan. "Hermetik und Dekonstruktion die Erfahrung von Transzendenz in Shakespeares Hamlet." Heidelberg Winter, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2758696&prov=M&dok_var=1&dok_ext=htm.
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