Relevant bibliographies by topics / Shakespeare's Hamlet

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Shakespeare's Hamlet'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Shakespeare's Hamlet"

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Sjölin, Mette Hildeman. "‘|Y]oung Hamlet’." Critical Survey 35, no. 4 (December 1, 2023): 94–112. http://dx.doi.org/10.3167/cs.2023.350407.

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Abstract Shakespeare's Hamlet has been retold in children's versions several times in Sweden in recent years. It was the subject of the first episode of the children's television programme På teatern [At the Theatre], written and directed by Christina Nilsson for SVT in 2001–2002, where Shakespearean actors meet their child or grandchild backstage after a performance to tell and partly enact the story of the play. In 2005–2006, Lotta Grut wrote the plays Lille Hamlett och spöket [Little Hamlett and the Ghost] and Offelia kom igen! [Offelia Come Again!] for the theatre company Unga Roma. In these fairy-tale versions, the children Hamlet and Ophelia are confronted with death, grief, anger, oppression and erasure. This article argues that the På teatern episode is an adaptation of Hamlet while Grut's two plays are appropriations.
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Jurak, Mirko. "Some additional notes on Shakespeare : his great tragedies from a Slovene perspective." Acta Neophilologica 38, no. 1-2 (December 1, 2005): 3–48. http://dx.doi.org/10.4312/an.38.1-2.3-48.

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In the first chapter of this study the author stresses the importance of literature and Shakespeare's plays for our age. Although the enigma of Shakespeare's life still concerns many scholars it is relevant only as far as the solutions of some biographical details from Shakespeare's life influence the interpretation of his plays. In the section on feminism the focus of the author's attention is the changed role of women in the present day society as compared to previous centuries. In the final part of the article the role of the main female characters in Shakespeare's great tragedies is discussed. The author suggests that so far their importance has been underestimated and that Shakespeare left some of them open to different interpretations. Hamlet is definitely one of the most popular Shakespeare's plays in Slovenia and in addition to "classical" interpretations of this drama we have seen during the past two decades a number of experimental productions, done by both Slovene and foreign theatrical companies. In Appendix (1) the title of this paper is briefly discussed and the author' a work on Shakespeare is sketched; Appendix (2) presents a rap song on Hamlet written in English by a Slovene author. The song was used in the Glej Eperimental Theatre production (Hamlett/Packard, Ljubljana, 1992).
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Milward, Peter. "The Recusancy of Hamlet." Recusant History 30, no. 3 (May 2011): 435–40. http://dx.doi.org/10.1017/s0034193200013017.

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As Jane Austen would say, it is a truth universally acknowledged, even among Shakespeare scholars, that Shakespeare is the great enigma in English literature. To some extent this truth was partially covered up during the long period of Shakespeare scholarship when any discussion of Shakespeare's religion was considered taboo. But in the past couple of decades this taboo has been lifted to the extent that the theme proposed for the biennial Shakespeare Conference at Stratford in the year 2000 was ‘Shakespeare and Religions’. On the other hand, so far from resolving the Shakespearian enigma, the recent weakening of the taboo has only served to bring it more prominently into the foreground of scholarly attention and discussion. And of all the plays that may be said to centre on this enigma, it hardly needs to be said that Hamlet is not only one among many but the one play that may be called uniquely so—as being the most problematic of all Shakespeare's so-called ‘problem plays’.
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Ushakova, Olga M. "Masks and Soul: Shakespearean images in T.S. Eliot’s Poetry." Literature of the Americas, no. 15 (2023): 42–69. http://dx.doi.org/10.22455/2541-7894-2023-15-42-69.

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Poetic and dramatic works by T.S. Eliot include numerous allusions to Shakespeare's plays, different collisions based on Shakespearean plots, theatrical techniques and settings of the great playwright, etc. This paper considers the ways and instruments of transforming and representing Shakespearean images in Eliot’s poetic texts, such as “The Love Song of J. Alfred Prufrock”, The Waste Land, “Marina”, “Coriolan”, etc. The important aspect of Eliot's reception is the appeal to Shakespeare’s heroes (Hamlet, Lady Macbeth, Ophelia, Pericles, etc.) as archetypes for creating his own poetic characters. The researcher identifies two main ways of transforming and representing Shakespearean images: masks and dramatic monologues (“dramatis personæ”). The characters in Eliot’s poems use Shakespearean masks as a means of self-identification (Prufrock), they are components of “compound” images (“a cubist woman” in The Waste Land). The dramatic monologues of Eliot’s protagonists are pronounced on behalf of Shakespearen heroes (Pericles, Coriolan). Shakespearean allusions in Eliot’s poetry are to expand the boundaries of the text, deepen the characters, include them into a certain cultural paradigm, etc. The analysis of Shakespearean images in Eliot's poetry allows us to understand the peculiarity of perception for Shakespeare and methods of poetic mastering of his heritage in Modernist culture.
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Nicolaescu, Mădălina. "The Circulation of Shakespeare Adaptations in Eastern Europe." Linguaculture 2014, no. 1 (February 1, 2014): 21–33. http://dx.doi.org/10.1515/lincu-2015-0016.

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Abstract The paper discusses the stage adaptations of Shakespeare's Hamlet and Romeo and Juliet that were circulated in the German Länders and the Habsburg Empire in the late 18th and early 19th century. The various forms of re-writing Shakespeare are linked with processes re-contextualizing the text and are discussed as forms of localizing a transnational Shakespeare. The analysis zooms in on the contexts of performance of the German adaptations in two Transylvanian cities. The paper highlights the cultural and linguistic negotiations performed when further translating the already multilayered rewritings of the Shakespearean text and focuses on a Romanian translation of a German adaptation of Hamlet.
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Yalley, Abena Asefuaba. "Shakespeare in the bush: Gender constructions and interpretations of Hamlet by the West African Tiv." UJAH: Unizik Journal of Arts and Humanities 23, no. 1 (August 31, 2022): 240–62. http://dx.doi.org/10.4314/ujah.v23i1.9.

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This paper analyses how gender is constructed by the Tivs through their interpretation of Hamlet in comparison with how Shakespeare projects these characters. Hamlet, a tragic play by Shakespeare, presents a patriarchal system of governance with strong themes of betrayal, love, kinship, religion, and revenge. The lack of agency and autonomy of women, sexual objectification, and their plagues as victims of patriarchy portrayed in Hamlet is a vivid presentation of the fate of women in a patriarchal world. While these may seem universal, the contradictory interpretation of Hamlet by the Tivs in Nigeria demands an inquiry into how the people of Tiv construct and interpret gender in Shakespeare's Hamlet. This paper, therefore, compares the Tiv's culture and gender values with Shakespeare’s Hamlet. The paper argues that the Tiv’s construction of gender contradicts Western conceptions of gruesome patriarchal performance in Africa as presented in Western literature. The analysis revealed that the Tiv’s construction of gender gave more agency, power, and respect to women and differed significantly from how Shakespeare constructed gender in Hamlet. The masculinization of witchcraft and the demeaning of the male characters in Hamlet gave less honour and power to the male characters. Tiv’s interpretations and gender constructions present a rather diverging representation of women in Hamlet based on cultural negotiations and lived experiences; thereby, demonstrating how cultural dynamism shapes gender constructions.
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Delaney, Bill. "Shakespeare's HAMLET." Explicator 58, no. 2 (January 2000): 67–68. http://dx.doi.org/10.1080/00144940009597010.

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Smith, David M. "Shakespeare's Hamlet." Explicator 59, no. 4 (January 2001): 174–76. http://dx.doi.org/10.1080/00144940109597126.

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Sterling, Eric. "Shakespeare's Hamlet." Explicator 60, no. 1 (January 2001): 2–5. http://dx.doi.org/10.1080/00144940109597150.

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Gooch, Michael. "Shakespeare's Hamlet." Explicator 60, no. 4 (2002): 186–88. http://dx.doi.org/10.1080/00144940209597707.

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Dissertations / Theses on the topic "Shakespeare's 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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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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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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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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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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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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Fresco, Gabriella Petrone. "Shakespeare's reception in 18th century Italy : the case of Hamlet." Thesis, University of Warwick, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357494.

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Thind, Rajiv. "The Struggles of Remembrance: Christianity and Revenge in William Shakespeare's Hamlet." Thesis, University of Canterbury. Department of English, 2014. http://hdl.handle.net/10092/9366.

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This thesis focuses on the religious aspects of William Shakespeare's Hamlet which, I argue, form the foundation of Hamlet's plot and are critical to understanding Hamlet's character and his dilemmas. Early modern culture was particularly saturated with religious allusions. The advent of the Reformation and emergence of printing resulted in an explosive growth in the publication of new Bible translations and other religious materials. While I note that most early modern writers of general literature made frequent use of biblical texts and themes, I add that Shakespeare's use of the Bible and Christian doctrine in Hamlet is especially subtle and substantial. Shakespeare achieves this by establishing Hamlet as a particularly devout Christian Prince who is a student at the University of Wittenberg. I argue that it is Hamlet's theological pedantry which makes him procrastinate throughout the play. Additionally, Hamlet's Christian characteristics exhibit syncretic - Catholic and Protestant - Christianity as represented by Elizabethan religious culture. Shakespeare incorporates contemporary religious beliefs in the play not for dogmatic purposes but rather for dramatic expedience. I compare Hamlet to other contemporary revenge tragedies and establish how the underlying Christian themes, as revealed in Hamlet's character through his soliloquies, set Hamlet apart from other revenge plays. Finally I argue that Hamlet exacts his revenge through a particular performance that operates exclusively within his Christian worldview. Ultimately, as I conclude in the third chapter, through the character of Hamlet, Shakespeare also makes the best dramatic use of contemporary religious beliefs and contentions to make his audience ponder the big question that concerned them: the eventual fate of the human soul.
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Levine, Andrew. "Conceited Souls and Renaissance Cures: Sympathetic Magic Between Bodies in Shakespeare's Hamlet." BYU ScholarsArchive, 2020. https://scholarsarchive.byu.edu/etd/8414.

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Using the sixteenth-century theories of sympathies to examine the inter-character relationships in Hamlet, I argue for a period reading that offers insight into Hamlet’s delay and the basis for his problematic relationships with Gertrude and Ophelia. Asserting Hamlet’s character as an observer in the play with the ultimate goal of healing the infected state of Denmark, this examination of Hamlet explores how sympathetic healing would function between the characters of Hamlet, the Ghost, Gertrude, and Ophelia. Such a reading would present these characters as vulnerable bodies capable of directly affecting each other over a physical distance. Hamlet’s ultimate tragedy then would arise from his failures to engage with these sympathetic forces effectively, resulting in his inability to find the proper cure for his state.
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Books on the topic "Shakespeare's Hamlet"

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Shakespeare, William. Shakespeare's Hamlet. 4th ed. New York, NY, USA: Cliffs Notes, 2000.

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Shakespeare, William. Shakespeare's Hamlet. Indianapolis, USA: Wiley Publishing, 2008.

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Tony, Richardson, and Neil Hartley. Shakespeare's Hamlet. Culver City, Calif: Sony Pictures Home Entertainment, 2012.

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Shakespeare, William. Shakespeare's Hamlet. New York: John Wiley & Sons, Ltd., 2008.

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Tony, Buzan, ed. William Shakespeare's Hamlet. Hauppauge, N.Y: Barron's, 2001.

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Coville, Bruce. William Shakespeare's Hamlet. New York: Dial Books, 2004.

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Harold, Bloom, ed. William Shakespeare's Hamlet. New York: Chelsea House Publishers, 1996.

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Harold, Bloom, ed. William Shakespeare's Hamlet. New York: Bloom's Literary Criticism, 2009.

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1564-1616, Shakespeare William, ed. William Shakespeare's Hamlet. London: Faber and Faber, 2000.

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ill, Dunn Ben, and Shakespeare William 1564-1616, eds. William Shakespeare's Hamlet. Edina, Minn: Magic Wagon, 2009.

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Book chapters on the topic "Shakespeare's Hamlet"

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Bruster, Douglas. "Quoting Hamlet." In Seeing Shakespeare's Style, 193–205. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003308782-12.

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Hillman, David. "The Inward Man: Hamlet." In Shakespeare's Entrails, 81–118. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230285927_3.

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McEvoy, Sean. "Critical History." In William Shakespeare's Hamlet, 29–40. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-6.

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McEvoy, Sean. "Introduction." In William Shakespeare's Hamlet, 113–19. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-11.

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McEvoy, Sean. "Introduction." In William Shakespeare's Hamlet, 1–4. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-1.

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McEvoy, Sean. "Modern Criticism." In William Shakespeare's Hamlet, 48–90. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-8.

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McEvoy, Sean. "The Work in Performance." In William Shakespeare's Hamlet, 91–110. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-9.

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McEvoy, Sean. "Contextual Overview." In William Shakespeare's Hamlet, 7–19. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-3.

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McEvoy, Sean. "Key Passages." In William Shakespeare's Hamlet, 120–70. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-12.

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McEvoy, Sean. "Contemporary Documents." In William Shakespeare's Hamlet, 20–26. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003416616-4.

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Conference papers on the topic "Shakespeare's Hamlet"

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Akhmedshina, D. R. "SHAKESPEARE'S IMAGE OF HAMLET IN THE NOVEL «REDEMPTION» BY F. GORENSTEIN." In Proceedings of the IX (XXIII) International Scientific and Practical Conference of Young Scientists. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-86.

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Philippova, D. K. "RUSSIAN TRANSLATIONS OF SHAKESPEARE’S TRAGEDY «HAMLET»." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. Publishing House of Tomsk State University, 2020. http://dx.doi.org/10.17223/978-5-94621-901-3-2020-67.

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"The Throne As a Coffin in Shakespeare’s Hamlet and Al-Maijdi’s Hamlet Without Hamlet." In 10th International Visible Conference on Educational Studies and Applied Linguistics. Tishk International University, 2019. http://dx.doi.org/10.23918/vesal2019.a13.

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"Hamlet Upside Down: Ian McEwan’s Nutshell as a Modernization of Shakespeare’s Hamlet." In Dec. 7-8, 2017 Paris (France). ERPUB, 2017. http://dx.doi.org/10.17758/erpub.f1217434.

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Dudalski, Sirlei Santos. "“Você nos livrará da tirania de William Shakespeare?” - Hamlet na HQ Kill Shakespeare." In 1º Congresso Internacional de Intermidialidade 2014. São Paulo: Editora Edgard Blücher, 2015. http://dx.doi.org/10.5151/phypro-intermidialidade2014-008.

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Philippova, D. K. "SYMBOL AND CONCEPT: «HAMLET» BY W. SHAKESPEARE AS A TRAGEDY ABOUT TIME." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-93.

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"Cain, Abel and Shakespeare’s Brothers: A Comparison between Hamlet and As You like It." In Dec. 7-8, 2017 Paris (France). ERPUB, 2017. http://dx.doi.org/10.17758/erpub.f1217427.

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Shi, Daoyu. "A Cross-cultural Analysis of Self-examination in Shakespeare’s Hamlet and Chinese Philosophy and Tragedy." In – The European Conference on Arts & Humanities 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-1111.2020.16.

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Philippova, D. K. "RUSSIAN TRANSLATIONS OF «HAMLET» BY W. SHAKESPEARE: THE FIRST THIRD OF THE 19TH CENTURY." In Proceedings of the IX (XXIII) International Scientific and Practical Conference of Young Scientists. TSU Press, 2022. http://dx.doi.org/10.17223/978-5-907572-04-1-2022-70.

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Hashemipour, Saman. "INTERTEXTUALİTY İN ASGHAR FARHADİ’S THE SALESMAN." In 2. Uluslararası Sinema Sempozyumu. Yakın Doğu Üniversitesi İletişim Araştırmaları Merkezi, 2022. http://dx.doi.org/10.32955/neuilamer2022-03-0214/ch12.

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Farhadi’s The Salesman, which won the Best Screenplay award at the 2016 Cannes Film Festival and the Best Foreign Language Film in the 89th Academy Awards, got universal acclaim and behooved for academic debates. The intertextual references in The Salesman optimized with the film’s explicit references to Arthur Miller’s drama play, The Death of a Salesman. However, the director, Asghar Farhadi, includes more subtle intertextual references to attract the audience to some masterpieces of art. This study introduces referenced sources to emphasize parallels between Farhadi’s film and other literary and artistic works to determine the central themes of the movie in order to evaluate the protagonist and antagonist’s actions thoroughly and accurately. Out of The Death of a Salesman, the film establishes intertextual relations with plays such as Hamlet by Shakespeare and Out at Sea by Slawomir Mrozek, “The Cow” —a short story—by Gholam-Hossein Saedi, Gilemard—a novel—by Bozorg Alavi, and movies such as Shame by Ingmar Bergman and The Godfather by Francis Ford Coppola. These intertextual relations are the film’s central conflict that should be evaluated in the realm of the challenge between tradition and modernity. In addition, of course, various manifestations of such resistance are reflected in the facedown between the past and the future.
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