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Dissertations / Theses on the topic 'Shakespeare's Hamlet'

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Published: 4 June 2021
Last updated: 30 July 2024

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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9

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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10

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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Roberts, Kerrie. "Gertrude's 'Hamlet': In Search of the King of Denmark's Daughter in Shakespeare's Play." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/25021.

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Gertrude in Hamlet has been commonly characterized as a sheep, a slut, a sexually abusive mother, a fool, and a drunk, both in academic commentary and on stage. She is always a consort. I suggest that Gertrude could be played instead as the bloodline Queen, daughter of the King of Denmark, whose husbands were kings only because they married her. Very rarely has this interpretation surfaced in the literature on Hamlet; almost never in performance. However, the reading is compatible with the text, its origins, and the era in which it was written. Gertrude has considerable power in the play, especially over Hamlet. This power is usually assumed to be based on her sexuality, and its dynamics helped give rise to the sexual reading of the power a mother has over her son in Freud’s theory of the Oedipus complex. As the bloodline Queen of Denmark, Gertrude’s power would have a very different dynamic. The complications of her position could be rich sources of dramatic interest. Her marriages provide potential fields for conflicts of power, as does her relationship with her son, and with the other characters in the play. In my thesis I use my response as an actor to locate moments in the text which could do with re-examination, and I use a reading of Gertrude as the bloodline queen to find new meanings in those moments using her consequent power. Through this I find a new story for Gertrude herself, as well as gaining fresh insights into the play as a whole.
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12

Muzica, Evghenii. "'A place where three roads meet' : Sophocles's Oedipus and Shakespeare's Hamlet after Freud." Thesis, University of Warwick, 2006. http://wrap.warwick.ac.uk/1178/.

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The dissertation presents a detailed investigation of Sophocles' Oedipus and Shakespeare's Hamlet in the context of Freud's comparison of the plays, sketched out in a number of his early writings (most notably The Interpretation of Dreams) but never pursued at length either by him or by any later critics. The interest of the current investigation is not inspired simply by the absence of such a detailed comparison, on the one hand, and by its constant implication in the modem analysis of the plays in question, on the other. The particular inspiration for the current project is the work of Jean Laplanche that in the last forty years has been dedicated to a fundamental reconceptualisation of Freud's theory of the human subject by way of return to the questions of the seduction and otherness. Equally inspiring for the current project have been the recent developments in the non-psychoanalytic analyses of tragedy (ancient Greek, Elizabethan, and as genre as such) that consistently aspire to cross the boundaries of the traditional textual-historicist approach to the literary text in order to accommodate the particularly heterogeneous nature of their object of study. Thus, the current project provides a comprehensive analysis of Sophocles' Oedipus and Shakespeare's Hamlet, successively, at the intersection of psychoanalytic and other (philological and philosophical) approaches to tragedy, paying attention not only to the texts of the tragedies themselves but to the narrative-mythological, dramatic, and, in the case of Sophocles, translational tradition to which they pertain. The relevance of Freudian categories to the texts and genre in question is thus thoroughly examined. As a result, the conclusion is reached that it is specifically through Laplanchean reconceptualisation of Freud's notion of seduction (and the related notions of the enigmatic message, the other, translation and transference) that a psychoanalytic approach becomes more amenable to the needs of literary analysis. The application of Laplanchean categories to the analysis of these tragedies helps to elucidate the role of the father with new precision (in comparison with the previous mother-centred approaches to these tragedies). In its main body, the dissertation consists of a general Introduction, analytical sections on Sophocles' Oedipus and Shakespeare's Hamlet, Conclusion, and the list of the consulted works.
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13

Baskin, Richard Lee. "Act I, Scene 2 of Hamlet: a Comparison of Laurence Olivier's and Tony Richardson's Films with Shakespeare's Play." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc500951/.

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In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.
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Aebischer, Pascale. "Representing personal violence and suffering in Shakespeare's Titus Andronicus, Romeo and Juliet, Hamlet, and Othello." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322602.

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Beiswenger, April. "Of sterile promontory and infinite space the creation of the scenic design for Shakespeare's Hamlet /." Morgantown, W. Va. : [West Virginia University Libraries], 2009. http://hdl.handle.net/10450/10324.

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Thesis (M.F.A.)--West Virginia University, 2009.
Title from document title page. Document formatted into pages; contains v, 77 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 70-72).
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Scott, Lindsey A. "Caught between presence and absence : Shakespeare's tragic women on film." Thesis, University of Chester, 2008. http://hdl.handle.net/10034/100153.

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In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive possibilities for bodies that have become the site of much critical anxiety, and bodies that, due to their own peculiar liminality, have so far been critically ignored. In reading Shakespeare’s tragic women on film, I am interested specifically in screen representations of Gertrude’s sexualised body that is both absent and present in Shakespeare’s Hamlet; Desdemona’s (un)chaste body that is both exposed and concealed in film adaptations of Othello; Juliet’s ‘living corpse’ that represents life and death in Shakespeare’s Romeo and Juliet; the woman’s naked body in Roman Polanski’s Macbeth (1971) that is absent from Shakespeare’s play-text; and Lavinia’s violated, dismembered body in Julie Taymor’s (Titus, 1999) and Titus Andronicus, which, in signifying both life and death, wholeness and fragmentation, absence and presence, something and nothing, embodies many of the paradoxes explored within this thesis. Through readings that demonstrate a combined interest in Shakespeare’s plays, Shakespeare films, and Shakespeare criticism, this thesis brings these liminal bodies into focus, revealing how an understanding of their ‘absent presence’ can affect our responses as spectators of Shakespeare’s tragedies on film.
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Quaßdorf, Sixta [Verfasser], Buhofer Annelies [Akademischer Betreuer] Häcki, and Heike [Akademischer Betreuer] Behrens. ""A little more than kin" - Quotations as a linguistic phenomenon : a study based on quotations from Shakespeare's Hamlet." Freiburg : Universität, 2016. http://d-nb.info/1122593392/34.

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18

Vaughan-Lee, Llewellyn Charles. ""Imaginal response" : an adaptation of Jung's "active imagination" into a mode of responding to archetypal images in Shakespeare's "Hamlet"." Thesis, London Metropolitan University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558842.

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19

Corbett, Lisa Ashley. "Male Dominance and female exploitation: A study of female Victimization in William Shakespeare's Othello, Much Ado about nothing, and Hamlet." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/93.

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This study is a feminist-based reading of three of William Shakespeare’s works: Othello, Much Ado About Nothing, and Hamlet. The reading, although borrowing from the feminist perspective, is not a full-blown feminist reading of Shakespeare’s works. The focus of the study comprises the social circumstances and the misogynistic actions of the male characters and how these impact on the lives of the female characters. The relationships between the male and female characters are often characterized by physical and psychological victimization arid their feelings of misery and shame, and even total destruction of life (as in the case of Desdemona and Ophelia). The three Shakespearean plays portray male rivals who take part in significant roles that cause destruction of well established relationships. The men allow their egos to persuade their decisions, attack their internal emotions, and demolish virtuous women who are forced to become victims of political intrigues and machinations. Shakespeare shows two types of women throughout the plays: women who refuse to submit to men and demand equal rights, and submissive women who carry out the roles of an Elizabethan woman. Those who followed the roles of the Elizabethan woman, which is to be submissive to men, also demonstrate that bowing down to patriarchal rules does not guarantee happiness for women. In fact, it may actually lead to their domination and victimization. Furthermore, all female characters, whether submissive or not, suffered the consequences of male dominance and victimization. However, the females who lived up to the women roles of the patriarchal society suffered more than the women who fought against male dominance.
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Kelly, Joseph L. "William Shakespeare's Parable of "Is" and "Seems": Ironies of God's Providence in Hamlet and Measure for Measure." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/89.

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This thesis examines Hamlet and Measure for Measure as related “problem plays.” In these plays, Shakespeare uniquely combines the genre of parable and the literary device of irony as a means to involve his audience in the experience of ordeal and deliverance that both reorients the protagonists’ personal, political, and ultimately theological assumptions and prompts spiritual insight in the spectator. As in a parable, a spiritual dimension opens subtly alongside each story to inform the play’s action and engage the spectator in the underlying theological discourse. Irony invites the audience to see the disparity between pretended or mistaken reality and the spiritual truth—between what “seems” and what “is.” As these complex dramatized parables unfold, potent tapestries of multilayered thematic irony coalesce into providential irony that exalts, rather than defeats, the protagonists and ultimately determines the outcome.
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Rubbini, Ludovica <1996&gt. ""To Prove a Villain": Shakespeare's political villains and the entwining issues of power, violence, and wickedness from Richard III to Hamlet." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21574.

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Attraverso l'analisi della figura teatrale del "cattivo" in Shakespeare, questo elaborato cerca di rispondere alla domanda: i mostri nascono o si creano? Studiando dunque le figure dei maggiori cattivi Shakespeariani da Riccardo III ad Amleto, passando attraverso lo studio dei fantasmi come personaggi negativi speciali si cerca di rispondere a tale domanda. Per corroborare questa tesi sono state studiate diverse situazioni politiche e storiche inerenti all'epoca rinascimentale inglese. Inoltre, si è proceduto nell'analizzare la questione legata ai complotti e all'ordinamento del cosmo per gli Elisabettiani e le conseguenze del male su di esso. Parte centrale dell'elaborato comprende uno studio sulla violenza, le sue sue vittime e i perpetratori di essa. Nell'intento di mantenere una prospettiva affine alla scuola di pensiero del New Historicism, si è cercato di legare le figure Shakespeariane a figure presenti nel mondo d'oggi, in particolare i tiranni politici. Attraverso lo studio della tirannia e la sua virtuale impossibilità nell'essere eradicata, si è confrontato come i personaggi di Shakespeare abbiamo diverse caratteristiche in comune con i tiranni del mondo reale, anche quelli più moderni. Parte dell'elaborato è stata dedicata anche alle differenze di genere nella percezione della malvagità e della violenza e al ruolo del vendicatore come possibile malvagio. L'elaborato si conclude con lo studio dei fantasmi come villains impossibili da esorcizzare completamente dalla narrativa e dal palco, poiché incarnano la storia e il passato che si getta nel presente e nel futuro.
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Brake, Steven Ian. "Legendary fathers, transient victories, and ambivalent histories : continuity and development in Shakespeare's exploration of authority and resistance from Henry VI Part One to Hamlet." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/10666.

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The thesis explores the development of Shakespeare’s political ideas, in particular his exploration of authority, and the legitimacy of resistance towards it, in the two English history tetralogies (as well as the self-contained history, King John), and examines the ways in which this protracted engagement with the question of kingship – and governance more generally – informs his turn to tragedy towards the end of the 1590s. The thesis argues that criticism has tended to downplay the importance of the first tetralogy in the Shakespeare canon (particularly the Henry VI plays), and as a corollary it has overlooked the important continuities that can be traced from Shakespeare’s earliest engagement with politics to his treatment of power in Julius Caesar and Hamlet. The thesis sees the history plays as essentially paradoxical and ambivalent. Shakespeare presents the past as both a shining example to which each succeeding generation must aspire, but also as a legacy which they are powerless to fulfil, while he treats the dynastic conflicts of the Houses of York and Lancaster as essentially intractable, with each new pretender to the throne – however legitimate his claim – undermined by a host of legal, moral, and pragmatic considerations. It is a central contention of the thesis that it was Shakespeare’s failure satisfactorily to resolve the intractable political conflicts of the first tetralogy which prompted him to confront a similar set of questions in King John, before returning to them yet again in the more highly acclaimed second tetralogy. The thesis concludes by arguing that far from representing a breach with his history plays, the tragedies are continuous with them. So rather than identifying the ‘origins’ of Hamlet either in Shakespeare’s reaction to the fall of Essex or the death of his son, Hammet, in 1596, it is more persuasive to see the play as arising from the debates and problems which were initially addressed in the first tetralogy.
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Keshabyan, Ivanova Irina. "A Contrastive Structural and Lexical Study of Shakespeare's Hamlet and Sumarokov's Gamlet: A Corpus-Based Approach to Literature. Estudio contrastivo de la estructura y del léxico en Hamlet de Shakespeare versus Gamlet de Sumarokov: una aproximación a la literatura desde la perspectiva basada en corpus." Doctoral thesis, Universidad de Murcia, 2010. http://hdl.handle.net/10803/10820.

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La presente Tesis Doctoral se encuadra dentro la línea de investigación del lenguaje mediante los métodos basados en corpus, es decir, mediante análisis computacional y cuantitativo. El esencial objetivo ha sido llevar a cabo una comparación y análisis cuantitativo estructural y del léxico de dos textos específicos del género dramático: la cuarta edición en el infolio de Hamlet (1685) de Shakespeare, y la traducción al inglés de Gamlet (1787) [1748], del dramaturgo ruso Aleksandr Sumarokov, traducida del ruso por Richard Fortune en 1970. El análisis, comparación e interpretación de los resultados de los patrones estructurales y temáticos se ha dispuesto por actos, tanto en aquello que se refiere a la intra-obra (en Hamlet y Gamlet, separado), como inter-obras (entre Hamlet y Gamlet) a lo largo de los Capítulos 3º, 4º, 5º y 6º. Para desvelar los propósitos reales de Shakespeare y Sumarokov, especialmente en lo referido a las configuraciones sociales y organizativas estructurales de Hamlet y Gamlet, se utilizaron diversas aplicaciones informáticas e estadísticas. Para ello se administró el análisis cuantitativo de la distribución de los patrones de la presencia, intervención e interacción de todos los personajes, tanto los principales, como los secundarios. Para analizar y comparar las alteraciones temáticas, es decir, las diferencias cualitativas, no simplemente cuantitativas, con respecto a la conceptualización sociopolítica, religiosa, moral, familiar, filosófica y artística, entre Shakespeare y Sumarokov, se aplicaron los métodos cuantitativos y analíticos basados en la lingüística del corpus. A tal fin, se implantó la investigación de los patrones de distribución de las palabras de contenido (open-class ítems), es decir, las palabras con significado léxico, tales como sustantivos, verbos, adjetivos y adverbios, más frecuentes entre ambas obras. Los principales resultados obtenidos revelan importantes disimilitudes entre las estructuras de las obras por actos, es decir, percepciones marcadamente distintas de todos los personajes, de su relevancia en las obras y de complejidad de las relaciones sociales entre ellos. Los resultados de los patrones temáticos señalan las divergencias significativas en los contenidos básicos de ambos textos en relación con los temas más prominentes. Así pues, los resultados confirman diferencias sustanciales en los patrones estructurales y temáticos entre versión original de Hamlet y Gamlet. Resumen:
The main area of research of this PhD dissertation is the study of language by means of corpus-based techniques -in other words, by means of a computational and quantitative analysis. The aim was to carry out quantitative and qualitative structural and lexical analysis and comparison of two specific texts in the genre of drama -The Fourth Folio Edition of The Tragedy of Hamlet Prince of Denmark (1685) by Shakespeare and the English translation of Gamlet (1787) [1748] by the Russian playwright Sumarokov, translated from Russian by Richard Fortune in 1970. The analysis, comparison and interpretation of data related to the structural and thematic patterns were carried out per act: intra-play (in each play, separately) and inter-plays (between Hamlet and Gamlet). Accordingly, various computational tools were applied to reveal the differences in the social and organisational structures of the plays through quantitative and qualitative analysis of the distribution patterns of the presence, intervention and interaction variables of all the characters, both main and secondary. Quantitative and analytical corpus-based methodologies were used to analyse and compare thematic alterations between the two plays -in other words, the (dis)similarities in the authors' religious, socio-political, family, moral, philosophical and artistic conceptions- identified on the basis of the most frequent content words (open-class items), particularly nouns, verbs, adjectives and adverbs. The key findings indicate important differences between the structures of the plays per acts, that is, significant divergences in the authors' perceptions of the characters and the complexity of their relationships. Another essential finding suggests obvious distinctions between both texts' basic contents per act: intra-play and inter-plays. In general, the findings uncover wide-ranging dissimilarities in the structural and thematic patterns in Hamlet versus Gamlet.
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Samuelsson, Mathilda. "Shakespeare’s Representation of Women : A Feminist Reading of Shakespeare’s Hamlet." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-32509.

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Shakespeare’s Hamlet is a nuanced play that illustrates revenge, madness, and complex relationships. The paper proposes a feminist reading of Hamlet and analyses the play’s central characters, Gertrude, Ophelia, Hamlet, Claudius, Polonius, and Laertes, and their behaviour under the influence of a patriarchal society. Furthermore, the study will focus on the ways in which Shakespeare represents Ophelia and Gertrude in the play. The study does a feminist reading of the play to investigate how Ophelia’s and Gertrude’s actions and behaviour are affected by the contemporary patriarchal society, and how it affects the male characters’ choices. This research allows readers to interpret female characters in several ways, and to see how women are forced to act and make choices in a contemporary patriarchy to be able to influence societal structures.
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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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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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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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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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Hays, Michael Louis. "Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear /." Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.

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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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Phillips, Chelsea Lenn. "Mobled queen is good : Creating an interactive, educational website for three Hamlet texts /." To link to the Hamlet site :, 2009. http://www.mbc.edu/shakespeare/hamlet_project/Hamlet%201.1/Site%20pages/HamletHomepage.html.

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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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Laqué, Stephan. "Hermetik und dekonstruktion : die erfahrung von transzendenz in Shakespeares "Hamlet /." Heidelberg : Universitätsverlag Winter, 2002. http://catalogue.bnf.fr/ark:/12148/cb40115438v.

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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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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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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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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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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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Barrie, Steven J. "Shakespearean Variations: A Case Study of Hamlet, Prince of Denmark." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1245428198.

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Barrie, Steven. "Shakespearean variations a case study of Hamlet, prince of Denmark /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245428198.

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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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Yeats, George Mattheson. "Living Hamlets : the literary afterlives of Shakespeare's play, 1830-1880." Thesis, University of Cambridge, 2008. https://www.repository.cam.ac.uk/handle/1810/252118.

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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-Verfilmungen
This 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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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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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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Jackson, Bradley J. "Cognitive poetics and Shakespeare : the role of dramatic anchors in "Hamlet"." Thesis, University of British Columbia, 2017. http://hdl.handle.net/2429/62991.

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This paper relies on the notion of dramatic anchors (Dancygier, 2016), alongside cognitive linguistic theories such as conceptual blending (Turner, 1997; Fauconnier and Turner, 2002), framing (Fillmore, 1982), compression (Fauconnier 2005; Turner 2006; Dancygier 2012), mental spaces (Fauconnier, 1994), narrative spaces (Dancygier, 2012), and representation blends (Dancygier, 2012) to propose a new way of reading Shakespeare’s Hamlet through the material aspects of the stage. Narrative anchors (and, by extension dramatic anchors) are aspects of a narrative (objects, images and linguistic forms) that compress information so that it remains dormant, but accessible, throughout the narrative. This allows for meaning comprehension to flow seamlessly during the process of reading or viewing a narrative (cf. Dancygier 2012). Amy Cook (2010) further explains the value of applying blending theory to a text or performance in Shakespearean Neuroplay, suggesting that Hamlet’s mirror-blend can inform us how meaning is constructed throughout the play. Elaborating upon these principles in Hamlet, I show how language, performance, and the material aspects of the stage converge in a process of multimodal blending (Forceville, 2009). My theory places the material objects at the center stage of theatrical performance, suggesting that abstract frames of knowledge are grounded in the material aspects of theatre and can be accessed by actors, and audiences, in the construction of narrative and conceptual meaning. The ghost, the play within a play, and Yorick’s skull give audiences access to conceptual and narrative spaces that are not in language alone. Shakespeare creatively weaves conceptual and narrative spaces through the material objects on stage to suggest his thematic insistence on the art/life blend. Futhermore, through the figurative use of language, performance, and the material aspects of the stage, Shakespeare shows us how art informs life.
Arts, Faculty of
English, Department of
Graduate
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Assay, Eshghpour Michelle. "Hamlet in the Stalin Era and Beyond : Stage and Score." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040020.

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Hamlet a longtemps été une partie inséparable de l'identité nationale russe. Cependant, les mises en scène d’Hamlet en Union soviétique (surtout en Russie) durant l'époque de Staline présentèrent des problèmes spécifiques liés aux doctrines idéologiques imposées sur les arts et la culture en général ainsi qu’aux idées reçues concernant l’opinion personnelle de Staline envers de la tragédie. Les deux mises en scènes principales d’Hamlet en Russie au cours de cette période ont été celles réalisées par Nikolai Akimov (1932) et Sergei Radlov (1938). Un réexamen approfondi de ces mises en scène, entrepris dans les chapitres centraux de cette thèse, révèle des détails précédemment inconnus au sujet de leurs conceptions, réalisations, réceptions et au-delà. Cela met en évidence l'importance du rôle de la musique de scène composée pour elles par Dimitri Chostakovitch et par Sergei Prokofiev, respectivement, et suggère l'interaction complexe des agendas individuels et institutionnels. Ce travail a été rendu possible grâce à de nombreuses visites aux archives russes, qui contiennent de précieux documents tels que des livrets des mises en scène et les rapports sténographiques de discussions, précédemment non référencées à l'Ouest. Ces chapitres centraux sont précédés d'un aperçu historique d’Hamlet en Russie et de la musique et de Shakespeare en général. Ils sont suivis par une enquête au sujet des adaptations notables d’Hamlet à la fin de l’époque de Staline et après la mort du dictateur, se concentrant sur ceux qui contiennent les contributions musicales les plus importantes. Le résultat est un aperçu plus riche et plus complexe de l'image familière d’Hamlet comme miroir de la société russe / soviétique
Hamlet has long been an inseparable part of Russian national identity. Staging Hamlet in Russia during the Stalin era, however, presented particular problems connected with the ideological framework imposed on the arts and culture as well as with Stalin’s own negative perceived view of the tragedy. The two major productions of Hamlet in Russia during this period were those directed by Nikolai Akimov (1932) and Sergei Radlov (1938). Thorough re-examination of these productions, as undertaken in the central chapters of this dissertation, reveals much previously unknown detail about their conception, realisation, reception and afterlife. It highlights the importance of the role of music composed for them by Dmitry Shostakovich and Sergei Prokofiev, respectively, and it suggests a complex interaction of individual and institutional agendas. This work has been made possible by numerous visits to Russian archives, which contain invaluable documents such as production books and stenographic reports of discussions, previously unreferenced in Western scholarship. These central chapters are preceded by a historical overview of Hamlet in Russia and of music and Shakespeare in general. They are followed by a survey of major adaptations of Hamlet in the late-Stalin era and beyond, concentrating on those with significant musical contributions. The outcome is a richer and more complex account of the familiar image of Hamlet as a mirror of Russian/Soviet society
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Leibnitz, Kimiko. "Die Frauenfiguren in Hamlet-Verfilmungen des 20. Jahrhunderts : eine kulturhistorische Untersuchung /." Saarbrücken : VDM-Verl. Müller, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3006391&prov=M&dok_var=1&dok_ext=htm.

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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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Pizarro, Solar Francisca. "Invitación a la muerte: una reelaboración surrealista de Hamlet de William Shakespeare." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/111489.

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Informe de Seminario para optar al grado de Licenciada en Lengua y Literatura Hispánica
En términos generales, este trabajo presenta el estudio y análisis comparativo entre la obra Invitación a la Muerte del mexicano Xavier Villaurrutia y la tragedia clásica de William Shakespeare Hamlet, con el cual se pretende demostrar cómo Villaurrutia realiza una reelaboración surrealista de la obra renacentista, a partir de la recepción del os movimientos europeos de vanguardia de la primera mitad del siglo XX por parte de los artistas y escritores latinoamericanos con el fin de renovar la producción literaria de la época. Villaurrutia, particularmente, innovará en la producción dramática de México con el teatro experimental, el neopsicologismo y una poética surrealista fuertemente influenciada por el trabajo del artista y escritor francés Jean Cocteau, la que no solo encontramos en su obra dramática, sino también poética. Con estos nuevos recursos estéticos, el autor mexicano escribirá Invitación a la muerte, cuyo argumento es elaborado a partir de la tragedia Hamlet, donde Villaurrutia encuentra motivos que le permiten trabajar su drama desde una estética surrealista; entre ellos encontramos el motivo de la muerte, el sueño, la soledad, el amor, la locura y búsqueda por la verdad.
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