Relevant bibliographies by topics / Shakespeare, William, Hamlet (Legendary character)

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

Academic literature on the topic 'Shakespeare, William, Hamlet (Legendary character)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Shakespeare, William, Hamlet (Legendary character)"

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Widayati, Sri, Atika Nur Alami Harahap, and Eka Yanualifa Telomensi Sitepu. "THE ANTAGONIST’S BAD CONDUCT DEPICTED IN WILLIAM SHAKESPEARE’S HAMLET." AICLL: ANNUAL INTERNATIONAL CONFERENCE ON LANGUAGE AND LITERATURE 2, no. 1 (2019): 33–41. http://dx.doi.org/10.30743/aicll.v2i1.61.

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This research focused on the antagonist’s bad conduct of the play Hamlet written by William Shakespeare. The main analysis consists of several points. They were betrayal, greediness, and murder. It analyzed how the antagonist tries to satisfy what he wants. This research intends to highlight the people’s way of thinking in considering the way that they use to fulfill their desire. To fulfill their desire, they should use the good ways and consider the negative impact that will be happen for themselves and their surrounding people. They should be able to control their copious desire otherwise t
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Kowsar, K. S. Shahanaaz, and Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER." Creativity Studies 14, no. 1 (2021): 90–98. http://dx.doi.org/10.3846/cs.2021.11556.

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William Shakespeare’s plays are universal in human character, which have raised him to be the exemplar in film industry. Shakespeare’s works stand to the test of time due to their intrinsic quality of life-likeness as Arthur Koestler comments that life-likeness is regarded as the supreme criterion of art. Shakespeare’s works and films project the reality of human life. The universality of his works has motivated the film producers to adapt Shakespeare extensively in their films in different regions, nations and contexts. The adaptation of the literary text into filmic interface involves major
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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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<p>Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in <em>King Lear</em>. Lear’s threats bestow four unique aspects that apply not only to his characte
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Cossio, Andoni, and Martin Simonson. "Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 85–97. http://dx.doi.org/10.18778/2083-8530.21.06.

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This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are freque
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Cossio, Andoni, and Martin Simonson. "Arboreal Tradition and Subversion: An Ecocritical Reading of Shakespeare’s Portrayal of Trees, Woods and Forests." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 85–97. http://dx.doi.org/10.18778/2083-8530.21.06.

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This paper analyses from an ecocritical standpoint the role of trees, woods and forests and their symbolism in William Shakespeare’s Hamlet, Macbeth, The Merchant of Venice, The Merry Wives of Windsor, A Midsummer Night’s Dream, Richard II and The Tempest. The analysis begins with an outline of the representation of trees on stage to continue with a ‘close reading’ of the mentioned plays, clearly distinguishing individual trees from woods and forests. Individual types of trees may represent death, sadness, sorcery and premonitions, or serve as meeting places, while forests and woods are freque
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McGillivray, Glen. "Nature Transformed: English Landscape Gardens and Theatrum Mundi." M/C Journal 19, no. 4 (2016). http://dx.doi.org/10.5204/mcj.1146.

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IntroductionThe European will to modify the natural world emerged through English landscape design during the eighteenth century. Released from the neo-classical aesthetic dichotomy of the beautiful and the ugly, new categories of the picturesque and the sublime gestured towards an affective relationship to nature. Europeans began to see the world as a picture, the elements of which were composed as though part of a theatrical scene. Quite literally, as I shall discuss below, gardens were “composed with ‘pantomimic’ elements – ruins of castles and towers, rough hewn bridges, Chinese pagodas an
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Ettler, Justine. "When I Met Kathy Acker." M/C Journal 21, no. 5 (2018). http://dx.doi.org/10.5204/mcj.1483.

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I wake up early, questions buzzing through my mind. While I sip my morning cup of tea and read The Guardian online, the writer, restless because I’m ignoring her, walks around firing questions.“Expecting the patriarchy to want to share its enormous wealth and power with women is extremely naïve.”I nod. Outside the window pieces of sky are framed by trees, fluffy white clouds alternate with bright patches of blue. The sweet, heady first wafts of lavender and citrus drift in through the open window. Spring has come to Hvar. Time to get to work.The more I understand about narcissism, the more I u
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Dissertations / Theses on the topic "Shakespeare, William, Hamlet (Legendary character)"

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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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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 corolla
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Paes, Luciana Lourenço 1984. "As representações de A morte de Ofélia na obra de Eugène Delacroix." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279594.

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Orientador: Cláudia Valladão de Mattos<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas<br>Made available in DSpace on 2018-08-26T09:08:07Z (GMT). No. of bitstreams: 1 Paes_LucianaLourenco_M.pdf: 6480106 bytes, checksum: 311dc7804c3dc4fd9387ec6cc4c1d3bd (MD5) Previous issue date: 2014<br>Resumo: A presente pesquisa tem como objetivo analisar as representações da morte de Ofélia na obra do pintor francês Eugène Delacroix (1798-1863), pensando sua relação com a tradição visual ligada à representação de Vênus e do suicídio feminino, com ou
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Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.

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Krozel, Michael J. "Hamlet as scourge /." 2003. http://www.consuls.org/record=b2588141.

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Thesis (M.A.)--Central Connecticut State University, 2003.<br>Thesis advisor: Donald McDonough. " ... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 104-112). Also available via the World Wide Web.
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Books on the topic "Shakespeare, William, Hamlet (Legendary character)"

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Bolt, Sydney. William Shakespeare, Hamlet. Penguin Books, 1990.

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Gibson, Rex. Shakespeare, Hamlet. Cambridge University Press, 2002.

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Qui est Hamlet: Problèmes et enjeux dans Hamlet de William Shakespeare. Harmattan, 2007.

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Tony, Buzan, ed. William Shakespeare's Hamlet. Barron's, 2001.

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

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A, Cantor Paul. Shakespeare, Hamlet. 2nd ed. Cambridge University Press, 2004.

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Shakespeare, Hamlet. Cambridge University Press, 1989.

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Watts, Cedric Thomas. Hamlet. Twayne Publishers, 1988.

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Harold, Bloom. Hamlet: Poem unlimited. Riverhead Books, 2003.

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Harold, Bloom. Hamlet: Poem unlimited. Riverhead Books, 2004.

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Book chapters on the topic "Shakespeare, William, Hamlet (Legendary character)"

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"Ridley, M. R. William Shakespeare, a Commentary 1936 283." In Readings on the Character of Hamlet. Routledge, 2013. http://dx.doi.org/10.4324/9781315018560-15.

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Lewis, Rhodri. "Hamlet Within Hamlet." In Hamlet and the Vision of Darkness. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691204512.003.0001.

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This introductory chapter argues that William Shakespeare's Hamlet can be read as a profound meditation on the nature of human individuality without relying on conceptual frameworks drawn from the eighteenth, nineteenth, twentieth, and twenty-first centuries. Just as historical discourses beyond those of Hamlet itself provide a fuller and more nuanced understanding of the political and dynastic forces shaping life in Shakespeare's Denmark, so what might be called Hamlet's “character” appears in unfamiliar and revealing relief when read against the textual contours of the psychological, rhetorical, and moral-political theorizing that lay at the heart of sixteenth-century humanism. This approach not only better locates Hamlet within Hamlet, but that it offers to rehabilitate a coherent and intensely challenging work of tragedy—albeit one in which Shakespeare steadfastly disregards the rules of Aristotelian and humanist poetics. What sets Hamlet apart from the remainder of the dramatis personae is the degree to which Shakespeare explores through him the insight that the insufficiency of received ethical and political wisdom does not just have public consequences. Transposed onto the person of Hamlet, it calls into question the fundamentals of who and what a human individual might be said to be.
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Robinson, Benedict S. "Passion’s Fictions." In Passion's Fictions from Shakespeare to Richardson. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198869177.003.0007.

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The final chapter consolidates the implications of the foregoing argument for the interpretation of early modern literature, in part by returning to the start of the story, in Shakespeare; but it approaches Shakespeare by way of an eighteenth-century phenomenon: the rise of works of “character criticism” represented for example by William Richardson’s essays. Eighteenth-century character criticism has long been seen as a new way of reading Shakespeare, even the intrusion of something foreign to Shakespeare’s plays. The word for that foreign element is often “psychology,” especially as allied to reading practices associated with the novel. This chapter argues that the real roots of character criticism lie in much older theories of the passions. The psychology at work is not nearly as new as has been claimed, as can be seen by contrasting Richardson’s essays with one of the books he cites: Edmund Burke’s treatise on the sublime and beautiful. The chapter then circles back to Shakespeare’s Hamlet, arguing that Shakespeare’s plays already contain the elements of a psychology: an externalist psychology grounded in rhetoric and its account of the circumstantial mimesis of actions as an instrument of the knowledge of the passions. Shakespeare’s plays could become the material for a science of the passions because in some sense they already were: instances of a circumstantial knowledge of the passions produced according to principles first theorized by rhetoric, which themselves shaped the new sciences of the mind that developed in the seventeenth and eighteenth centuries.
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