Artículos de revistas: "Hamlet (Shakespeare, William)"

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Román, David. "Hamlet by William Shakespeare, and: Hamlet by William Shakespeare". Theatre Journal 70, n.º 4 (2018): 563–68. http://dx.doi.org/10.1353/tj.2018.0113.

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Musa Rzayeva, Leyla. "A LOOK AT THE HEROES OF WILLIAM SHAKESPEARE'S "HAMLET" TRAGEDY". SCIENTIFIC WORK 15, n.º 3 (24 de marzo de 2021): 59–62. http://dx.doi.org/10.36719/2663-4619/64/59-62.

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William Shakespeare is the most famous writer in England. He was a great poet and playwright. In his works, he wrote about the eternal problems that afflict people: life and death, love, loyalty and betrayal. Therefore, Shakespeare's works, especially tragedies, are popular today. In the tragedy Hamlet, William Shakespeare reworked the plot of a medieval legend and an old English legend about Prince Hamlet, describing in depth the tragedy of humanism in the modern world. Prince Hamlet of Denmark is a humanist figure facing a world hostile to humanism. The spread of evil in society has a negative effect on Hamlet, causing him to become frustrated with his lack of strength. Man and the world are not accepted as they used to be. Thus, Hamlet faces a random crime, not a single enemy, but an entire hostile society, and it is his far-sighted philosophical thinking that makes him feel powerless in the fight against evil. The content of the "Hamlet" tragedy was inspired by the social conditions of England at that time, but its significance went far beyond the borders of one country and one historical period. The picture of oppression and lies, especially oppression, has long been true. This is the interest of Hamlet, who has been fighting alone against evil and injustice for centuries. Key words: Shakespeare, Hamlet, tragedy, murder, love, romance, cruelty, nobility, life, death

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Bozorova, Nasiba. "THE TRAGEDY “HAMLET” AND THE LEGAL VIEWS OF WILLIAM SHAKESPEARE". Jurisprudence 2, n.º 4 (30 de agosto de 2022): 128–35. http://dx.doi.org/10.51788/tsul.jurisprudence.2.4./upsi4974.

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In education, there is an opportunity to study, analyze and draw conclusions on economic, social, political, and legal problems in human society through a single source. This source can be a work of art that discusses the realities of life. Giving wings to thinking and imagination, models of artistic creativity serve to correct many problems of society. In this sense, it is essential in legal education to study and teach works of art as an object of a legal issue. One such work is the tragedy “Hamlet” by the English playwright William Shakespeare. The image, fate, experiences, and actions of Hamlet opened the field for heated debates and sharp reflections not only among literary critics but also among lawyers. the European legal system in world jurisprudence is analyzed based on legal problems in the works of Shakespeare, in particular, in the tragedy “Hamlet”. The article describes Shakespeare’s legal views on the basis of “Hamlet”’s analysis. In particular, the main reasons for the decline of a society whose current laws do not correspond to the original norms created for humanity, a state ruled by selfishness, hypocrisy, and cowardice, and a criminal government, i.e. an individual, state, and society, are analyzed. Shakespeare’s attitude to the legal system of his day has been examined by evaluating Prince Hamlet’s efforts to defend his rights.

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Pao, Angela C. "Recasting Race: Casting Practices and Racial Formations". Theatre Survey 41, n.º 2 (noviembre de 2000): 1–22. http://dx.doi.org/10.1017/s004055740000380x.

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He used to come to the house and ask me to hear him recite. Each time he handed me a volume ofThe Complete Works of William Shakespeare.… He wanted me to sit in front of him, open the book, and follow him as he recited his lines. I did willingly.…And as his love for Shakespeare's plays grew with the years he did not want anything else in the world but to be a Shakespearean actor.Toshio Mori“Japanese Hamlet” (1939)

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Atrinawati, Atrinawati. "Semiotic Elements on William Shakespeare’s Hamlet Prince of Denmark". Culturalistics: Journal of Cultural, Literary, and Linguistic Studies 2, n.º 2 (24 de mayo de 2018): 9–13. http://dx.doi.org/10.14710/culturalistics.v2i2.2498.

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ABSTRACTThis article analysis Hamlet Prince of Denmark, a tragic drama written by William Shakespeare. The purpose of this study is to finding out basic narrative scheme, prime signifier and paradigmatic and syntagmatic aspects of the drama. The approaches that I used is semiotics and close reading. The result shows that the narration centered on a binary opposition, hesitated revenge being the prime signifier, and paradigmatic and syntagmatic revealed details of the signals. Based on the analyses, William Shakespeare’s Hamlet Prince of Denmark contain prime signifier Keywords: semiotic; signifier; paradigmatic; syntagmatic.

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Barozai, Shumaila Maryam, Faria Saeed Khan y Muhammad Zeeshan. "Shakespeare’s Concept of Astronomy". Al-Burz 8, n.º 1 (20 de diciembre de 2016): 55–64. http://dx.doi.org/10.54781/abz.v8i1.135.

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This contribution scrutinizes Shakespeare knowledge and views about cosmological theories i.e. Ptolemaic, Copernicus, TychoBrahe and Galileo. It in addition claims that William Shakespeare had a profound interest and specialized knowledge in the domain of technical astronomy. Plays by Shakespeare are loaded with astronomical allusions. Because that is injected in Shakespeare’s nature to discuss every aspect of his age like medicine, falconry and agriculture but his astronomy is quite interesting. Furthermore, this effort examines the Shakespeare’s astronomical concept in allegorical form in his plays, especially in Hamlet, King Lear, Othello, Julius and Ceaser, Henry VI, The Tempest and Antony and Cleopatra.

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Turatti, Ricardo Amarante. "Os Caminhos de Hamlet no Cinema". Remate de Males 37, n.º 1 (28 de agosto de 2017): 409. http://dx.doi.org/10.20396/remate.v37i1.8649238.

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Hamlet, de William Shakespeare, é uma obra que provoca constantes revisões e interpretações. No que se refere ao cinema, diversas produções adaptaram ou fizeram referência à peça do dramaturgo inglês. O artigo se concentra nas possibilidades de exploração filosófica e política da obra no campo do cinema, ressaltando principalmente duas adaptações: Hamlet, dirigido por Laurence Olivier em 1948 e Hamlet de William Shakespeare, dirigido por Kenneth Branagh em 1996. A partir da exploração das adaptações de Hamlet, é possível traçar um panorama não apenas das possibilidades de releitura para essa obra específica, mas também para o significado da figura do dramaturgo inglês para a cultura em geral, expondo as sucessivas interpretações e ressignificações de obras e personagens shakespearianos.

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Vieira, Pedro Luís Sala. "The Spectre of Hamlet in the Brazilian Translations of James Joyce’s Ulysses". ABEI Journal 24, n.º 2 (15 de abril de 2022): 31–44. http://dx.doi.org/10.11606/issn.2595-8127.v24i2p31-44.

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William Shakespeare (1565-1616) is a noteworthy presence in works by James Joyce (1882-1941). Joyce’s Ulysses contains a number of passages that allude to the bard’s plays. Unlike the Homeric parallel, the Shakespearean references are scattered through the novel in form of allusions and echoes. In view of this, Laura Pelaschiar (2016) points out that “the job of the Joyce/Shakespeare explorer is a trying one because Shakespeare’s presence in Joyce is hard to unearth and assess” (58). The spectre of Hamlet arises in the novel in multiple ways and evokes crucial themes of the novel, such as the paternity matter and the relation between art and biographical life. In virtue of such intertextuality, the purpose of this paper is to discuss the presence of Hamlet in the Brazilian translations of James Joyce’s Ulysses by Antônio Houaiss (Civilização Brasileira, 1966), Bernardina da Silveira Pinheiro (Objetiva, 2005) and Caetano Galindo (Penguin/Companhia das Letras, 2012). This study comprises larger research that investigates how translators dealt with the Hamletian references in Joyce’s novel.

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Kujundžić, Fahrudin. "Shakespeareov "Hamlet" između klasike i manirizma / Shakespeare’s "Hamlet" between classicism and mannerism". Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog fakulteta u Sarajevu, ISSN 2303-6990 on-line, n.º 25 (23 de diciembre de 2022): 295–313. http://dx.doi.org/10.46352/23036990.2022.295.

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Continuing the previous research on mannerism in the history of European art, primarily the book Dnevnik melankolije [The Diary of Melancholy] by Dževad Karahasan, this paper tries to understand the specific internal contradictions of William Shakespeare’s play in the tension between the classical and mannerist experience of the world. On the foundations laid by Gustav Rene Hocke in his books on mannerism, Karahasan examined the relationship between classical and mannerist dramatic techniques throughout the history of European drama. In accordance with Hocke’s approach, Karahasan recognizes periods of domination of the mannerist type of drama. Shakespeare is cited as one of the mannerist playwrights, but, among other authors, no detailed analysis is devoted to him. This paper, therefore, tries to further develop Karahasan’s basic theses on the example of Shakespeare’s Hamlet, in which we want to recognize the intertwining of classical and mannerist dramatic techniques. Following Karahasan’s methodology, the focus will be on the analysis of the character, plot, action and dramatic situation, and then from these specific problems of dramatic technique, the classical and mannerist image of the world in dramatic literature will be discussed. Thus, within the framework offered by Karahasan, this paper seeks to further problematize Shakespeare’s position in the context of the history of mannerist drama. Therefore, this paper is aimed beyond just confirming Karahasan’s basic theses - we perceived Shakespeare as even more important than it was the case in Karahasan’s conception.

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10

Richards, Jo. "Ophelia in Hamlet by William Shakespeare". British Journal of Psychiatry 201, n.º 5 (noviembre de 2012): 359. http://dx.doi.org/10.1192/bjp.bp.112.120501.

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Mikyšková, Anna. "Hamlet (William Shakespeare, překlad Filip Krajník)". Ostrava Journal of English Philology 14, n.º 2 (enero de 2023): 81–84. http://dx.doi.org/10.15452/ojoep.2022.14.0012.

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Al-Ghammaz, Saif Al Deen Lutfi Ali. "William J. Shakespeare's Hamlet: An Analysis of Revenge Quest & Procrastination". World Journal of English Language 13, n.º 2 (16 de febrero de 2023): 317. http://dx.doi.org/10.5430/wjel.v13n2p317.

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In expounding Shakespeare’s Hamlet, a trio of important plots comes to the top with great significance; the revenge plot, the Hamlet-Ophelia romance story, and Norway’s looming war. The trio of significant plots has laid the first stone for Hamlet to procrastinate the act of revenge as it is undone until the final act of Shakespeare’s drama. On the other hand, Hamlet’s playwright gives a picture of the tradition’s direct reference using the literary device Metadrama, i.e. the play within the play exemplified by The Murder of Gonzago. Attaining true justice for his father’s murder, Hamlet beautifies The Murder of Gonzago with grim insistence; Hamlet is determined to recognize the culprit behind the death of his father. Having this uneasy mission comes true causes Hamlet to ponder and slow down about various things. Along these lines, Hamlet goes through a slow decision process to revenge on his father’s murderer. Consequently, various deaths happen, namely: Polonius, Ophelia, Rosencrantz, Guildenstern, Laertes, and Gertrude. Shakespeare’s exposition of various characters incapable of revenging heroically and determinedly draws a picture of Hamlet’s incapability to promptly avenge. Laertes, for example, plots to murder Hamlet to avenge for murdering Polonius, Laertes’s father, and in the last part of this play, Laertes successfully kills Hamlet with the poisonous sword. As various studies focus on the issues of romance, politics, and throne successions using descriptive and historical approaches, this study using the analytical approach, however, demonstrates Hamlet as a play structured on revenge, as the whole revenge events are appropriately incorporated by Shakespeare.

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Sýkora, Pavel. "Monteverdi’s Orfeo – Shakespeare’s Hamlet". Musicological Annual 55, n.º 1 (20 de junio de 2019): 27–41. http://dx.doi.org/10.4312/mz.55.1.27-41.

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Highly effective mode of solution to the crises in the Mannerist epoch is the solution in artistic structure. This article compares tendencies towards polycentric composition by two artists who were born in the 1560s – Claudio Monteverdi and William Shakespeare.

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Nurmalasari, Muharrani y Ruly Adha. "SUPERNATURALISM AND MYSTICISM IN WILLIAM SHAKESPEARE’S PLAY HAMLET". JL3T ( Journal of Linguistics Literature and Language Teaching) 2, n.º 2 (25 de enero de 2017): 67–85. http://dx.doi.org/10.32505/jl3t.v2i2.15.

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William Shakespeare is the greatest dramatist in the world. He has produced a lot of literary works especially play or drama. Some of his plays still exist until now such as Julius Caesar, Hamlet, The Merchant of Venice, etc. Even, one of his plays Romeo and Juliet has been translated into several languages in the world. He produces two types of plays, namely comedy which usually talks about love and tragedy which talks about sadness. In tragedy plays, Shakespeare always puts supernatural and mystical elements such as in Julius Caesar, Macbeth, Hamlet, etc. The supernatural and mysticism elements are usually marked by the appearance of apparition, witch, fairy, etc, and the elements can determine the fate of main characters. This article tries to describe how Shakespeare puts supernatural and mystical elements in one of his tragedy plays Hamlet.

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Das, Chandrima, Samrat Laskar, Piotr Maszewski, Grzegorz Sikorski y Anirban Bhattacharjee. "Book Reviews". Multicultural Shakespeare: Translation, Appropriation and Performance 12, n.º 27 (26 de junio de 2015): 125–46. http://dx.doi.org/10.1515/mstap-2015-0011.

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Miola, S. Robert, ed. Macbeth. By William Shakespeare. New York and London: W. W. Norton & Company, 2004. Pp. xxiii + 384. [South Asian Edition] Tiffany Ann Conroy Moore, Kozintsev’s Shakespeare Films: Russian Political Protest in Hamlet and King Lear. Jefferson, North Carolina, and London: McFarland & Company, 2012. Pp. viii + 194 Sosnowska, Monika. Hamlet uzmysłowiony (Sensuous Hamlet). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2013. Pp. 201 Courtney, Krystyna Kujawińska and Monika Sosnowska, eds. Shakespeare 2014—w 450. rocznicę urodzin (Shakespeare 2014—For the 450th Anniversary of His Birth). Łódź: Wydawnictwo Uniwersytetu Łódzkiego, 2014. Pp. 235 Laura Estill, Dramatic Extracts in Seventeenth-Century English Manuscripts: Watching, Reading, Changing Plays. Delaware: University of Delaware Press, 2015. Pp. xxviii+255

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Habib, Md Jakaria. "The Role of Gertrude and Ophelia in Shakespeare’s Hamlet: A Feminist Implication". Scholars Journal of Arts, Humanities and Social Sciences 10, n.º 5 (26 de mayo de 2022): 220–23. http://dx.doi.org/10.36347/sjahss.2022.v10i05.007.

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Multiple theories have been applied to analyze and approach William Shakespeare’s plays. The theory of feminism is one of them. Though Shakespeare’s Hamlet reflects women and men’s roles in the English Renaissance, he is also a playwright who analyzes, criticizes, and adjusts male-female psychological conflicts. The portrayal of Shakespeare’s female characters that surround them are deemed anti-feminist because of their roles or how they are alluded to in the play-text. Women in Hamlet, Gertrude and Ophelia, are given degraded opinions and roles within the play, which is the source of this misconception. The play is written from a male perspective; therefore, it focuses on the male characters and their experiences rather than considering the perspectives and consequences of women. As a result, it is reasonable to assume that Shakespeare’s Hamlet demonstrates male superiority because Shakespeare has fostered the public aware of women’s mistreatment, Hamlet can be seen as a test of the feminist approach.

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Sládeček, Ján. "Miloš Pietor and Shakespeare’s Historical Chronicles in the Slovak National Theatre". Slovenske divadlo /The Slovak Theatre 65, n.º 2 (27 de junio de 2017): 196–217. http://dx.doi.org/10.1515/sd-2017-0012.

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Abstract The plays of William Shakespeare, except for Hamlet (Nová scéna, 1974) and Richard III (SND, 1987), do not define the artistic profile of Miloš Pietor, yet they significantly supplement it. Although as a dramaturge he felt at his best in a different repertoire, his several encounters with Shakespeare cannot go unnoticed. They must be examined for complete information about the director’s artistic development, but also about the productions of Shakespeare in Slovakia. Pietor had encountered Shakespeare six times; their seventh encounter was interrupted by the director’s unex pected death. The present paper deals with Pietor’s production of Shakespeare’s historical chronicles for the Slovak National Theatre in the period of 1980-1987.

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Bennett, Susan. "Godard and Lear: Trashing the Can(n)on". Theatre Survey 39, n.º 1 (mayo de 1998): 7–19. http://dx.doi.org/10.1017/s0040557400002994.

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In the late 1990s, the endlessly reinvented Shakespeare has apparently become a popular and successful screenwriter. The recent release of Richard III, William Shakespeare's Romeo + Juliet, Twelfth Night and Hamlet have brought an enthusiastic movie-going public to see, among other things, the Capulets and the Montagues on the beach and Hamlet striding through a cast of thousands at Elsinore. But this is not to suggest that this particular genre success is either new or inappropriate; the collection of artifacts known as Shakespeare (including but not limited to the plays themselves) has long signified as high art dedicated to the education of not just a theatre-going elite nor the mass audiences of popular media, but everyone. On a global scale, Shakespeare means culture or, as Michael Bristol would more wittily have it, Shakespeare is “big time.” This history of the cultural capital that is Shakespeare continues to have a fascination for, and a usefulness to the producers and distributors of films. Thus, to turn Shakespeare from playwright to screenwriter is, culturally speaking, both a pragmatic and predictable strategy. And it is a strategy that has more or less existed as long as film itself.

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Jones, Megan Sanborn. "As You Like It by William Shakespeare, and: Hamlet by William Shakespeare". Theatre Journal 71, n.º 2 (2019): 235–38. http://dx.doi.org/10.1353/tj.2019.0045.

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Hart, Jonathan Locke. "Shakespeare, William. Hamlet. Ed. Robert S. Miola." Renaissance and Reformation 43, n.º 1 (2 de mayo de 2020): 285–87. http://dx.doi.org/10.33137/rr.v43i1.34137.

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Mendes, Adelson Oliveira y Adriana Gomes. "Delineações Políticas em Hamlet, de William Shakespeare". Revista FSA 19, n.º 9 (1 de septiembre de 2022): 285–98. http://dx.doi.org/10.12819/2022.19.9.14.

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Joys Andrean Mardohar Sitanggang, Shinta Melina Sidabutar y Syamsul Bahri. "Metafora dalam Play Hamlet karya William Shakespeare". Khatulistiwa: Jurnal Pendidikan dan Sosial Humaniora 2, n.º 3 (26 de agosto de 2022): 01–15. http://dx.doi.org/10.55606/khatulistiwa.v2i3.411.

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Metaphors were mosly found in the drama “Hamlet.” It confused and made it hard for the readers to understand some dialogue in that drama. It became an interesting one to explore more profound about the use of metaphors. This study explored more the metaphors in the conversation among characters in William Shakespeare’s play Hamlet. The researcher applied a qualitative descriptive method with the theory of the Metaphor, according to Parera (2004), as a detailed explanation. The study results found that the most frequently occurring types were Animal Metaphors (35%), and Anthropomorphic Metaphors as the rarest one (15%). Animal Metaphor uses animal parts to mock people in this story. Anthropomorphic metaphors are parts of the human body that are transferred to various inanimate objects used to praise in this story. Metaphors occured in a drama which can make it more interesting to read and perform.

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Kowsar, K. S. Shahanaaz y Sangeeta Mukherjee. "RECREATING HAMLET: CREATIVITY OF VISHAL BHARDWAJ IN HAIDER". Creativity Studies 14, n.º 1 (18 de marzo de 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 creative restructuring between the original text and the filmic medium. The restructuring of the adaptation involves shift in the medium, genre, context and culture to suit the differences in area and medium. The director of a film needs to be highly creative to adapt a literary text to make a film. Vishal Bhardwaj is one such contemporary prolific film makers who have successfully adapted Shakespearean plays like Othello, Macbeth and Hamlet into Indian cinema. The research article tries to portray the creativity of a director to recreate a new film out of an existing text (filmic adaptation). The article analyses the concept of conceptual blending creativity process and bricolage in highlighting the creativity of Bhardwaj in adapting Hamlet and localizing it in Indian cinema as Haider (2014).

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Wang, Yuan. "An Analysis of Hamlet from the Perspective of Aristotle's Tragedy Theories". Region - Educational Research and Reviews 3, n.º 3 (2 de octubre de 2021): 48. http://dx.doi.org/10.32629/rerr.v3i3.453.

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With profound tragic significance, Hamlet is an enduringly popular tragedy by the famous British dramatist William Shakespeare. The complex characters, as well as the various artistic techniques for the creation of the tragic story in the play, especially its application of the ancient Greek philosopher Aristotle's tragedy theories, have received extensive attention from academia. This paper intends to conduct a study on the application of Aristotle's tragedy theories in Shakespeare's Hamlet. On the basis of the analysis of Aristotle's tragedy principles related to tragic plots and characters, "Error and Frailty", "Fear and Pity" and "Purification", the paper discusses the tragedy Hamlet and its application of Aristotle's guidance, in order to help readers untie the reasons of the design for some important parts of this tragedy.

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Elesbão, Juliana y Eduardo da Luz. "As mãos literárias e a influência no teatro: Hamlet e O marinheiro". Pitágoras 500 4, n.º 2 (15 de diciembre de 2014): 160–73. http://dx.doi.org/10.20396/pita.v4i2.8634707.

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Propomo-nos evidenciar como a mão literária de Fernando Pessoa, pousada sobre a mão literária de Shakespeare, seu precursor, pressionando-a, potencializa as impossibilidades de sentido da linguagem. Para tanto, tomamos como objetos desse estudo as peças teatrais O Marinheiro, de Fernando Pessoa, e Hamlet, de William Shakespeare.

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CUŢITARU, CODRIN LIVIU. "CULTURAL AMBIGUITY AS IRRECONCILABLE ANTAGONISM IN SHAKESPEARE’S MAJOR TRAGEDIES". Analele Universităţii Bucureşti. Limbi şi Literaturi Străine 72, n.º 1/2023 (1 de noviembre de 2023): 3–13. http://dx.doi.org/10.62229/aubllslxxii/1_23/1.

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This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it into an essential instrument of the tragic and the tragedy, i.e. into a form of irreconcilable conflict, antagonism. Therefore, what in normal/modern circumstances would appear as “plagiarism” becomes here a token of artistic genius and brilliant creation, the very nucleus of the tragic construction. We approach, from this angle, the four outstanding tragedies Hamlet, Othello, King Lear and Macbeth, intending to clearly define each one’s cultural (that is, tragic) conflict. Likewise, the sources of these masterpieces, Saxo Grammaticus’s Gesta Danorum, François de Belleforest’s Histoires Tragiques (for Hamlet), Cinthio’s Un Capitano Moro (for Othello), the Celtic legend Leir of Britain (for King Lear) and Holinshed’s Chronicles… (for Macbeth), are compared to their Shakespearean “avatars”, with the purpose of displaying the way in which the asserted antagonism manifests itself at the level of the “prototype”. The outcome of the critical investigation reveals that the so-called cultural ambiguity takes various forms in Shakespeare’s plays, going from the clash of civilizations (Hamlet and Othello) to the crisis of identity (King Lear and Macbeth).

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Luiz, Tiago Marques. "As Deformações Bermanianas em Hamlet". Guará 6, n.º 1 (14 de junio de 2017): 124. http://dx.doi.org/10.18224/gua.v6i1.5680.

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Resumo: a tradução do humor está sujeita um conhecimento significativo do tradutor do assunto e da sua própria época, já que em determinado momento, faz-se necessário que o tradutor, por meio da sua imaginação e perspicácia, recrie determinadas passagens em função do entendimento contemporâneo do objeto cômico. O presente trabalho pretende analisar a conservação do humor em uma breve passagem da cena dos coveiros da peça A Tragédia de Hamlet: Príncipe da Dinamarca, de William Shakespeare, traduzida por Millôr Fernandes em 2011 e Carlos Alberto Nunes em 2011. A edição usada como original é a Oxford Shakespeare e a base teórica para este estudo se debruça nas tendências deformativas de Antoine Berman. Palavras-chave: Performance. Imaginação. Hamlet. Ironia.

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Coyne, John D. "Hamlet by William Shakespeare Presented by Surgical Pathology". International Journal of Surgical Pathology 21, n.º 5 (20 de junio de 2013): 508. http://dx.doi.org/10.1177/1066896913492197.

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Martins, Marcia do Amaral Peixoto. "Shakespeare com sotaque brasileiro: Hamlet em versos de cordel". Tradterm 42 (30 de septiembre de 2022): 29–55. http://dx.doi.org/10.11606/issn.2317-9511.v42p29-55.

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O objetivo deste trabalho é apresentar e discutir uma adaptação da peça Hamlet, de William Shakespeare, para a poesia de cordel brasileira. De autoria de Stélio Torquato Lima, o Hamlet cordelizado integra o volume Shakespeare nas rimas do cordel (Giramundo, 2013), com mais dez peças adaptadas pelo mesmo cordelista. A proposta das adaptações de Lima é a de restaurar o caráter popular das obras de Shakespeare a partir de sua transposição para uma forma de expressão identificada com a cultura brasileira, embora não o fosse na sua origem. A primeira parte do artigo aborda as origens e características da literatura de cordel, seguindo-se uma descrição da edição da Giramundo e a análise do Hamlet, que enfoca aspectos relativos à forma, ao enredo e ao perfil e função de personagens centrais. Trata-se de uma adaptação que pode ser apreciada como obra independente, embora o conhecimento da peça shakespeariana e a percepção da intertextualidade possam aumentar o prazer da leitura ou da escuta desses versos em cordel.

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LAZARENKO, D. M. y I. Y. PAVLENKO. "“LOOK HERE, UPON THIS PICTURE, AND ON THIS”: MYTHOLOGICAL AND LEGENDARY SOURCES IN THE MIRROR OF SHAKESPEARE'S “HAMLET”". АКАДЕМІЧНІ СТУДІЇ. СЕРІЯ «ГУМАНІТАРНІ НАУКИ», n.º 3 (25 de diciembre de 2023): 36–43. http://dx.doi.org/10.52726/as.humanities/2023.3.6.

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The article is focused on the intertextual level of metatextuality in William Shakespeare's “Hamlet”. Contemporary Shakespeare studies have formed a clear idea of the complete list of possible plot sources that the English playwright could have used when creating his masterpiece. However, the question of how exactly the medieval legendary revenge story is transformed by the Renaissance genius into the tragedy of a reflecting personality seeking to comprehend the essence of existence and put right the time that is out of joint still remains open. In this context, the application of the theory of metatext seems to be productive, since Shakespeare not only significantly modifies, to some extent modernizes and conceptually upgrades the borrowed folklore and literary material in accordance with his own creative vision, but also resorts to its imaginative interpretation, preserving some elements while transforming or even leaving others out. Therefore, the purpose of the article is to explore the complex dialogical relations between the Renaissance as a text and the literary text created in this era as a result of Shakespeare's original reinterpretation of a number of mythological motifs, semi-legendary storylines and works of his predecessors. The relevance of the topic is due to the permanent actualisation of the metatextual potential of Shakespeare's tragedy in the literature of the following epochs and the need to understand the complex system of its metatextual connections with the primary sources. The analysis demonstrates that Shakespeare’s play has almost completely re-accentuated the semantics of the medieval legend. Shakespeare's borrowing of the legendary plot made possible the collision and dialogue of differently charged cultural layers – the medieval and Renaissance ones – within one literary work, which, in turn, largely determined the extremely complex ambivalent nature of the character of Hamlet.

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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare". Journal of Arts and Humanities 6, n.º 4 (5 de abril de 2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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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 King Lear. Lear’s threats bestow four unique aspects that apply not only to his character but they also apply to Shakespearean tragic heroes. Lear’s speech tells us that he is determined to have an awful type of revenge on his daughters. However, the very same speech tells us that he seems uncertain about the method through which he should carry out this revenge. Lear does not express any type of remorse as he pursues his vengeful plans nor should he aim at amnesty. He also admits his own madness as he closes his revealing speech. This research develops these facts about Lear to unfold the unique pattern Shakespeare follows as he portrayed his major tragic figures. This pattern is examined, described and analyzed in King Lear, Othello, and Hamlet. We will find out that the pattern suggested in this study helps us better understand Shakespeare’s tragedies and enables us to provide better explanations for some controversial scenes in the tragedies discussed.

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Spyra, Piotr. "Shakespeare and the Demonization of Fairies". Text Matters, n.º 7 (16 de octubre de 2017): 194–213. http://dx.doi.org/10.1515/texmat-2017-0011.

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The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.

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Kramer, Ursula. "Herausforderung Shakespeare". Die Musikforschung 55, n.º 2 (22 de septiembre de 2021): 129–44. http://dx.doi.org/10.52412/mf.2002.h2.752.

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Die Entdeckung William Shakespeares im deutschen Theater der 1770er Jahre hatte unmittelbare Konsequenzen für die damalige Schauspielmusik: Abweichend von der üblichen Praxis wurden für die Aufführungen dieser Dramen eigens neue Musiken geschrieben, für die die Zeitgenossen den Begriff des Analogen prägten. Zentren dieser neuen musikalischen Ambition waren Hamburg (Carl David Stegmann), Berlin (Johann André, Johann Friedrich Reichardt), Mannheim (Georg Joseph Vogler) und Wien (Johann Mederitsch); besonderes Interesse galt vor allem "Macbeth", "King Lear" und "Hamlet". Die größte Herausforderung stellten dabei die Zwischenakte dar; hier gelang es den Komponisten in unterschiedlichen Graden, die Idee einer angemessenen Musik zu verwirklichen.

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Zhao, Xuefei. "New Interpretation of the‘To Be or Not to Be’Soliloquy in Hamlet by William Shakespeare". Pacific International Journal 5, n.º 4 (31 de diciembre de 2022): 64–70. http://dx.doi.org/10.55014/pij.v5i4.246.

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In Hamlet written by William Shakespeare, there are seven soliloquies uttered by the Hamlet. Most of the soliloquy exists as a paradox: Hamlet is questioning life and death, being and not being. In this paper, the emphasis will be on the most famous ‘To Be or Not to Be’ soliloquy interpreted by Hamlet. This paper gives a new interpretation of the ‘To Be or Not to Be’ soliloquy analyzed from a discourse perspective and a psycholinguistic perspective to demonstrate how it helps to forward the plot to achieve the dramatic effectiveness and to make different characters more distinctive. With this object, the position and the significance of the soliloquy ‘To Be or Not To Be’ in Hamlet is going to be concluded.

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Gomes, Marcelo Bolshaw. "Hamlet e a hermenêutica: Das muitas interpretações da triste estória do príncipe da Dinamarca". Rizoma 4, n.º 1 (5 de agosto de 2016): 166. http://dx.doi.org/10.17058/rzm.v3i1.6422.

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Analisa-se aqui quatro adaptações de Hamlet, de William Shakespeare, para o cinema: Laurence Olivier (1948); Franco Zeffirelli (1990); Kenneth Branagh (1996) e Michael Almereyda (2000). E se discutem as relações da narrativa com a psicanálise e com a hermenêutica.

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36

Prado Zavala, Jorge. "La venganza teatral de Hamlet". Horizonte de la Ciencia 6, n.º 11 (16 de diciembre de 2016): 47. http://dx.doi.org/10.26490/uncp.horizonteciencia.2016.11.227.

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En el año que conmemoramos el 400 aniversario del traslado de William Shakespeare a la inmortalidad, vale la pena revisitar la que se reconoce no sólo como su drama más representado, sino además el más glosado: La tragedia de Hamlet, Príncipe de Dinamarca, ya sea con el fin de confirmar, o bien refutar, la vigencia de su adjetivo de clásico.

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37

Usher, Peter D. "On the New Stars in Ulysses". James Joyce Quarterly 60, n.º 4 (junio de 2023): 477–85. http://dx.doi.org/10.1353/jjq.2023.a914618.

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Abstract: The Ghost in William Shakespeare’s Hamlet appears from the direction of a bright new star, which James Joyce in Ulysses identifies as the New Star of 1572, a supernova in the constellation Cassiopeia. In the book, Stephen Dedalus asserts that this celestial outburst occurs about the time of Shakespeare’s birth, but Shakespeare was born eight years earlier. This essay studies this New Star and the three other stellar outbursts for which Ulysses supplies information. It posits that Joyce creates the eight-year discrepancy intentionally and that, suitably parsed, the discrepancy does not exist. Also, it suggests that the assumed coincidence of the apparition of T Coronae Borealis nova on the birthdate of Leopold Bloom matches the seemingly erroneous coincidence of dates of the New Star of 1572 and the birth of Shakespeare, and that the text suggests that Joyce proclaims Shakespeare more intelligent than Bloom. The conclusions reached in this essay are in agreement with Bloom’s relationship to Shakespeare. We suggest that Joyce deliberately picks the star named delta of Cassiopeia over two more suitable choices for locating the direction of the New Star.

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Cuțitaru, Codrin Liviu. "The Genius of Shakespeare’s “Plagiarisms”. Case Studies: Hamlet, Othello, King Lear and Macbeth". Linguaculture 2017, n.º 1 (1 de junio de 2017): 63–71. http://dx.doi.org/10.1515/lincu-2017-0006.

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Abstract This paper aims at exploring the cultural ambiguity which William Shakespeare remarkably extracts from the sources of his major plays, turning it, eventually, into an essential instrument of the tragic and the tragedy. What in normal/modern circumstances would easily count as “plagiarism”, becomes here, paradoxically, a token of artistic genius and brilliant creation. Our examples will be from the four outstanding tragedies—Hamlet, Othello, King Lear and Macbeth. The sources selected by our research will be Saxo Grammaticus’s Histoires tragiques, Cinthio’s Un Capitano Moro, the Celtic legend Leir of Britain and, obviously, Holinshed’s Chronicles. We shall try to demonstrate that the so-called cultural ambiguity adopts various forms in Shakespeare’s plays, going from the clash of civilisations (Hamlet and Othello) to the crisis of identity (Lear and Macbeth).

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Brown, Guy C. "Mitochondria and cell death: Apoptosis and necrosis". Biochemist 27, n.º 3 (1 de junio de 2005): 15–18. http://dx.doi.org/10.1042/bio02703015.

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“To be, or not to be: that is the question:Whether ‘tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles,And by opposing end them? To die” William Shakespeare, Hamlet

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40

Amiri, Mehdi y Sara Khoshkam. "Gender Identity and Gender Performativity in Shakespeare’s Selected Plays: Macbeth, Hamlet and Merry Wives of Windsor". Advances in Language and Literary Studies 8, n.º 4 (31 de agosto de 2017): 1. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.1.

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The main argument of this article is focused on three plays by William Shakespeare, Macbeth, Hamlet and Merry Wives of Windsor. There are several points in these plays which deal with woman and their rights. This article deals with Shakespeare’s plays in relation to feminism, which pays more attention to the rights of women and their true identity. In all societies women are defined in terms of their relations to men as the center of power to which women have limited or no access. Judith Butler's performativity is significance on understandings of gender identity. Butler believes that gender is produced in society; also it can be changed in society. Feminism should aim to create a society in which, one's sexual anatomy is irrelevant to who one is, and what one does. Shakespeare’s view of a woman is shown through his representation of female characters in his plays specifically in Macbeth, Hamlet and Merry Wives of Windsor.

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41

Oliveira, Jair Pereira. "A ponderação resiliente no discurso da personagem “Hamlet”, de William Shakespeare, como elemento disruptor da ação dramática". Terceira Margem 26, n.º 48 (5 de marzo de 2022): 275–94. http://dx.doi.org/10.55702/3m.v26i48.46416.

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O trabalho objetiva discutir de que forma a ação dramática da personagem “Hamlet”, de William Shakespeare, realiza-se no momento em que ela pondera sobre as possibilidades de agir-no-mundo. Essa ponderação se torna o elemento que transforma suas ações diante do mundo. Sendo assim, teremos como base de discussão a crítica feita por Harold Bloom sobre a tragédia. Além disso, discutiremos os princípios de resiliência, como força de intervenção reflexiva diante dos traumas existentes no sujeito “Hamlet”.

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42

Škrobánková, Klára. "Enter the Clowns: Adapting Shakespeare after 1642". Linguaculture 2017, n.º 2 (20 de diciembre de 2017): 43–57. http://dx.doi.org/10.1515/lincu-2017-0017.

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Abstract This paper focuses on the genre of drolls as they were compiled in Francis Kirkman‘s collection The Wits or Sport upon Sport, published in 1672 and 1673. The anthology includes scenes from Hamlet or A Midsummer Night's Dream and draws upon characters like Falstaff and others. By description and analysis of these dramatic pieces, I would like to draw one's attention to the genre that is almost unknown to the history of English speaking drama. This article focuses on the process of rethinking Shakespeare so as not only to entertain people in the critical period of English history, but also to preserve the dramatic conventions that William Shakespeare and his contemporaries created. It also considers the changes the authors of the drolls made when adapting the parent plays of William Shakespeare.

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Küppers, Almut y Maik Walter. "Is Shakespeare a Foreign Language?" Scenario: A Journal of Performative Teaching, Learning, Research VI, n.º 1 (1 de enero de 2012): 146. http://dx.doi.org/10.33178/scenario.6.1.11.

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An Interview with Peadar Donohoe, Artistic Director of Cyclone Repertory Company, Cork Cyclone Repertory Company Ltd. is a core group of actors & technicians based in Cork who are devoted to the art of theatre to serve the wider community through quality productions that entertain and educate. More recently the company has been very successful in Ireland with performances of their ‘pedagogic adaptations’ of plays by William Shakespeare. Scenario readers may also wish to view short films which give a first impression of the unique way in which Cyclone have managed to make Shakespeare’s texts accessible and interesting to Irish secondary school students. The SCENARIO interview with Peadar Donohoe can be downloaded hereFor a short film on Cyclone’s approach to Macbeth click here, for a short film on Hamlet click here

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44

Sincox, Bailey. "Hamlet by William Shakespeare, and: A Midsummer Night's Dream. by William Shakespeare, and: Much Ado About Nothing by William Shakespeare, and: Romeo and Juliet by William Shakespeare". Shakespeare Bulletin 37, n.º 2 (2019): 305–8. http://dx.doi.org/10.1353/shb.2019.0028.

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Bălinișteanu-Furdu, Cătălina y Daniela Anisiei. "Space in William Shakespeare’s The Tragedy of Hamlet, Prince of Denmark". Studies in Linguistics, Culture, and FLT 12, n.º 1 (15 de abril de 2024): 152–68. http://dx.doi.org/10.46687/utub9773.

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The paper deals with the concept of space in William Shakespeare’s “The Tragedy of Hamlet, Prince of Denmark”. Not only is the play the most popular and the most internationally known creation of William Shakespeare, but it also attracts readers and critics for its complexity and up-to-datedness. We chose to analyse various aspects of space in this tragedy to underline their influence on different characters. The paper aims at proving that there is a relation between each character and a particular space whose features are partly reflected in the characters’ personality or/and actions. Therefore, the main characters were analysed in connection with the spaces they appear in throughout the play. We were also interested in analysing whether the characters have the necessary power and/or ability to change these spaces, or not. We noticed that some of the characters had their spaces invaded by perpetrators, while other characters became perpetrators themselves. Observing the link between spaces and the characters' personality, we tried to scrutinize their deeds based on the features of certain spaces emphasizing aspects such as: private vs. public, natural vs. artificial.

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46

Tiwari, Dr Jai Shankar. "A Study of Minor Characters in William Shakespeare’s Great Tragedies." SMART MOVES JOURNAL IJELLH 8, n.º 2 (11 de febrero de 2020): 15. http://dx.doi.org/10.24113/ijellh.v8i2.10384.

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The abstract summarizes the analysis and interpretation of the significance of minor characters in Shakespeare’s major tragedies and concludes that Shakespeare is the greatest creator of characters. His greatness lies of course, in creating and heroic characters like Hamlet, Othello, Lear and Macbeth but what is significant is that even the minor characters are as immortal as the major ones. The great Villain Iago are great characters but the less important characters like Horatio, Fortinbras, Edgar, Cassio and Banquo are equally important. Besides, Shakespeare’s women characters, mostly assigned minor roles, create niche in our heart. Ophelia, Cordelia, Desdemona and Lady Macbeth have their own place. Nobody will forget them. In fact, they bring spice to the development of the plot and so do Horatio Ophelia, Lady Macbeth, Banquo, Macduff, Earl of Gloster , Edgar, Cassio and Emilia in tragedies.

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47

Minenko, Olesya. "«HAMLET» BY WILLIAM SHAKESPEARE IN THE TRANSLATION AND CREATIVE UNDERSTANDING OF THE UKRAINIAN WRITERS OF THE NINETEENTH CENTURY". English and American Studies 1, n.º 17 (22 de diciembre de 2020): 86–91. http://dx.doi.org/10.15421/382015.

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The article is devoted to a detailed analysis of the translations of the tragedy «Hamlet» by William Shakespeare in the context of the aesthetic views of Ukrainian writers of the nineteenth century. The idea that synchronous and diachronic consideration of the literary evolution of Hamlet’s image demonstrates the emergence of Hamletism as a certain aesthetic category is justified. A comparative analysis of the translations of Hamlet by Ukrainian authors was carried out. On the basis of research, it is established that the translator, as well as the reader, finds itself «between» texts of different cultures and literatures, that is, in a situation of complete uncertainty, cultural «border», by performing a double hermeneutic act of «decoding» «one’s» and «another’s» tradition available in the original and in its translation. The author concludes that Shakespeare at the world-philosophical level was close to the Ukrainian translators of the XIX century: the writers considered in Shakespeare’s works a timeless universality and a prehistoric dimension of the human personality, a peculiar human «monad», which can be different in different ways. It was observed that Ukrainian translators are united not only by language innovation, the attraction of deep layers of the Ukrainian language, but also the sole purpose – the cultural revival of the state through the revival of the language.

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Gómez Sánchez, Begoña. "La reinterpretación contemporánea de William Shakespeare en el diálogo teatral: Miguel del Arco". Acotaciones. Revista de Investigación y Creación Teatral 1, n.º 48 (27 de junio de 2022): 171–208. http://dx.doi.org/10.32621/acotaciones.2022.48.06.

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El presente artículo estudia al director de escena Miguel del Arco, un interesante ejemplo de la puesta en escena española actual. Sus escenificaciones de textos literarios de William Shakespeare evidencian la reinterpretación contemporánea del «ángulo oblicuo» (Greenblatt, 2019) como mecanismo de la más renovadora tendencia escénica del siglo XXI para propiciar el diálogo teatral y reducir la distancia entre el pasado de los textos originales y el presente del receptor. Con el objeto de exponer los recursos dramatúrgicos y escénicos utilizados en el «ángulo oblicuo», se analizan sus tres montajes realizados hasta el momento: La violación de Lucrecia (2010), Hamlet (2016) y Ricardo III (2019).

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49

Trefalt, Uroš. "Other "Hamlet" in Puppet Theatre: A Contribution to Central European Theatre Diversity of the 1980s-1990s". Multicultural Shakespeare: Translation, Appropriation and Performance 28, n.º 43 (30 de diciembre de 2023): 265–75. http://dx.doi.org/10.18778/2083-8530.28.14.

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This study aims to address the stigmatization and reductionism of Central European culture by many scholars and to decentralize it. At the Crossing Borders with Shakespeare Since 1945 conference, the roundtable discussion raised questions about naming and defining “Central Europe” and revealed several discrepancies. However, the discussion lacked cultural, political, and historical context. To address this, the author examines a lesser-known artistic genre, puppet theatre, for answers and comparisons. Zlatko Bourek, a Croatian artist and director, offers a unique perspective on the theatre of the 1980s and serves as an example of the diversity and heterogeneity of Central European cultural expression. Bourek’s work draws from the tradition of Central European puppetry and explores connections between the Iron Curtain and Yugoslavia. His artistic style is exemplified in his adaptation of Tom Stoppard’s play Fifteen-Minute Hamlet, which masterfully condenses the entire plot of William Shakespeare’s Hamlet into a fifteen-minute performance. Bourek’s concept of combining Shakespearean tragedy with farce, presented through Japanese traditional Bunraku theatre, represents an important experiment of the 1980s. The use of syncretism and the aesthetics of ugliness are notable features of this experiment. It is a breakthrough in the perceived history of puppet theatre for adults and an aesthetic experiment in the era of Central European totalitarianism.

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Marjanovic, Natasa. "Hamlet - little known piece by Enriko Josif: Literary-theoretical, philosophical and musicological views". Muzikologija, n.º 11 (2011): 251–66. http://dx.doi.org/10.2298/muz1111251m.

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Hamlet is well-known as the most famous tragedy written by William Shakespeare. This dramatic work has, throughout the centuries, lead numerous writers, poets, literary-critics and philosophers to think about universal issues of life, human nature, love, loyalty and friendship. Hamlet has not just been the subject of discussion from the point of view of the theory of literature and human psychology and philosophy, it has also directly inspired the creation of many artistic works. One of those works which forms the main subject-matter of this paper is the almost unknown music for Hamlet by Enriko Josif. Enriko Josif was an extraordinary figure, a versatile artist and thinker, almost a kind of philosopher. In his opinion and in accordance with his inner feeling, art was a matter of divine creation first of all. He admired those artists who dealt with difficult issues of life in their works of art and William Shakespeare was to him one of the most prominent among them. In general terms, we have highlighted certain general points about Josif?s views on an artist?s life and work and have presented our notions about his piece. Specifically, we have tried to point out personal views that Josif held about Hamlet, as well as the most important features of Josif?s music, which are broadly in accordance with the literary, ethical, philosophical and theological critical tradition surrounding this masterpiece.

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