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Tytuł:
Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM
Autorzy:
Sosnowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/648044.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
cabaret performance
parody
digital Shakespeare
Opis:
Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 81-93
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western
Autorzy:
Ciraulo, Darlena
Powiązania:
https://bibliotekanauki.pl/articles/647940.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Johnny Hamlet
Shakespeare
Hamlet
Italian Western
Spaghetti Western
Castellari
Corbucci
Django
western
revenge
Opis:
The Italian Western, Johnny Hamlet (1968), directed by Enzo G. Castellari, draws on the revenge story of Shakespeare’s tragedy Hamlet for plot and characterization. While international distributors of the film downplayed its connection to highbrow Shakespeare, they emphasized the movie’s violent content and actionpacked revenge narrative, which was typical of the western all’italiana. Johnny Hamlet shares similarities with the brutally violent Django (1966), directed by Sergio Corbucci, whose avenging angel protagonist epitomizes the Spaghetti Western antihero. Although the filmmakers of Johnny Hamlet characterized Johnny as a vindicator, they also sought to develop the “broody” aspect of this gunfighter, one based on Shakespeare’s famously ruminating hero. Using innovative film techniques, Johnny Hamlet shows Johnny as a contemplative pistolero.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 105-119
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hamlet Underground: Revisiting Shakespeare and Dostoevsky
Autorzy:
Thurman, Chris
Powiązania:
https://bibliotekanauki.pl/articles/648299.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Dostoevsky
Hamlet
Hamletism
underground
nihilism
Opis:
This is the first of a pair of articles that consider the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. Acknowledging Shakespeare’s well-known influence on Dostoevsky and paying close attention to similarities between the two texts, the author frames the comparison by reflecting on his own initial encounter with Dostoevsky in David Magarshack’s 1968 English translation. A discussion of previous Anglophone scholarly attempts to explore the resonance between the texts leads to a reading of textual echoes (using Magarshack’s translation). The wider phenomenon of Hamletism in the nineteenth century is introduced, complicating Dostoevsky’s national and generational context, and laying the groundwork for the second article-which questions the ‘universalist’ assumptions informing the English translator-reader contract.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 79-92
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hamlet Szekspira a tragedie Seneki
Shakespeare’s ‘Hamlet’ and Seneca’s Tragedies
Autorzy:
Hajduk, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/1046681.pdf
Data publikacji:
2015-01-01
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
William Shakespeare
Seneca the Younger
Ancient tragedy
Elizabethan drama/theatre
Hamlet
Opis:
In this paper I am discussing some crucial resamblences between ancient tragedy of Seneca the Younger and Hamlet by William Shakespeare. I want to show how important is to have in mind Seneca’s efforts while trying to understand „philosophy” and structure of Hamlet.
Źródło:
Symbolae Philologorum Posnaniensium Graecae et Latinae; 2015, 25, 1; 109-125
0302-7384
Pojawia się w:
Symbolae Philologorum Posnaniensium Graecae et Latinae
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Hamlet, or about Death: A Romanian Hamlet directed by Vlad Mugur (2001)
Autorzy:
Matei-Chesnoiu, Monica
Powiązania:
https://bibliotekanauki.pl/articles/648240.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
geocriticism
Hamlet
Vlad Mugur
Shakespeare production
Shakespeare in Romania
spatial manipulation
Opis:
This essay looks at the 2001 Romanian production of Hamlet directed by Vlad Mugur at the Cluj National Theatre (Romania) from the perspective of geocriticism and spatial literary studies, analysing the stage space opened in front of the audiences. While the bare stage suggests asceticism and alienation, the production distances the twenty-first century audiences from what might have seemed difficult to understand from their postmodern perspectives. The production abbreviates the topic to its bare essence, just as a map condenses space, in the form of “literary cartography” (Tally 20). There is no room in this production for baroque ornaments and theatrical flourishing; instead, the production explores the exposed depth of human existence. The production is an exploration of theatre and art, of what dramatists and directors can do with artful language, of the theatre as an exploration of human experience and potential. It is about the human condition and the artist’s place in the world, about old and new, about life and death, while everything happens on the edge of nothingness. The director’s own death before the opening night of the production ties Shakespeare’s Hamlet with existential issues in an even deeper way than the play itself allows us to expose.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 51-60
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Political Hamlet According to Jan Kott and Jerzy Grotowski
Autorzy:
Świątkowska, Wanda
Powiązania:
https://bibliotekanauki.pl/articles/648050.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
William Shakespeare
Stanisław Wyspiański
Jerzy Grotowski
Jan Kott
Hamlet
Hamlet Study
Polish Thaw of 1956
March 1968
politics
Opis:
The article presents political interpretations of Hamlet in Poland in the turbulent period of politcal changes between the mid-1950s and mid-1960s. The author discusses the relationships between Shakespeare’s tragedy and Polish political context as well as the influence of audience expectations in the specific interpretations. The selected performances are: Hamlet by Roman Zawistowski (at the Old Theatre in Cracow 1956) and Hamlet Study by Jerzy Grotowski (at the Laboratory Theatre of 13 Rows in Opole 1964). They both were hugely influenced by major commentators of Hamlet, i.e. Stanisław Wyspiański and Jan Kott. The author argues that up-to-date readings of Hamlet, which started with Wyspiański’s study in 1905, flourished in the mid-1950s and mid-1960s when concerning specific political events: the Polish Thaw of 1956 and March 1968, when the Jews were expelled from Poland. Thus Hamlet of that time was updated and must be seen through the prism of political events.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 61-68
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Duch Hamleta na szklanym ekranie
Depictions of Hamlet’s Father’s Ghost on Silver Screen
Autorzy:
Kwiatkowska, Agnieszka
Powiązania:
https://bibliotekanauki.pl/articles/1109491.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
Hamlet
Shakespeare
film adaptation
adaptation
Hamlet’s father’s ghost
Szekspir
ekranizacja
adaptacja
duch ojca Hamleta
Opis:
Każda ekranizacja, adaptacja filmowa lub wystawienie na scenie zawiera w sobie elementy interpretacji dzieła literackiego i determinuje określony sposób jego odczytania. Artykuł prezentuje to na przykładzie ekranizacji i adaptacji Hamleta Szekspira. W tekście przywołano dzieła filmowe takich twórców jak Laurence Olivier, Alan Dent, Akira Kurosawa, John Gielgud, Bill Colleran, Grigori Kozincew i Franco Zeffirelli. Ze szczególną uwagą omówiona została postać ojca Hamleta, różnorodnie przedstawiania w kolejnych ekranizacjach szekspirowskiego dramatu.
Every adaptation for the screen, film adaptation or a play put on stage includes the elements of interpretation of a literary work and determines the particular way it is interpreted. To illustrate this notion, the article introduces film adaptations of Shakespeare’s Hamlet. Big-screen versions of Hamlet directed by Laurence Olivier, Alan Dent, Akira Kurosawa, John Gielgud, Bill Colleran, Grigori Kozincew and Franco Zeffirelli are referred to in the text. Particular attention is given to the character analysis of Hamlet’s father’s ghost, variously depicted in the following film adaptations of the Shakespearean drama.
Źródło:
Polonistyka. Innowacje; 2016, 4; 155-166
2450-6435
Pojawia się w:
Polonistyka. Innowacje
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Inverted Initiation Rituals in Shakespeare with a Special Emphasis on Hamlet
Autorzy:
Wicher, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/1812141.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Hamlet
initiation
ritual
reversal
myth
folktale
Opis:
The article deals the possibility of applying Vladimir Propp’s, basically anthropological idea of “the inverted ritual” to the interpretation of certain plays by William Shakespeare, particularly Hamlet. The said inversion concerns three rituals: the sacrificial ritual, where the passive and obedient victim suddenly rebels, or at least becomes difficult to control (which is the case, for example, of Ophelia in Hamlet); of the initiatory ritual, where the apparently benevolent master of the characters initiation is shown as a monster (which can be exemplified by Claudius, Hamlet’s uncle); and of the matrimonial ritual, where the theoretically loving husband (more rarely wife), or lover, is revealed as a highly malicious and unpredictable creature, an example of which can be Hamlet himself. The article makes use of the work of such critics as G.K. Wilson, Harold Bloom, Vladimir Propp, René Girard, and Mircea Eliade.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 159-179
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Hamlet Project in Goethe’s Wilhelm Meister’s Years of Apprenticeship
Autorzy:
Kullmann, Thomas
Powiązania:
https://bibliotekanauki.pl/articles/648056.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
German theatre
French theatre
eighteenth century
Goethe
Hamlet
adaptation
society
aristocracy
middle class
bourgeois habitus
cultural capital
education
Globe-to-Globe Hamlet
Opis:
Goethe’s novel Wilhelm Meister’s Apprenticeship, published in 1795, provides a fictional account of a theatrical production of Shakespeare’s Hamlet. Its initiator is young Wilhelm, whose experiences with this project, in the context of the novel, mark a decisive stage in his education and personal development; as well as, on another level, in the formation of a German national theatre, the mapping out of a theatrical space peculiar to the German national character. To realize his project Wilhelm has to negotiate with his manager and his fellow-actors; these negotiations can be considered reflections of the cultural aspirations and constraints prevalent late 18th-century Germany: – The project itself, as represented by Wilhelm, appears to be informed by a cultural movement towards emancipation from French culture: The character of Hamlet was interpreted as representing a role model for young Germans. – Informed by a theatrical practice based on French conventions, the manager objects to the lack of dramaturgical coherence of the Shakespeare play. As a compromise, Wilhelm composes an adapted version in which references to Wittenberg, Poland, France and England as well as several minor characters are cut, but the Hamlet scenes and speeches are retained. – Wilhelm and his friends also take account of German audiences’ preferences and capacities.The Hamlet project in Wilhelm Meister can be considered a case study of cultural appropriation. Shakespeare becomes a cultural import, used to define and map a cultural space for the German middle class, which in the nineteenth century set store by the quality of its educational make-up.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 147-159
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Fifth Slovene Hamlet: Return to Tradition?
Autorzy:
Zlatnar Moe, Marija
Powiązania:
https://bibliotekanauki.pl/articles/647991.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
literary translation
drama translation
central to peripheral translation
Hamlet
translation strategies
style
Opis:
Over the nearly two centuries that Hamlet has been a fixture of the Slovene cultural firmament, the complete text has been translated five times, mostly by highly esteemed figures of Slovene literature and literary translation. This article focuses on the most recent translation, which was done by the prominent Slovene drama translator Srečko Fišer for a performance at the National Theatre in Ljubljana in 2013. It examines the new translation’s relations to its source text as well as to the previous translations. After the late twentieth century, when Hamlet was regarded as a text to be challenged, this new translation indicates the return to the tradition of reverence both for the source text and its author, and for the older translations. This is demonstrated on all levels, from the choice of source text edition, which seems to bear more similarities with the older translations than with the most recent predecessors, to the style, which echoes the solutions used by the earlier translators. Fišer continues the Slovenian tradition to a far greater extent than the two translators twenty years ago, by using the same strategies as the early translators, not fixing what was not broken, and only adding his own interpretation to the existing ones, instead of challenging or ignoring them. At the same time, however, traces of subversion of the source text can be detected, not in the form of rebellion, but rather as a mild disregard. This latest translation is the first one to frequently reshuffle the text. It is also the first to subordinate meaning to style. This all indicates that despite the apparent return to tradition, the source text is no longer treated with the reverence of the past.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 127-143
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Shakespeare, Authority and Hauntology: Postdramatic Performance in Walny Theatre’s Hamlet
Autorzy:
Lorek-Jezińska, Edyta
Powiązania:
https://bibliotekanauki.pl/articles/648024.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
authority
hauntology
Shakespeare
Hamlet
postdramatic performance
Walny Theatre
Opis:
The aim of this article is to explore the potential of hauntological theories to explain and problematise selected aspects of authority and performance in the context of Shakespeare’s drama. Referring primarily to Derrida’s and Abraham’s concepts of the ghost and the phantom and their connection to Shakespeare’s Hamlet, the article discusses hauntological perspectives on performance, both deconstructing and reaffirming authority. The paper comments on the relation between text and performance (Brook, Lehmann), memory and repetition (Carlson), disappearance and perpetual present (Phelan), as well as archive and repertoire (Taylor) in order to highlight the contradictory yet productive ways of understanding performance. The final part of the article, focusing on the significance of the ghost figure, examines experimental appropriations of Shakespeare’s play in Walny Theatre’s Hamlet (2015) in the light of postdramatic aesthetics.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 17, 32; 21-34
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Class Oppression and Commodification in Shakespeare’s Hamlet and Merchant of Venice
Autorzy:
Royanian, Shamsoddin
Omrani, Elham
Powiązania:
https://bibliotekanauki.pl/articles/1192038.pdf
Data publikacji:
2016
Wydawca:
Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN
Tematy:
Class Oppression
Commodification
Hamlet
Marxism
Merchant of Venice
Opis:
Karl Heinrich Marx tended to focus on considering how class struggle, oppressive ideologies, and social inequality are portrayed in literary texts throughout history in order to find a definite structural cause behind the modern exploitative capitalist system. One of these historical literary texts that attracted Marx’s attention was William Shakespeare’s to which he referred a lot. This paper intends to analyze Shakespeare’s Hamlet and Merchant of Venice in the light of Marxism to expose the upper classes’ oppressive behavior, their unethical victimization, exploitation, and commodification of the lower classes. Consequently, through a Marxist reading of Shakespeare’s plays, one can perceive that there are vivid links between Marxist and Shakespearean thinking, especially the similarities of thought held by each on the subjects of class oppression and commodification. Shakespeare portrayed the bitter social facts which Marxist thought tends to agree with.
Źródło:
World Scientific News; 2016, 50; 186-196
2392-2192
Pojawia się w:
World Scientific News
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Receptive Aesthetic Criteria: Reader Comparisons of Two Finnish Translations of "Hamlet"
Autorzy:
Keinänen, Nely
Powiązania:
https://bibliotekanauki.pl/articles/648289.pdf
Data publikacji:
2018
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare reception
translation
drama translation
Hamlet
Shakespeare in Finland
Matti Rossi
Eeva-Liisa Manner
Opis:
This article examines the subjective aesthetic criteria used to assess two Finnish translations of Hamlet, one by Eeva-Liisa Manner (1981) and the other by Matti Rossi (2013), both accomplished translators for the stage. A survey consisting of one general question (“Briefly describe your idea of how Shakespeare translation should sound in Finnish, and what you think are the qualities of a good Shakespeare translation”) and five text extracts was distributed on paper and electronically, generating 50 responses. For the extracts, respondents were asked whether one or the other translation most closely dorresponded to their idea of what a Shakespeare translation should sound like and why, along with questions on whether they would prefer to see or read one or the other. The results show that there are no strong shared expectancy norms in Finland regarding Shakespeare translation. Manner was generally felt to be more concise and poetic, while Rossi was praised for his exquisite use of modern Finnish. Respondents agreed that rhythm was an important criterion, but disagreed on what sorts of rhythms they preferred. Translation of the “to be or not to be” speech raised the most passions, with many strongly preferring Manner’s more traditional translation. The results suggest that Shakespeare scholars would do well to take variations in expectancy norms into account when assessing and analysing Shakespeare in translation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2018, 18, 33; 23-42
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Z czaszką mu do twarzy: refleksje nad posthumanistyczną tożsamością Hamleta
The skull becomes him: reflections on the post-humanist identity of Hamlet
Autorzy:
Sosnowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/2158941.pdf
Data publikacji:
2022-10
Wydawca:
Instytut im. Jerzego Grotowskiego we Wrocławiu
Tematy:
Hamlet
masculine identity
posthumanism
organicism
Shakespeare
Opis:
The purpose of my paper is to look at the dislocated world in Hamlet, the identity crisis of the title character, to accompany the anthropocentric Hamlet as he searches for ‘himself’ and attempts to reduce the dislocated joints and fractures in male anthropocentric subjectivity. In this paper, I advance the thesis that the plot of Hamlet is driven by a cultural fantasy of achieving organic unity and a state of homeostasis. To prove the thesis statement, I use the motif of out-of-jointness present in the drama and the graveyard scene in which I ‘look’ inside Yorick’s skull together with Hamlet in search of posthumanist masculinity. Looking at the skull and talking to it, the anthropocene Hamlet has a chance to discover several dimensions in it. Although head dissection will not be necessary for this, it will become necessary to dissect the masculine identity, being in humanist terms, a socio-cultural construct and a linguistic construction. The posthumanist vision of masculinity confronts the disembodied subject, the one that the humanist Hamlet should cope with and ‘embody’ according to the humanist pattern of masculinity. The impairment of its pillars is evident in Hamlet’s statements, provided one hears his holistic and organic vision of masculinity. The deconstruction of the anthropocentric order is a prerequisite for Hamlet’s identity crisis to be overcome, for him to reassemble himself and find his own place in the ‘broken’ skeleton of the world.
Źródło:
Didaskalia. Gazeta Teatralna; 2022, 171; 50-81
2720-0043
Pojawia się w:
Didaskalia. Gazeta Teatralna
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Wawel Meets Elsinore. The National and Universal Aspects of Stanisław Wyspiański’s Vision of Shakespeare’s Hamlet
Autorzy:
Wicher, Andrzej
Powiązania:
https://bibliotekanauki.pl/articles/641679.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
Wyspiański
Shakespeare
the dilemmas of nationalism
old-fashioned heroism vs. modernity
Opis:
The aim of this paper is to show the role, the possibilities and the limits of Wyspiański’s national thinking through Shakespeare’s Hamlet. Of particular importance, in this context, is the role the Ghost takes in Wyspiański’s celebrated interpretation of Shakespeare’s Hamlet. By the Ghost we mean the spirit of history, the ghost of a father, the spirit of the fatherland, the voice of the ancestors, and particularly that of the Polish king Casimir the Great, as well as the Holy Ghost and the Evil Spirit because all these aspects of the Ghost belong to Wyspiański’s vision. The play in question bears witness to what the Polish poet calls “the truth of other worlds,” as well as the truth of the theatre, which Wyspiański calls the labyrinth. The poet manages to reduce, to some extent, this difficult truth to the truth of the world he cared most about, that is the present and historical reality of Poland, more specifically the city of Cracow, known as Poland’s spiritual, that is “ghostly,” and only virtual, capital. It is also remarkable that Wyspiański saw the Ghost in Hamlet in the context of other Shakespearean ghosts, apparitions and magicians, such as those that appear in Macbeth, The Tempest, Julius Caesar, A Midsummer Night’s Dream or Richard III. At the same time, Wyspiański realizes that the Ghost, with its irrationalism, offends the spirit of post-medieval times, and as such, is understandably neglected by Hamlet, who for Wyspiański, in anticipation of Harold Bloom, stands for modernity.
Źródło:
Text Matters: A Journal of Literature, Theory and Culture; 2017, 7; 214-238
2083-2931
2084-574X
Pojawia się w:
Text Matters: A Journal of Literature, Theory and Culture
Dostawca treści:
Biblioteka Nauki
Artykuł
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