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Wyświetlanie 1-3 z 3
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:
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:
Co zjada Hamleta? Robaki jako aktywni aktorzy w elsynorskiej (i nie tylko) gastronomii
What Eats Up Hamlet? Worms as Active Actors in the Elsinore (and Not Only) Gastronomy
Что съедает Гамлета? Черви как активные действующие лица в гастрономии Эльсинора (и не только)
Autorzy:
Sosnowska, Monika
Powiązania:
https://bibliotekanauki.pl/articles/1009849.pdf
Data publikacji:
2020-12-29
Wydawca:
Wydawnictwo Uniwersytetu Śląskiego
Tematy:
green burial
Shakespeare
Hamlet
ecocriticism
interspecies connections
ecology
funeral practices
Шекспир
Гамлет
экокритика
межвидовые отношения
экология
погребальные обряды
зеленые захоронения
Opis:
Having been inspired by William Shakespeare’s Hamlet – a drama where both a ghost and a worm find their shelter – the author discusses contacts, interactions relations, and interdependence between human and non-human animals. During the investigation of his father’s “unnatural death,” Hamlet becomes aware of many natural phenomena, including organic cycle (in which worms play a crucial role). Although worms are culturally insignificant, they are significant organisms for ecosystems. As recyclers and fertilizers, they have real impact on ecosystem’s condition and equilibrium. The author exploits contemporary scientific knowledge to identify worms (mentioned in the play) by naming specific invertebrates in accordance with valid taxonomy. To refer to non-human Others, an innovative word – ‘The BioDiverse’ – is proposed. Additionally, Hamlet becomes an inspiration to reflect upon old and new funeral eco-practices, as well as the author’s future funeral – its place and form. The article is written from an ecocritical perspective.
В настоящей статье рассматриваются контакты, взаимодействия, отношения и даже межвидовые связи на материале одного из самых известных культурных текстов – Гамлет Уильяма Шекспира, в котором нашли убежище и привидение, и червь. Трагедия Гамлет затрагивает различные вопросы пространства/земли/гастрономии Эльсинора. Расследуя «неестественную» смерть своего отца, Гамлет замечает множество природных явлений, включая круговорот материи, в котором черви играют важнейшую роль. Автор статьи стремиться показать, что хотя черви мало что значат в культуре, то для экосистем они, перерабатывая органические остатки и удобряя землю, являются важными существами, которые оказывают реальное влияние на их состояние и баланс. Гамлет явится вдохновением для размышлений о старинных и современных похоронных практиках – с одной стороны, и о собственном будущем месте из церемонии захоронения автора статьи – с другой.
Źródło:
Zoophilologica. Polish Journal of Animal Studies; 2020, 6; 125-142
2719-2687
2451-3849
Pojawia się w:
Zoophilologica. Polish Journal of Animal Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
    Wyświetlanie 1-3 z 3

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