Informacja

Drogi użytkowniku, aplikacja do prawidłowego działania wymaga obsługi JavaScript. Proszę włącz obsługę JavaScript w Twojej przeglądarce.

English (EN)·Polski (PL)·Yкраїнський (UK)
Przejdź do strony domowej biblioteki Centralna Biblioteka Wojskowa Link otwiera się w nowym oknie Logo biblioteki Prolib Integro - strona głównaCentralna Biblioteka Wojskowa

Wyszukujesz frazę "Hamlet" wg kryterium: Temat

  Lista filtrów
Wyrównaj
    Wyświetlanie 1-12 z 12
    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:
    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:
    Hanging Together. Not the How but the Why: Lord Jim and the Function of Intertextuality
    Autorzy:
    Vernon, Peter
    Powiązania:
    https://bibliotekanauki.pl/articles/638791.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet Jagielloński. Wydawnictwo Uniwersytetu Jagiellońskiego
    Tematy:
    Intertext, Genre, Repetition, Hamlet, The Bible, Intractable Language
    Opis:
    This paper first examines what kind of texts Conrad cites in his novels, and how they function and goes on to ask why Hamlet and the Bible are so significant in Lord Jim. We will argue that Hamlet and Lord Jim have something in them that will not be transformed into art and that accounts, in part, for Conrad’s saying that he has been “satanically ambitious” in writing this novel, which analyses the human condition, its hopes and shames, courage and cowardice, to a profound depth at the limit of language and artistic expression. The intertext, indirectly, enables Conrad to bestow a heightened rhetoric onto his protagonist, which he would otherwise have found impossible in the Modern period. Conrad frequently states his difficulty in finding language to express the reality of Jim; he also has recourse to different narrative genres – adventure, gothic, romance – to give consolation to those looking for narrative closure. The intertext of Hamlet and the Bible enable the reader to perceive beyond closure that there are areas of existence that cannot be expressed in words. However, whether we perceive the silence beyond the text as ineffable or unsayable must, finally, depend on the individual reader. Conrad loads Jim’s presence with Christian imagery in order to show that this very young, flawed, incoherent seaman is fated to atone for sin in self-sacrifice. Society hangs together in terms of inter-dependent community, but in another sense our common fate is to “hang together” for, in a post-lapserian world, we are all of us guilty and “under a cloud”.
    Źródło:
    Yearbook of Conrad Studies; 2013, 8
    2084-3941
    Pojawia się w:
    Yearbook of Conrad Studies
    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:
    Co mówi kostium? Idea, etyka, moda – wybrane wizerunki Hamleta w polskim teatrze najnowszym
    What the costume says? Idea, ethics, fashion – chosen Hamlet’s images in Polish Contemporary Theatre
    Autorzy:
    Świąder-Puchowska, Barbara
    Powiązania:
    https://bibliotekanauki.pl/articles/31339603.pdf
    Data publikacji:
    2018
    Wydawca:
    Uniwersytet Gdański. Wydawnictwo Uniwersytetu Gdańskiego
    Tematy:
    Hamlet
    Szekspir
    polski teatr najnowszy
    kostium
    Shakespeare
    Polish contemporary theatre
    costume
    Opis:
    W artykule przedstawiono analizę kilku wybranych, istotnych realizacji Hamleta Williama Szekspira, powstałych na polskich scenach w ciągu ostatnich dwudziestu lat, w interpretacji następujących twórców: Krzysztof Warlikowski, Jan Klata, Radosław Rychcik i Krzysztof Garbaczewski. Celem autorki jest ukazanie, jak interpretacja reżyserów i ich koncepcje, dotyczące postaci oraz całego dramatu (także te etyczne), znajdują swoje odzwierciedlenie w kostiumie głównego bohatera, będącym istotnym elementem komunikatu scenicznego, i odwrotnie – jak strona wizualna postaci Hamleta „odbija” główne trendy w interpretowaniu klasyki w polskim teatrze współczesnym.
    The analysis presents a few selected important Polish theatre interpretations of Hamlet by William Shakespeare, realized during last twenty years by Krzysztof Warlikowski, Jan Klata, Radosław Rychcik and Krzysztof Garbaczewski. The main issue is to show how director’s interpretation and ideas are manifested in the costumes and creation of Hamlet’s character in each performance. And the other way around – how visual part of presenting each Hamlet expresses main trends in interpreting classics in Polish contemporary theatre in general.
    Źródło:
    Media Biznes Kultura; 2018, 1(4); 35-44
    2451-1986
    2544-2554
    Pojawia się w:
    Media Biznes Kultura
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Shakespeare. Stwarzanie świata Stephena Greenblatta, czyli odkrywczość kulturowej mozaiki
    Will in the World: How Shakespeare Became Shakespeare by Stephen Greenblatt, or the insightfulness of a cultural mosaic
    Autorzy:
    Krystek, Jędrzej
    Powiązania:
    https://bibliotekanauki.pl/articles/1040974.pdf
    Data publikacji:
    2019-11-05
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    New historicism
    Shakespeare
    biography
    Hamlet (a book)
    Stephen Greenblatt
    Renaissance
    Purgatory
    drama
    Opis:
    The article is an attempt to analyze the narrative and methodological techniques of new historicism. The basis for the analysis was Stephan Greenblatt’s book Will In the Word. How Shakespeare Became Shakespeare, especially because of of creating biographical and intercultural areas. The author of the analysis follows the relations between the truth of narration and historical truth and tries to determine the constituent elements of Hamlet’s author. The author of the analysis traced the relations between two truths: the truth of the historical time and the truth of the narrative time.
    Źródło:
    Poznańskie Studia Polonistyczne. Seria Literacka; 2019, 35; 421-438
    1233-8680
    2450-4947
    Pojawia się w:
    Poznańskie Studia Polonistyczne. Seria Literacka
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Budowa i funkcje układów białkowo-lipidowych
    Structure and function of protein-lipid systems
    Autorzy:
    Litwińczuk-Mammadova, A.
    Cieślik-Boczula, K.
    Rospenk, M.
    Powiązania:
    https://bibliotekanauki.pl/articles/972303.pdf
    Data publikacji:
    2016
    Wydawca:
    Polskie Towarzystwo Chemiczne
    Tematy:
    odziaływania białko-lipid
    liposomy DPPC
    przejścia fazowe
    α-laktoalbumina
    kompleks HAMLET/BAMLET
    stopiona globula
    lipid-protein interactions
    DPPC liposomes
    phase transitions
    α-lactalbumin
    complex HAMLET/BAMLET
    molten globule state
    Opis:
    Biomembranes play many structural and functional roles in both prokaryotic and eukaryotic cells [10]. They define compartments, the communication between the inside and outside of the cell. The main components of biomembranes are lipids and proteins, which form protein-lipid bilayer systems [10]. A structure and physicochemical properties of protein-lipid membranes, which determines biological activities of biomembranes, are strongly dependent on interactions between lipid and protein components and external agents such as a temperature, pH, and a membrane hydration [4]. A lipid bilayer matrix serves as a perfect environment for membrane proteins (Fig. 1), and it assures activities of these proteins. Because biomembranes are composed of many different groups of lipids and proteins and have a complex structure, it is difficult to study in details their physicochemical properties using physicochemical methods. For these reason, lipid membranes of liposomes are used in many scientific laboratories for studding processes associated with a lipid phase transition, a membrane hydration, or protein-membrane interactions. The structure of liposomes (Fig. 5), and an influence of pH and an ionic strength on a lipid bilayer structure are discussed in the presented work. The role of membrane proteins in determination of biological activities of biomembranes is highlighted. A high variety of a structure and an enzymatic activity of membrane proteins is responsible for a high diversity of biological functions of cell membranes [2]. α-Lactalbumin (α-LA) is a peripheral membrane protein (Figs 8 and 9), its biological function is strongly related to its conformational structure and interaction with lipid membranes [49]. The complex of α-LA in a molten globule conformational state with oleic acid, termed as a HAMLET complex, are disused in a context of its anti-tumor activity.
    Źródło:
    Wiadomości Chemiczne; 2016, 70, 11-12; 723-746
    0043-5104
    2300-0295
    Pojawia się w:
    Wiadomości Chemiczne
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Czy Jan Kott stworzył mit? Jeszcze raz o "Hamlecie" ‘56 Romana Zawistowskiego
    Did Jan Kot create the myth? Once again about 'Hamlet' '56 by Roman Zawistowski
    Autorzy:
    Świątkowska, Wanda
    Powiązania:
    https://bibliotekanauki.pl/articles/938222.pdf
    Data publikacji:
    2019
    Wydawca:
    Uniwersytet Pedagogiczny im. Komisji Edukacji Narodowej w Krakowie
    Tematy:
    'Hamlet'
    William Szekspir
    Jan Kott
    Roman Zawistowski
    polityka
    odwilż gomułkowska
    William Shakespeare
    Gomułka's thaw
    Opis:
    The article presents the origins of Hamlet directed by Roman Zawistowski at the Stary Theatre in Krakow (1956) and is an attempt at answering the question: to what extent the famous Jan Kott’s review influenced its reception. The author analyzes the translation of the tragedy, the script of the play, acting, scenography and the historical context. By comparing the reviews with Kott’s interpretation, it is possible to indicate the areas where critics disagree, and at which point Kott’s review becomes opinion-oriented and establishes the reception of Zawistowski’s Hamlet – actually to this day.
    Źródło:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria; 2019, 19; 178-193
    2081-1853
    Pojawia się w:
    Annales Universitatis Paedagogicae Cracoviensis. Studia Historicolitteraria
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Bezdomni zmarli: rzecz o Szekspirowskich widmach
    The homeless dead: the case of Shakespeare’s spectres
    Autorzy:
    Grzegorzewska, Małgorzata
    Powiązania:
    https://bibliotekanauki.pl/articles/2012206.pdf
    Data publikacji:
    2012
    Wydawca:
    Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
    Tematy:
    cmentarz
    Szekspir
    Hamlet
    Makbet
    widma
    obrzęd
    Dziady
    graveyard
    Shakespeare
    Macbeth
    spectres
    the custom of dziady
    Opis:
    The paper begins with an anecdote concerning one of most intriguing works of Frédéric Chopin, Nocturne in G-minor, Op. 15, nr 3. A story goes that Chopin composed this nocturn inspired by a performance of Hamlet and intended to name it: In the Graveyard. Regardless of whether this story is true or false, the implied plot-line of Chopin’s nocturn, developing from a wistful and then dramatic opening passage to the harmonious, hymn-like second part well fi ts the atmosphere of Shakespeare’s drama which does not preclude the possibility of consolation and the faith in transcendence, despite its prevalent preoccupation with ubiquitous iniquity, death and decay. In contrast with the rest of the play, however, act 1 scene 5, set in the graveyard, is marked by an entirely materialistic tendency, in the vein of the late medieval dance macabre. Still more unsettling is the vision of tenantless graves and the dead returning from the liminal space of the cemetery to the polis reserved for the living. The ghosts of the people who have died violent death are not harmless apparitions, fi gments of imagination, but as Quentin Meillassoux argues, they destroy the very boundary between life and death which safeguards our existence. The ghost of Banquo in Macbeth is a “living” example of such a radical subversion of the established dichotomies, which Shakespeare examines most carefully in his great tragedies. In the theatre of the 20th century, Shakespeare’s refl ection on the elusive boundary between the world of the living and the uncanny realm of the dead gained a great momentus in the perplexing stage production of Macbeth directed by a Lithuanian, Eimuntas Necrošius. The power of his vision stems from the connection of Shakespearean tragedy with the folk tradition of “Dziady”, an ancient Balto-Slavic custom commemorating the dead.
    Źródło:
    Prace Filologiczne. Literaturoznawstwo; 2012, 2(5); 257-270
    2084-6045
    2658-2503
    Pojawia się w:
    Prace Filologiczne. Literaturoznawstwo
    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
    Tytuł:
    Hamleś Skolimowskiego jako parodia
    Skolimowskis "Hamleś" as a Parody
    Autorzy:
    Hendrykowski, Marek
    Powiązania:
    https://bibliotekanauki.pl/articles/917960.pdf
    Data publikacji:
    2014-01-13
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    nowhere
    Skolimowski
    student film
    étude
    parody
    ballad
    Hamlet
    Shakespeare
    Polish October 1956
    press
    reader
    context
    obsession
    compulsion
    intelligentsia
    freedom
    censorship
    euphemism
    turpism
    subversivity
    Opis:
    Hamleś is a brilliant etude made in 1960 by young film-maker Jerzy Skolimowski during his studies in famous Film School in Łódź. In ballad form this mysterious and dark story tells about lost hopes of freedom and strange situation of Polish intelligentsia of the late 1950s in connection with characters of Shakespeare’s tragedy. Skolimowski’s parody has typical for this artistic obsessive-compulsive dimension (Don Fredericksen’s term). Skolimowski took the title and protagonists from the classic drama and transmitted the main subject in a way that is much darker and ironic than the original. 
    Źródło:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication; 2014, 14, 23; 143-151
    1731-450X
    Pojawia się w:
    Images. The International Journal of European Film, Performing Arts and Audiovisual Communication
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    „Chociaż to wariacja, nie jest jednakże bez metody”. Motyw udawanego szaleństwa w Hamlecie Williama Shakespeare’a i Henryku IV Luigiego Pirandella
    “Though This Be Madness, Yet There Is Method In't”. The motif of feigned madness in William Shakespeare's Hamlet and Luigi Pirandello’s Henry IV
    Autorzy:
    Koman, Aleksandra
    Powiązania:
    https://bibliotekanauki.pl/articles/1828443.pdf
    Data publikacji:
    2020-11-26
    Wydawca:
    Uniwersytet Bielsko-Bialski
    Tematy:
    Hamlet
    Henryk IV
    szaleństwo
    symulacja
    maska
    intelekt
    teatralność
    życie jako teatr
    świadomość
    prawda
    Henry IV
    madness
    simulation
    mask
    intellect
    theatricality
    life as theatre
    consciousness
    truth
    Opis:
    Feigned madness is a motif that – with varying frequency – returns in literary texts. It is usually a carrier of important metaphors, such as: search for truth, escape from reality or conscious rejection of routine. Moreover, it seems to have an exceptional interpretative potential in dramas as it also symbolises a performative treatment of existence and an awareness of fiction which directs the poetics of the drama towards the meta-theatre. The author of this article considers these issues in relation to the titular characters of two dramatic masterpieces of world literature: Hamlet by William Shakespeare and Henry IV by Luigi Pirandello. Both characters, for various reasons, decide to hide their true psychological condition under the image of a madman, which, interestingly, confirms their sophistication and intellect. Putting on the mask of a madman guarantees the privilege of unpunished violation of conventions and established orders, hated by individuals such as Hamlet or Henry IV. This rebellion and emancipation lead to the final defeat of these characters, who, however, dominate over the others, since, unlike other actors who dispassionately play roles that have been imposed on them, they choose their roles, and – most importantly – they are aware that they are playing.
    Źródło:
    Świat i Słowo; 2020, 35, 2; 195-212
    1731-3317
    Pojawia się w:
    Świat i Słowo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-12 z 12

      Ta witryna wykorzystuje pliki cookies do przechowywania informacji na Twoim komputerze. Pliki cookies stosujemy w celu świadczenia usług na najwyższym poziomie, w tym w sposób dostosowany do indywidualnych potrzeb. Korzystanie z witryny bez zmiany ustawień dotyczących cookies oznacza, że będą one zamieszczane w Twoim komputerze. W każdym momencie możesz dokonać zmiany ustawień dotyczących cookies