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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:
Shakespeare in Chinese Cinema
Autorzy:
Wu, Hui
Powiązania:
https://bibliotekanauki.pl/articles/648128.pdf
Data publikacji:
2013-12-01
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
adaptation
film
Hamlet
Chinese cinema
Opis:
Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006-Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2013, 10; 71-81
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:
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:
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:
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 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:
Whose Castle is it Anyway?: Local/Global Negotiations of a Shakespearean Location
Autorzy:
Refskou, Anne Sophie
Powiązania:
https://bibliotekanauki.pl/articles/647942.pdf
Data publikacji:
2017
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
Elsinore
Kronborg
globalization
nationalism
borders
interculturalism
Opis:
Kronborg Castle in the Danish town of Elsinore is a location strongly associated with Shakespeare thanks to the setting of Hamlet. It is a place where fiction currently eclipses history, at least in the context of a cultural tourist industry where Shakespeare’s name is worth a great deal more than Danish national heritage sites. Indeed, Kronborg is now widely marketed as ‘Hamlet’s Castle’ and the town of Elsinore has acquired the suffix ‘Home of Hamlet’. This article examines the signifiers implied in the naming and renaming of Kronborg as a Shakespearean location, while also looking at its unique international Shakespearean performance tradition, which spans two centuries. It describes how the identity of the castle has been shaped by its Shakespearean connection against the backdrop of changing ideologies in the twentieth and twenty-first centuries, and poses questions as to how this identity may continue to develop within the current contexts of renewed nationalism in Europe and the world.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 121-132
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dostoevsky in English and Shakespearean Universality: A Cautionary Tale
Autorzy:
Thurman, Chris
Powiązania:
https://bibliotekanauki.pl/articles/1033501.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Dostoevsky
Russia
Underground
Hamlet
translation
universality
Opis:
This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 99-114
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:
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:
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:
Framing Polish-Jewish Relations Through Shakespeare in Post-war and Contemporary Polish Theatre
Autorzy:
Kowalski, Tomasz
Powiązania:
https://bibliotekanauki.pl/articles/39774053.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Polish-Jewish relations
Holocaust
antisemitism
Jerzy Grotowski
Krzysztof Warlikowski
'Hamlet' in Poland
'Hamlet Study'
'The Merchant of Venice' in Poland
Opis:
The paper aims to analyse how the staging of Shakespeare’s texts in post-war and contemporary Poland reflected the indifferent and hostile attitudes of Poles towards Jews, particularly during the Holocaust, and the distortions and gaps in the collective memory regarding the events. In the first part, the author focuses on Hamlet Study (dir. Jerzy Grotowski) performed in 1964 by Laboratory Theatre of 13 Rows in Opole, which is symptomatic of silencing the matter during the communist period. The second part draws from the statement of Jan Ciechowicz, a Polish theatre historian, who claimed that “the Holocaust killed Shylock for Polish stage.” While verifying it, the author analyses selected aspects of three productions directed by Krzysztof Warlikowski (The Tempest (2003), The Merchant of Venice (1994) and The African Tales by Shakespeare (2011)) and juxtaposes them against the background of the changes in collective memory. He argues that the most cogent productions concerning Polish attitudes towards Jews are those that position the audience as witnesses of the acts of re-enacted violence and thus provoke an affective response.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 193-207
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:
Andrzej Wajda’s Two Hamlets and One Macbeth: The Director’s Struggle with Shakespearean Tragedy in the Changing Contexts of Polish History
Autorzy:
Fabiszak, Jacek
Powiązania:
https://bibliotekanauki.pl/articles/888889.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Warszawski. Wydawnictwa Uniwersytetu Warszawskiego
Tematy:
William Shakespeare
Hamlet
Macbeth
Andrzej Wajda
Polish theatre productions
Opis:
Andrzej Wajda is a renown Polish theatre and film director, whose achievements have been recognised by theatre and film artists and critics all over the world (he has been awarded an Oscar). He has directed four versions of Hamlet and two versions of Macbeth (one for Polish television in 1969, the other for the Stary Theatre in Kraków in 2004). I propose to look at three productions to trace Wajda’s evolution in his approach to Shakespearean tragedy: Hamlet III, scenes of which were first staged in the Royal Castle of Wawel in Cracow, and then at the Stary Theatre in 1981. It was a Hamlet which addressed significant Polish problems (Wawel being a symbol of Poland, its historical power, the seat of the powerful Jagiellonian dynasty).1 The context of the production is also very significant: the time of the Solidarity festival, as it is now called in Poland (on 13 December 1981 martial law was introduced in Poland), so the performance could not help avoiding political issues. The director’s next take at Hamlet (his fourth attempt) occurred in 1989, another critical year in the Polish post-war history; surprisingly enough, the production was not so much Poland-oriented or politically involved as the previous version; instead Wajda poses questions about the condition of theatre in Poland and anticipates a less pressing need for politicising theatrical performances in the years to come. His Macbeth in turn was produced at the time of Poland’s engagement in the war on terrorism in Iraq; modern war of the ‘civilised world’ becomes a most significant frame for the production, but not the only one. The performance, showing the Macbeths as an elderly couple who are confronted with possibly the last chance to make a difference in their life, touches upon both getting old and a long-term marriage.
Źródło:
Anglica. An International Journal of English Studies; 2016, 25/3; 97-106
0860-5734
Pojawia się w:
Anglica. An International Journal of English Studies
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Maiia Harbuziuk (1965–2023) in Memoriam
Maiia Harbuziuk (1965–2023): Wspomnienie
Autorzy:
Torkut, Nataliya
Powiązania:
https://bibliotekanauki.pl/articles/29432330.pdf
Data publikacji:
2023
Wydawca:
Polska Akademia Nauk. Instytut Sztuki PAN
Tematy:
Maiia Harbuziuk
Shakespeare
«Hamlet»
ukrainskie badania teatralne
Ukrainian theater studies
Opis:
This text celebrates the legacy of Maiia Harbuziuk, a distinguished Ukrainian theater critic and scholar who recently passed away before her time. The article highlights her significant contributions to theater studies and her unwavering commitment to promoting Ukrainian theater on the global stage. The author reflects on Maiia Harbuziuk’s academic achievements in the field of Shakespeare studies, including her work on the Ukrainian reception of Hamlet. She discusses the scope of Harbuziuk’s work—academic research, cultural exchange, and the organization of a Ukrainian Shakespeare Festival among many others—in all of which Maiia Harbuziuk excelled, leaving an indelible mark on Ukrainian culture and the world of theater.
Tekst upamiętnia postać Maii Harbuziuk, przedwcześnie zmarłej wybitnej ukraińskiej krytyczki teatralnej i badaczki. Artykuł podkreśla jej znaczący wkład w badania teatralne i niesłabnące zaangażowanie w promowanie ukraińskiego teatru za granicą. Autorka omawia najważniejsze osiągnięcia naukowe Maii Harbuziuk w dziedzinie badań szekspirologicznych, w tym jej prace nad ukraińską recepcją Hamleta. Omawia różnorodne przedsięwzięcia Harbuziuk – obejmujące badania naukowe, wymianę kulturalną, a także organizację Ukraińskiego Festiwalu Szekspirowskiego i wiele innych – podkreślając, że w każdej z tych dziedzin Maiia Harbuziuk osiągała znakomite wyniki, pozostawiając niezatarty ślad w ukraińskiej kulturze i świecie teatru.
Źródło:
Pamiętnik Teatralny; 2023, 72, 4; 266-277
0031-0522
2658-2899
Pojawia się w:
Pamiętnik Teatralny
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Шекспировские римейки в современной российской драме
Shakespearean Remakes in Recent Russian Drama
Autorzy:
Шамина, Вера Б.
Powiązania:
https://bibliotekanauki.pl/articles/22446760.pdf
Data publikacji:
2013
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
post modernism
Russian drama
theatre
play
intertextuality
remake
Shakespeare
Hamlet
Opis:
The article addresses postmodern plays by recent Russian playwrights, which use the plot of Shakespeare’s Hamlet, such as L. Petrushevskaya, B. Akunin, V. Korkiya and brothers Presnyakov. It demonstrates different techniques and approaches they use to deconstruct the original text. In the end the author comes to the conclusion that these playwrights in their games with classics to a great extent follow the path that was laid by the Bard himself.
Źródło:
Acta Universitatis Lodziensis. Folia Litteraria Rossica; 2013, Zeszyt specjalny 2013; 115-124
1427-9681
2353-4834
Pojawia się w:
Acta Universitatis Lodziensis. Folia Litteraria Rossica
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Shifting Appreciation of "Hamlet" in Its Japanese Novelizations: Hideo Kobayashi’s "Ophelia’s Will" and Its Revisions
Autorzy:
Nakatani, Mori
Powiązania:
https://bibliotekanauki.pl/articles/1033504.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare reception
adaptation
novelization
Shakespeare in Japan
„Hamlet”
Hideo Kobayashi
Opis:
Hideo Kobayashi, who is today known as one of the most prominent literary critics of the Showa era in Japan, published Ophelia’s Will in 1931 when he was still an aspiring novelist. This novella was an adaptation of Shakespeare’s Hamlet, composed as a letter written by Ophelia to Hamlet before her enigmatic death in the original play. While the novel has previously been considered as a psychological novel that sought to illustrate the inner life of the Shakespearean heroine, this paper examines the process by which Kobayashi rediscovered Hamlet as a drama that foregrounds the impenetrability of the characters’ inwardness and highlighted in Ophelia’s Will his diversion from the psychological rendition of Ophelia. In so doing, the paper analyses the revisions Kobayashi continued to make to the novel even until the post-war era, especially when it was republished in 1933 and 1949. Though these revisions have rarely been discussed by the researchers, they demonstrate the essential changes made to the novel, mainly to its literary style, which corroborates Kobayashi’s shifting interest and his developing interpretation of Shakespeare’s works and Hamlet.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 69-83
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
„Гамлет. Версия” Бориса Акунина как отказ от регламентации шекспировского интертекста
„Hamlet. Version” Boris Аkunin’s as a refusal of regulation of Shakespeare’s text
Autorzy:
Kiseleva, Kristina
Powiązania:
https://bibliotekanauki.pl/articles/915537.pdf
Data publikacji:
2018-09-22
Wydawca:
Uniwersytet im. Adama Mickiewicza w Poznaniu
Tematy:
postmodernism
dramaturgy
Shakespeare
Hamlet
Akunin
intertextuality
post-modernist language play
Opis:
The present article aims at analyzing one of the modern drama's strategies  — playing with a classical text. Boris Akunin's Hamlet. Version, which is at the core of my interests, is comparable to such famed Hamlet’s alterations as Tom Stoppard's Rosenkrantz and Guilderstern Are Dead. The uniqueness of Akunin's work lays in building the individual strategy, while taking into the mass recipient consideration. The forecast is not comforting — consumers are getting less and less sensitive and adequately formed to perceive  art. But one cannot say that Akunin is descending to his readers narrow horizons. He is  a mediator between highbrow and lowbrow, always beyond, never belonging to any category.
Źródło:
Kultury Wschodniosłowiańskie – Oblicza i Dialog; 2016, 6; 97-105
2391-470X
Pojawia się w:
Kultury Wschodniosłowiańskie – Oblicza i Dialog
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
The Archive and the Digital Age: Field Notes from the Pedagogical Front
Autorzy:
Makaryk, Irena R.
Hemingway, Ann
Powiązania:
https://bibliotekanauki.pl/articles/648252.pdf
Data publikacji:
2019
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Digital Humanities
Hamlet
Shakespeare reception
teaching Shakespeare
Shakespeare in Canada
Opis:
The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2019, 20, 35; 23-36
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Dramaturgy of "Hamlet"(s) in Czech Theatre between 2000 and 2023
Autorzy:
Drozd, David
Powiązania:
https://bibliotekanauki.pl/articles/39774946.pdf
Data publikacji:
2023
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Hamlet
dramaturgy
directing
post-modern theatre
performance analysis
Czech theatre
Opis:
The paper focuses on five Czech productions of Hamlet that attracted the most critical and public attention between 2000 and 2023. Namely, the productions directed by Miroslav Krobot (2006), Jan Mikulášek (2009), Daniela Špinar (2013), Michal Dočekal (2021) and finally the most recent version by Jakub Čermák (2022). All five performances could be seen as contemporary reinterpretations of a classical text using a (post-)modern stylistic approach, as examples of post-millennium Hamlets. The paper discusses dramaturgical choices (such as the conceptualisation of the ghost, the mousetrap scene, or the character of Fortinbras) in order to identify and analyse possibilities for interpreting Hamlet as a political drama in the context of Czech performance tradition and the current political situation. The results show that performances generally present variations of Hamlet as a family drama, foregrounding different issues of memory and body, while the political reading is obsolete.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 177-192
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:
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
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