Skocz do pozycji: 1.

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

/5

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Skocz do pozycji: 2.

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

/5

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Skocz do pozycji: 3.

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

/5

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Skocz do pozycji: 4.

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

/5

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Skocz do pozycji: 5.

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

/5

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Skocz do pozycji: 6.

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

/5

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Skocz do pozycji: 7.

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

/5

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Skocz do pozycji: 8.

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

/5

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Skocz do pozycji: 9.

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

/5

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Skocz do pozycji: 10.

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

/5

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Skocz do pozycji: 11.

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

/5

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Skocz do pozycji: 12.

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

/5

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Skocz do pozycji: 13.

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

/5

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Skocz do pozycji: 14.

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

/5

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Skocz do pozycji: 15.

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

/5

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Skocz do pozycji: 16.

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

/5

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Skocz do pozycji: 17.

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

/5

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Skocz do pozycji: 18.

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

/5

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Skocz do pozycji: 19.

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

/5

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Skocz do pozycji: 20.

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

/5

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Skocz do pozycji: 21.

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

/5

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Skocz do pozycji: 22.

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

/5

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Skocz do pozycji: 23.

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

/5

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Skocz do pozycji: 24.

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

/5

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Skocz do pozycji: 25.

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

/5

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Skocz do pozycji: 26.

Tytuł:

Socio-environmental surveys of Tinchuley and Takdah: two emerging ecotourism hamlets of North Bengal, India

Autorzy:

Bhattacharya, S.
Ghosh, U.C.

Powiązania:

https://bibliotekanauki.pl/articles/10934.pdf

Data publikacji:

2014

Wydawca:

Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN

Tematy:

socio-environmental survey
Tinchuley village
Takdah village
ecotourism hamlet
North Bengal
India

Opis:

Tinchuley (Latitude: 26.89748 N, Longitude: 88.23268 E) is a remote hamlet located close to Darjeeling which can be reached through a drive of 32 kilometers. Takdah Cantonment (Latitude: 26.89745 N, Longitude: 88.23265 E) is a settlement located in Darjeeling district, West Bengal, India. It is one of the upcoming tourist centers of the Darjeeling hills, around 4 km. from Tinchuley. The winding roads, tall pine and fir trees, intruding packs of cloud and warm and hospitable people makes it an ideal destination for people looking to escape from the hectic lifestyle of the city. The main objective of the present research work was to construct the social, environmental, cultural and economic framework of Tinchuley and Takdah Cantonment area and to highlight the proposals for sustainable management policies of those ecologically sensitive zones. The study was done in May, 2014 by visiting Tinchuley and Takdah and the information was gathered through field survey and direct contact with common people and authorized centers of the regions. Surveys on the agriculture, horticulture, livestock, water management, education, culture, health, waste management, transport and biodiversity were done in these areas. Tinchuley and Takdah have become the prominent tourist spots of West Bengal for pleasure trips, biological and geographical excursions and medical research works. In spite of getting so much attention in the recent time, the areas are not adequately developed. There is an urgent need for implementing sustainable management systems in the areas for the betterment of the socio-environmental structures. Some of the possible management strategies have been suggested for maintaining the social, environmental, economic and ecological balance of the regions.

Źródło:

International Letters of Natural Sciences; 2014, 18
2300-9675

Pojawia się w:

International Letters of Natural Sciences

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 27.

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

/5

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Skocz do pozycji: 28.

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

/5

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Skocz do pozycji: 29.

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

/5

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Skocz do pozycji: 30.

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

/5

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Skocz do pozycji: 31.

Tytuł:

Transformative Potential and Utopian Performative: Postdramatic Hamlet in Turkey

Autorzy:

İzmir, Sibel

Powiązania:

https://bibliotekanauki.pl/articles/39762851.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

utopian performative
postdramatic Hamlet in Turkey
postdramatic theatre
Jill Dolan
Hans Thies-Lehmann

Opis:

Turkey is among those Non-Anglophone countries which have had a keen interest in Shakespeare and his plays for over two hundred years. When it comes to the staging of Shakespeare in Turkey, especially when protagonists or leading roles are considered, “overacting” is one of the most notable techniques highlighting, presumably, the spirit of the Renaissance and Jacobean times. Still, in recent years, there have been some productions which try to challenge and deconstruct the traditional ways of staging a Shakespearean play. One of such productions is Hamlet of Istanbul State Theatre, directed by Işıl Kasapoğlu in 2014, in which the director makes use of postdramatic theatre techniques. As the play begins, the audience sees a huge red jewel box which has been placed onto the centre of the stage. Soon after it is opened, it becomes clear that the character coming out of the box is playing and enacting not only the role of Hamlet but also many other roles in the play. Disrupting the habitual Shakespearean staging which heavily relies on mimesis in a closed “fictive cosmos” (Lehmann 22), the production, more strikingly, allows for an innovative Shakespearean acting as an innovative Shakespearean acting possible as the actor acts out all the major roles, such as Hamlet, Claudius, Gertrude, Ophelia, Polonius, etc., in such various ways as holding dummies in his hands and enacting their roles in monologues and dialogues. Fusing Hans-Thies Lehmann’s theory of postdramatic theatre with Jill Dolan’s argumentation on utopian performative, this study will investigate how postdramatic theatre techniques challenge the traditional Shakespearean performance and contends that postdramatic theatre techniques used in Kasapoğlu’s Hamlet contribute to the utopian performative and the possibility of creating a utopian impulse in the audience. The paper thus will claim that postdramatic performance of Hamlet renders a utopian performative possible by presenting a transformative potential in the audience members which engages in our present moment.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 26, 41; 71-85
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 32.

Tytuł:

“This is one Lucianus, nephew to the king!:” Political Dynamics of Four Hungarian Translations of "Hamlet"

Autorzy:

Almási, Zsolt

Powiązania:

https://bibliotekanauki.pl/articles/39778112.pdf

Data publikacji:

2023

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

translation
Hamlet
Shakespeare
politics
Hungary
Ferenc Kazinczy
János Arany
István Eörsi
Ádám Nádasdy

Opis:

In this paper I endeavour to retell a partial history of the Hungarian translation of Hamlet’s commentary: “This is one Lucianus, nephew to the King!” (3:2:239) on the “Murder of Gonzago,” aiming to elucidate the intricate interplay between translation, cultural discourse, and socio-political dynamics. Hamlet’s commentary, seemingly straightforward yet laden with complexity, poses implications capable of reshaping the trajectory and purpose of his theatrical experiment, crafted to probe and establish Claudius’ guilt. The partial history of translations encompasses the epochs of Ferenc Kazinczy (18th century) and János Arany (19th century) up to the modern renderings of István Eörsi and Ádám Nádasdy (20th-21st centuries). Within this framework, I claim that exploring these translations of Hamlet’s commentary offers a gauge of Hamlet’s position in Hungarian cultural discourse. The evolving connotations of words, reflective of linguistic shifts, imbue layered meanings not only onto the statement itself but also onto the theatrical experiment it encapsulates. This exploration of translation, interpretation, and linguistic evolution sheds light on Shakespeare’s and Hamlet’s socio-cultural-political role in Hungary, as translations serve not merely as transparent channels of meaning but also as reflections on the political and cultural commitments of translators and their audiences.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2023, 28, 43; 245-263
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 33.

Tytuł:

Socio-environmental survey of an ecologically important hamlet of Darjeeling district, West Bengal, India

Autorzy:

Bhattacharya, S.
Ghosh, G.
Banerjee, T.
Goswami, S.
Das, P.

Powiązania:

https://bibliotekanauki.pl/articles/11842.pdf

Data publikacji:

2015

Wydawca:

Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN

Tematy:

socio-environmental survey
ecologically important hamlet
management
biodiversity
environment
Darjeeling district
West Bengal
India

Opis:

Forest cover in hills is essential to maintain environmental, economic and ecological balances. North Bengal accounts for 3,086 sq km (26 %) of the 11,876 sq km area of classified forests in the state, and for nearly 5,000 sq km (40 %) of all land under tree cover. Upper Chatakpur is one of the emerging ecotourism spots of north Bengal, located at an altitude of 7887 feet in Darjeeling district. It is a 180 years old ethnic village with 19 houses and a population of about 89, and at an altitude of 7887 ft. It is about 8 km. from Sonada (26° 57' N, 88° 16' E), 22 km. from Darjeeling (26° 2' N, 88° 15' E) and 72 km. from Siliguri (26° 42' N, 88° 25' E). Upper Chatakpur Village situated within Senchal Wildlife Sanctuary, Darjeeling. The sanctuary with an area of 38.88 sq. km has an elevation of 1500-2600 m. The survey work was done in December, 2014 by visiting upper Chatakpur village and the primary data were gathered through field survey and direct contact with common people and authorized centers of the region. Surveys on the topography, demography, agriculture, livestock, water management, education, culture, health, waste management, transport, biodiversity, human animal conflict were done in this area. Medicinal plant diversity was studied in the village area and information was gathered from the local forest department centre. Information regarding the transport system was collected from the local transport office and syndicate. Census report was collected from the Sonada Panchayat Office. Health and education information was collected from the local primary school and the local sub health centre. Information on sustainable agricultural practices and waste management policies is collected through surveys in the village houses and agricultural fields. Biodiversity of Senchal Wildlife Sanctuary was documented by visiting the forest areas. Pictorial documentation was done in every phase of study. In spite of getting so much attention in the recent time, the village is not adequately developed. There is an urgent need for implementing sustainable management systems in the areas for the betterment of the socio-environmental structures. Some of the possible management strategies have been suggested for maintaining the social, environmental, economic and ecological balance of the region.

Źródło:

International Letters of Natural Sciences; 2015, 06
2300-9675

Pojawia się w:

International Letters of Natural Sciences

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 34.

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

/5

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Skocz do pozycji: 35.

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

/5

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Skocz do pozycji: 36.

Tytuł:

The Renaissance Melancholy Assemblage, Space, and the Baroque Problem of Thought
Renesansowy melancholijny asamblaż, przestrzeń i barokowy problem myśli

Autorzy:

Rusiłowicz, Kamil

Powiązania:

https://bibliotekanauki.pl/articles/1807489.pdf

Data publikacji:

2019-10-23

Wydawca:

Katolicki Uniwersytet Lubelski Jana Pawła II. Towarzystwo Naukowe KUL

Tematy:

autor implikowany; teoria narracji; komunikacja literacka
melancholy; space; assemblage; Deleuze and Guattari; Hamlet; neobaroque

Opis:

Artykuł koncentruje się na teorii melancholijnego asamblażu autorstwa Drew Daniela. Zestawiając sposób, w jaki Daniel używa teorii Deleuze’a i Guattariego z jej odczytaniem przez Manuela De Landę, autor artykułu stawia pytanie o przyczyny zaniedbania przez Daniela przestrzennego aspektu asamblażu. Druga kwestia omawiana w artykule koncentruje się na napięciu pomiędzy siłami terytorializacji i deterytorializacji w melancholijnym asemblażu. Analizując zagadnienie przez pryzmat teorii neobaroku, autor stawia tezę, że renesansowy melancholijny asamblaż analizowany przez Daniela uwikłany jest w problematyczny związek pomiędzy reperzentacją a esencją, który stanie się jednym z głównych motywów Baroku. 
The article discusses Drew Daniel’s theory of the melancholy assemblage. By juxtaposing Daniel’s appropriation of Deleuze and Guattari’s ideas with Manuel De Landa’s discussion of the assemblage theory, it addresses the issue of space which, in spite of being one of the parameters of an assemblage, is absent from Daniel’s The Melancholy Assemblage. Therefore, the first question asked in the present article concerns the reason behind Daniel’s neglect of the spatial dimension of an assemblage. The second issue discussed in the article concerns the tension between forces of territorialization and deterritorialization in a melancholy assemblage. By approaching the issue from the vantage point of the neobaroque theory, the article argues that Daniel’s Renaissance melancholy assemblages already touch upon the problematic relation between performance and essence that would find its full manifestation during the Baroque.

Źródło:

Roczniki Humanistyczne; 2017, 65, 11; 147-160
0035-7707

Pojawia się w:

Roczniki Humanistyczne

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 37.

Tytuł:

Tsubouchi Shōyō and the Beauty of Shakespeare Translation in 1900s Japan

Autorzy:

Gallimore, Daniel

Powiązania:

https://bibliotekanauki.pl/articles/647973.pdf

Data publikacji:

2016-06-01

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Tsubouchi Shōyō
Ōba Kenji
rhetorical theory
the trial scene
Hamlet’s fourth soliloquy
evanescence
archaism

Opis:

In a recent study of Shakespeare translation in Japan, the translator and editor Ōba Kenji (14)1 expresses his preference for the early against the later translations of Tsubouchi Shōyō (1859-1935),2 a small group of basically experimental translations for stage performance published between the years 1906 and 1913; after 1913, Shōyō set about translating the rest of the plays, which he completed in 1927. Given Shōyō’s position as the pioneer of Shakespeare translation, not to mention a dominant figure in the history of modern Japanese literature, Ōba’s professional view offers insights into Shōyō’s development that invite detailed analysis and comparison with his rhetorical theories. This article attempts to identify what Shōyō may have meant by translating Shakespeare into elegant or “beautiful” Japanese with reference to excerpts from two of his translations from the 1900s.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 69-85
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 38.

Tytuł:

Re-reading the Archive: A 21st Century Re-appraisal of Kurosawa’s "The Bad Sleep Well" as a Modern "Hamlet"

Autorzy:

van Zon, Stan Reiner

Powiązania:

https://bibliotekanauki.pl/articles/39761617.pdf

Data publikacji:

2022

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare reception
adaptation
Shakespeare in Japan
'Hamlet'
Kurosawa
'The Bad Sleep Well'
Shakespeare in film

Opis:

Among Japanese film director Kurosawa Akira’s three Shakespeare films, Throne of Blood (1957), Ran (1985), and The Bad Sleep Well (1960), the latter has been relatively ignored in Anglophone Shakespeare criticism. This article investigates the Anglophone reception of The Bad Sleep Well and argues in favor of its re-appraisal as a Hamlet. On reception, it examines three explanations for the neglect: its modern setting, its deconstructive adaptation, and its cinematic quality. Considering the latter unconvincing, the article posits that the first two were only detrimental to the film’s reception because they respectively did not conform to Western expectations of essentially pre-modern ‘Oriental’ Japan and of ‘straight’ canonical Shakespeare. Considering changed attitudes in Shakespeare studies, neither of these should still be held against the film. On re-appraisal, The Bad Sleep Well may be reread in the 21st century as part of our continuing memory of our global Shakespeare discourse. Centering on the film’s innovative presentation of Claudius and The Mousetrap, the article argues for the porous border between ‘straight’ production and ‘crooked’ adaptation, and the value to the tradition of oblique approaches to familiar scenes and characters. By arguing for The Bad Sleep Well as a Hamlet worthy of study, the article furthers discussion on archival silences and new rhizomatic models of global Shakespeare that seek to move past the more reductive qualities of the ‘national Shakespeares’ mode of discourse that dominated in the 1990s and 2000s.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 41-59
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 39.

Tytuł:

‘You too, my child?’ On trust and perfidy in classical literature

Autorzy:

Schade, Gerson

Powiązania:

https://bibliotekanauki.pl/articles/1046756.pdf

Data publikacji:

2014-01-01

Wydawca:

Uniwersytet im. Adama Mickiewicza w Poznaniu

Tematy:

Shakespeare
Hamlet
Julius Caesar
Alcibiades
Clytemnestra
Phaedra
Iason
Medea
πίστις
fides
Eduard Fraenkel
Émile Benveniste

Opis:

A tripartite approach is proposed in order to get hold of the complex phenomenon of trust and perfidy in classical literature. In a first part two cases of political treason are discussed: the most prominent victim of treason, Julius Caesar, who was very much surprised when he saw Brutus among his assassins, and the greatest traitor in antiquity ever, Alcibiades. Protean perfidy, however, is a gender-crossing issue, and a second part is dedicated to literary figures, in particular to women. Aeschylus’ Clytemnestra is an outstanding example of a perfidious character. Finally, a third part is concerned with words, for πίστις and fides have attracted the attention of classical scholars and structural linguists alike. At the beginning, however, Hamlet is introduced, an expert both in trust and perfidy as well as in classical literature.

Źródło:

Symbolae Philologorum Posnaniensium Graecae et Latinae; 2014, 24, 1; 185-201
0302-7384

Pojawia się w:

Symbolae Philologorum Posnaniensium Graecae et Latinae

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 40.

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

/5

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Skocz do pozycji: 41.

Tytuł:

To "Hamlet" or Not to "Hamlet: Notes on an Arts Secondary School Students’ "Hamlet"

Autorzy:

Ciobanu, Estella
Trifan Enache, Dana

Powiązania:

https://bibliotekanauki.pl/articles/1033497.pdf

Data publikacji:

2020-06-30

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

„Hamlet” (Romanian theatrical production, 2018)
student actors
role doubling
collective character
gender identity
cross-cultural echoes

Opis:

This article discusses a 2018 theatrical production of Hamlet with Romanian teenage arts students, directed by one of the article’s authors, actress and academic Dana Trifan Enache. As an artist, she believes that the art of theatre spectacle depends pre-eminently on the actors’ enactment, and hones her students’ acting skills and technique accordingly. The other voice in the article comes from an academic in a cognate discipline within the broad field of arts and humanities. As a feminist and medievalist, the latter has investigated the political underside of representations of the body in religious drama, amongst others. The analytic duo reflects as much the authors’ different professional formation and academic interests as their asymmetrical positioning vis-à-vis the show as respectively the play’s director and one of its spectators. Their shared occupational investment, teaching to form and hone highly specialized professional skills, and shared object of professional interest (broadly conceived), text interpretation, account nevertheless for the possibility of fruitful interdisciplinary reflection on the 2018 Hamlet. This in-depth analysis of the circumstances of the performance and technical solutions it sought challenges stereotyped dismissals of a students’ Hamlet as superannuated, flimsy or gratuitously provocative. Furthermore, a gender-aware examination of the adaptation’s original handling of characters and scenes indicates unexpected cross-cultural and diachronic commonalities between the dramatic world of the 2018 Romanian production of Hamlet and socio-cultural developments emergent in pre-Shakespearean England.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 153-172
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 42.

Tytuł:

Noh Creation of Shakespeare

Autorzy:

Munakata, Kuniyodhi

Powiązania:

https://bibliotekanauki.pl/articles/648142.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Noh
Noh Shakespeare
Zen
Hamlet
Othello
Macbeth
King Lear
Cordelia
Madam Reiko ADACHI
Kuniyoshi Munakata UEDA

Opis:

This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 87-106
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 43.

Tytuł:

Some Japanese Shakespeare Productions in 2014-15

Autorzy:

Kawai, Shoichiro

Powiązania:

https://bibliotekanauki.pl/articles/648150.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare
adaptation
Bunraku
Kyogen
Falstaff
Much Ado about Nothing
Macbeth
Hamlet
Japanese traditional theatre
Yukio Ninagawa

Opis:

This essay focuses on some Shakespeare productions in Japan during 2014 and 2015. One is a Bunraku version of Falstaff, for which the writer himself wrote the script. It is an amalgamation of scenes from The Merry Wives of Windsor and those from Henry IV. It was highly reputed and its stage design was awarded a 2014 Yomiuri Theatre Award. Another is a production of Much Ado about Nothing produced by the writer himself in a theatre-in-the-round in his new translation. Another is a production of Macbeth arranged and directed by Mansai Nomura the Kyogen performer. All the characters besides Macbeth and Lady Macbeth were performed by the three witches, suggesting that the whole illusion was produced by the witches. It was highly acclaimed worldwide. Another is a production of Hamlet directed by Yukio Ninagawa, with Tatsuya Fujiwara in the title role. It was brought to the Barbican theatre. There were also many other Shakespeare productions to commemorate the 450th anniversary of Shakespeare’s birth.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 13-28
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 44.

Tytuł:

“This England”: Re-Visiting Shakespearean Landscapes and Mediascapes in John Akomfrah’s The Nine Muses (2010)

Autorzy:

Calbi, Maurizio

Powiązania:

https://bibliotekanauki.pl/articles/647934.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

John Akomfrah
Migration
Archive
Media Interference
Rhizomatic Shakespeare
Postcolonial Shakespeare
Home and Hospitality
Englishness
Richard II
Hamlet

Opis:

The paper will offer a reading of John Akomfrah’s The Nine Muses (2010), a 90-minute experimental feature film that has been defined as “one of the most vital and original artistic responses to the subject of immigration that British cinema has ever produced” (Mitchell). It will focus on the multifarious ways in which the film makes the “canonical” literary material that it incorporates, including Shakespeare, interact with rarely seen archival material from the BBC regarding the experience of Caribbean and South Asian immigrants in 1950s and 1960s Britain. It will argue that through this interaction the familiarity of Western “canonical” literature re-presents itself as an uncanny landscape haunted by other stories, as a language that is already in itself the “language of the other” (Derrida). In particular, it will claim that Shakespearean fragments are often used in an idiosyncratic way, and they repeatedly resonate with some of the most fundamental ethical and political issues of the film, such as the question of England as “home” and migration. The paper will also argue that the decontextualization and recontextualization of these fragments makes them re-emerge as part of an interrogation of the mediality of the medium, an interrogation that also offers insights into the circulation of Shakespeare in the contemporary mediascape.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 15, 30; 59-75
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 45.

Tytuł:

Hamlet and Japanese Men of Letters

Autorzy:

Kawachi, Yoshiko

Powiązania:

https://bibliotekanauki.pl/articles/648095.pdf

Data publikacji:

2016

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare translation and appopriation
Shakespeare’s impact on Japanese novelists
Novelization of Hamlet
Modernization of Japanese literature

Opis:

Shakespeare has exerted a powerful influence on Japanese literature since he was accepted in the second half of the nineteenth century. Particularly Hamlet has had a strong impact on Japanese men of letters and provided them with the impetus to revive the play in contemporary literature. In this paper I discuss how they have utilized Hamlet for their creative activity and enriched Japanese literature.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 123-135
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 46.

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

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Skocz do pozycji: 47.

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

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Skocz do pozycji: 48.

Tytuł:

Izraelski «Hamlet» Konrada Swinarskiego
Konrad Swinarskis Israeli «Hamlet»

Autorzy:

Kuźnicka, Danuta

Powiązania:

https://bibliotekanauki.pl/articles/47228121.pdf

Data publikacji:

2021

Wydawca:

Polska Akademia Nauk. Instytut Sztuki PAN

Tematy:

Konrad Swinarski
Shakespeare
«Hamlet»
Teatr Cameri w Tel Awiwie
Stary Teatr w Krakowie
The Cameri Theater of Tel Aviv
Stary Teatr in Kraków

Opis:

Analiza nieznanych dotąd w Polsce recenzji, które ukazały się w izraelskiej prasie po premierze Hamleta w reżyserii Konrada Swinarskiego w Teatrze Cameri w Tel Awiwie w 1966 roku, pozwala nie tylko odtworzyć niektóre działania i efekty sceniczne, ale także prześledzić tok rozumowania krytyków, ich kompetencje i upodobania. Porównanie tych materiałów z dokumentami dotyczącymi przygotowań do inscenizacji Hamleta w Krakowie osiem lat później daje podstawę do stwierdzenia, że w 1966 artysta miał już ukształtowaną w zasadniczych rysach koncepcję Szekspirowskiej tragedii i niektóre jej aspekty udało się zrealizować w Tel Awiwie. Przede wszystkim wykreował nowy obraz postaci księcia i Horacego, poddał rewizji wizerunek króla Klaudiusza i zarysował historiozoficzno-polityczną interpretację tragedii. W Izraelu przekaz ideowy inscenizacji odczytywany był przez krytykę najczęściej właściwie, podważano jednak jego sens i negowano wartość.
This article discusses the Israeli press reviews of Konrad Swinarski’s Hamlet, which premiered at the Cameri Theater in Tel Aviv in 1966. Based on material previously unknown in Poland, the analysis makes it possible not only to reconstruct some of the stage actions and effects, but also to follow the reasoning, competences and tastes of Israeli critics. Comparing this material with documents concerning the preparations for the Kraków staging of Hamlet eight years later, the author concludes that the general framework of Swinarski’s conceptualization of the play was already developed in 1966; the director managed to bring some of its aspects to the stage in Tel Aviv. Most importantly, he created a new vision of the characters of Hamlet and Horace, re-examined the image of Claudius, and outlined a historiosophical and political interpretation of Shakespeare’s tragedy. In Israel, the critics usually recognized the ideological message of Swinarski’s staging correctly; however, they questioned its point and denied its value.

Źródło:

Pamiętnik Teatralny; 2021, 70, 1; 133-153
0031-0522
2658-2899

Pojawia się w:

Pamiętnik Teatralny

Dostawca treści:

Biblioteka Nauki

/5

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Skocz do pozycji: 49.

Tytuł:

Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet

Autorzy:

Minier, Márta

Powiązania:

https://bibliotekanauki.pl/articles/647983.pdf

Data publikacji:

2017

Wydawca:

Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego

Tematy:

Shakespeare reception
Shakespeare translation
retranslation
Hamlet
Shakespeare in Hungary
drama translation
Ádám Nádasdy
intersemiotic translation
adaptation
structural transformation
performance as translation
multimedia performance
performan

Opis:

This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.

Źródło:

Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 89-108
2083-8530
2300-7605

Pojawia się w:

Multicultural Shakespeare: Translation, Appropriation and Performance

Dostawca treści:

Biblioteka Nauki

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Skocz do pozycji: 50.

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

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