This work is an attempt to answer one simple question: What is Hamlet? Based on the material of Hamlet translations into Russian, the dissertation scrutinizes the problems of literary canon formation, translation and textuality proceeding in two parallel directions: the historical analysis of canon formation in translation and the conceptualization of Hamlet’s textuality. The methodological framework is defined in the context of Jurij Lotman’s semiotics of culture, which is invaluable for an understanding of the mechanisms of literary evolution, the theory of translation and literary canon formation. The study examines the history of Hamlet in Russia from 1748 until the present with special attention to analysis of the canonical translations, theater productions of the Shakespearean classic and the phenomenon of Hamletism. The case study of the 1964 film by Grigorij Kozincev focuses on the problem of the cinematographic canon of Hamlet. Further, the work scrutinizes various types of representation of Hamlet in such semiotic systems as the theater, the cinema, and the pictorial arts, and also examines how Hamlet functions as a specific type of sign. The final section returns to the question of canon formation and textuality. The results of the research show that 1) the literary canon appears to be closely associated with the concepts of genre and myth, 2) in order to become canonical it is imperative for a literary text to function on the level of microcanon and to be represented in modes other than the written.

The study elucidates the relation of Tom Stoppard's play Rosencrantz and Guildenstern Are Dead to Hamlet on the one hand and to the Theatre of the Absurd on the other. The two plays chosen to represent the Theatre of the Absurd are Samuel Beckett1 s Waiting for Godot and Harold Pinter* s The Caretaker. Since Stoppard is admired as a master craftsman of language, the emphasis is on his use of language. The extent to which the use of the cliché characterizes the three absurd plays is examined. It is found that the language area covered by the term cliche is not clearly defined and that the term is not uniformly applied. The inquiry centres on finding features, such as repetition, music-hall passages and "ready-made" language, that could explain why the dialogue in the three plays might appear cliche-ridden and on comparing the three plays in respect of these features. 　 The study further draws parallels between Stoppard's play and Waiting for Godot in the use of various techniques, such as misunderstandings, anticlimax and afterthought. It is found that there is often a conscious adoption by Stoppard of Beckett's techniques. To clarify the relation of Stoppard's play to Hamlet various aspects of the two plays are studied. These aspects include changes introduced into stereotyped expressions, punning, the use of parody and the handling of two specific motives, madness and death. Parallels are found in spite of the fact that several centuries separate the two plays, not least in respect to style, technique and language. / digitalisering@umu

In its introduction and four chapters, this project demonstrates that Shakespeare responded to—and powerfully shaped—the early modern English literary marketplace. Against the longstanding critical limitation of the category “Literature” that restricts it to the printed book, this dissertation argues that the literary is not so much a quality of texts as a mode of exchange encompassing not merely printed books but many other forms of representation. Whether writing for the stage, the page, or both, Shakespeare borrowed from and influenced other writers, and it is these specifically formal transactions that make his works literary. Thus, we can understand Shakespeare’s literariness only by scrutinizing the formal features of his works and showing how they circulated in an economy of imaginative writing. Shakespeare self-consciously refashioned words, styles, metrical forms, and figures of speech even as he traded in them, quickly cornering the literary market between 1595 and 1600. Shakespeare’s practice as a writer thus preceded and made possible his reputation both in the theater and in print. / text

This thesis represents the written portion of the Degree Requirements of the Master of Fine Arts in Theatre Design. The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian C. Parkinson), was the University of Lethbridge Department of Theatre and Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season, running February 14 – 18, 2012, performed at the University Theatre in the University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET was directed by Brian C. Parkinson, with the assistant direction of L. Jay Whitehead and Yvonne Mandel. Contained within this written portion of the thesis is a discussion of the design concepts for this production, along with photographic records of models, technical drawings, and other pertinent information. / viii, 176 leaves : col. ill. ; 29 cm

When rural settlements are examined in Anatolia, an evolution process from the prehistoric times could be observed rather than a radical change, about the building architecture and settlement pattern qualities. However, it is, in fact, a chronic discussion subject between the authorities that this case is a result of an inheritance of a building tradition from the predecessors to successors of the society or a reproduction of the similar spatial fiction after the same factors and inputs. The case of Fenaket rural settlement, which is situated at the western part of the Bozburun peninsula, maintains parallel characteristics, and stays within the limits of this discussion, by its vernacular architecture and spatial arrangement. The purpose of this research is to analyze and to document the vernacular dwellings and settlement pattern of abandoned Fenaket Village / to identify the evolution and the evaluation process of the megaroid houses of Fenaket / and to develop the means for sustaining this traditional example.

An exploration of my video media project in which I interpreted two soliloquies from Shakespeare's Hamlet into a contemporary social media setting.

Submitted by Aelson Maciera (aelsoncm@terra.com.br) on 2017-06-28T16:47:52Z No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-07-03T18:35:26Z (GMT) No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2017-07-03T18:35:35Z (GMT) No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) / Made available in DSpace on 2017-07-03T18:39:47Z (GMT). No. of bitstreams: 1 DissLHSJ.pdf: 2008939 bytes, checksum: 6c19defb2c1ab2d75507465bbf3530c1 (MD5) Previous issue date: 2017-02-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This dissertation aims to analyze William Shakespeare’s play Hamlet – prince of Denmark (1603) in dialogue with its filmic transcreation, Franco Zeffirelli’s Hamlet (1990) in order to verify the treatment given to the play’s theme: corruption, madness (real or fake) versus wisdom, incest, and Oedpus complex. On the assumption that for Haroldo de Campos (1994) tanscreating means not only to be loyal to the original text, but it also means to be free to create, which desmystifies the ideology of fidelity and abolishes the superiority of the source text to value the translation and the receiving culture, this research has a political reading of both play and film to go beyond the text surface through a better comprehension based on the historical, social and ideological factors of their productions. After all, the transformations made in the original text to suit the film to the 90’ s audience in another social and historical moment represent “forces that expand or reduce the work” (DINIZ, 2003, p.97). The interpretation method is the political reading in the three reading levels/horizons presented by Fredric Jameson in The Political Unconscious (1992). / Esta dissertação almeja a análise da peça Hamlet - príncipe da Dinamarca (1603) de William Shakespeare em diálogo com sua transcriação Hamlet (1990) de Franco Zeffirelli no intuito de verificar como o diretor italiano conversa em seu filme com o texto do bardo inglês, sobretudo, no que diz respeito ao tratamento dado as linhas fundantes (imagens) da peça: a corrupção, a loucura (fingida ou verdadeira) versus a sapiência, o incesto, e o complexo de Édipo. Partindo do pressuposto de que para Haroldo de Campos (1994) transcriar é nutrir-se do texto original desmistificando a ideologia da fidelidade e abolindo a superioridade da fonte a fim de valorizar a tradução e a cultura receptora, esta pesquisa faz uma leitura política da peça de Shakespeare e do filme de Zeffirelli no intuito de ir além do conteúdo manifesto (composto pelo enredo e tentativas de harmonização das contradições nelas contidas), avançando para a compreensão das obras permeadas por fatores históricos, sociais e ideológicos de suas produções. Afinal de contas, as transformações feitas no texto original em função da necessidade de se adequar o filme ao gosto de uma audiência em um outro momento sócio-histórico, no caso, a década de 1990, representam “forças modeladoras no sentido de expandir ou reduzir a obra” (DINIZ, 2003, p.97). O método de interpretação é o da leitura política da peça e do filme nos três níveis/horizontes de leitura apresentados por Fredric Jameson em O Inconsciente Político (1992).

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Poststructuralism may be broadly characterized as a move away from traditional Western foundationalist thinking. Such thinking is exemplified by post-enlightenment transcendentalism, humanism and subject-centredness. This study aims to contribute to the poststructuralist decentering of the subject by means of the application of the critical practice of deconstruction – a type of analysis named and popularized by Jacques Derrida, who is himself frequently classified as a poststructuralist, in which the ruling logic of the text is undermined and the meaning of the text is therefore shown not to be fully present within it – to four texts by a writer who is arguably among the most prominent within the English literary canon: William Shakespeare. The first deconstructive reading centres around the court scene at the climax of the bond story in The Merchant of Venice. Here the apparent contrast between the restrictive law – which views Shylock’s claim of a pound of Antonio’s flesh as valid – and justice and mercy – which regard adherence to this bond as contrary to the spirit of the law – is collapsed, and justice is shown to be capable of being as restrictive as the law, while mercy becomes embroiled in all the trading that occurs in The Merchant of Venice, and demonstrates the capacity to be mercenary. The Tempest is examined next: the starting point is the apparent Nature/Culture distinction within the play. The reading is influenced by Derrida’s use of the notion of supplementarity in his examination in “… That Dangerous Supplement …” of the Nature/Culture distinction in Rousseau. Particular attention is given first to the wedding masque, where the central figure of Ceres, who is goddess of agriculture and marriage, and also the source of seasonal changes, is shown to problematize any absolute distinctions between Nature and Culture. Such distinctions are further collapsed with reference to Prospero and Miranda’s teaching of language to Caliban, as the latter, who supposedly is representative of natural man, is shown to have had his thought supplemented by language before Prospero’s arrival on the island. Hamlet is approached with a reading that again draws from Derrida – this time his exploration of Mallarmé’s “Mimique” in “The Double Session”. Plato’s theory of forms also becomes involved as this chapter plays with the distinction between Being and imitation, destabilizing this distinction within Hamlet and problematizing Hamlet’s question: “To be, or not to be”. And finally, the chapter on Measure for Measure is concerned with the ideas of restraint and freedom, inspecting Lucio’s suggestion that his restraint arises from “too much liberty”, as well as many other instances in the play where restraint, as well as freedom – which seems at times to function in the same way as restraint – seems significant. The reading draws attention to its own impulse to restrain the reader with the truisms it presents by being written in the form of thirty-four aphorisms, and thus alludes to Derrida’s “Aphorism Countertime”. / Dissertation (MA (English))--University of Pretoria, 2005. / Modern European Languages / unrestricted

Using the sixteenth-century theories of sympathies to examine the inter-character relationships in Hamlet, I argue for a period reading that offers insight into Hamlet’s delay and the basis for his problematic relationships with Gertrude and Ophelia. Asserting Hamlet’s character as an observer in the play with the ultimate goal of healing the infected state of Denmark, this examination of Hamlet explores how sympathetic healing would function between the characters of Hamlet, the Ghost, Gertrude, and Ophelia. Such a reading would present these characters as vulnerable bodies capable of directly affecting each other over a physical distance. Hamlet’s ultimate tragedy then would arise from his failures to engage with these sympathetic forces effectively, resulting in his inability to find the proper cure for his state.