Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-08-17T19:15:20Z No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-08-17T19:17:41Z (GMT) No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-08-17T19:17:41Z (GMT). No. of bitstreams: 2 Dissertação - Edlúcia Robélia Oliveira de Barros - 2016.pdf: 4103005 bytes, checksum: 2af3328007974598a93b1627ae8a18ab (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2015-12-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet. / Essa dissertação é resultante de uma pesquisa bibliográfica diversa e tem por objetivo analisar em múltiplos aspectos a tragédia Hamlet, Príncipe da Dinamarca (1600-1601), do inglês William Shakespeare (1564-1616), como um texto performativo. Para tanto, estabelece relações entre essa tragédia e algumas questões discutidas pelos estudos da performance, especificamente a teatralidade, a liminaridade e a textualidade. A história de Hamlet é relacionada principalmente ao conceito de teatralidade do dramaturgo e diretor teatral russo Nicolas Evreinov (1879-1953), bem como dialoga com a noção de liminaridade discutida pelo folclorista e etnógrafo germânico Arnold van Gennep (1873-1957), e com as ideias do pensador russo Mikhail Bakhtin (1895-1975) acerca da performance da linguagem, dentre outras noções acerca das práticas performáticas e performativas humanas. Hamlet, o texto, é apresentado no limiar, entre a completude e o movimento, entre a textualidade e a teatralidade, entre leituras e culturas. É descrita e analisada ainda a montagem de Hamlet no Teatro de Arte de Moscou (TAM), uma das famosas leituras e reescritas da tragédia shakespeariana. Uma produção cênica que apresenta o diálogo e o embate entre texto e cena, entre estéticas, entre leituras da tragédia que se expressam através das performances do encenador, do ator e do espectador. Finalmente, trata de aspectos da recepção de Hamlet.

Nuclear Shakespeare: Apocalypse and Annihilation in King Lear and Hamlet Recent scholarship on Shakespeare's plays centres around the question of their relevance for the present day. Feminist, Marxist and post-colonial analyses speak to our globalised political context; post-structuralist methods explore the relationship between language and power; historicist methods look at the construction of modernity in Shakespeare's day; presentism considers the plays from a self-consciously present-focused perspective; and the recent eco-critical approach reads Shakespeare's plays in the light of the so-called "Anthopocene." In this thesis, I use an updated method of Derridean nuclear criticism, combined with materialist feminist critique, to examine the relevance of King Lear and Hamlet to today's heterogeneous threat of annihilation (including nuclear destruction, genocide, and ecological disaster through climate change), focusing on the implications of annihilation for artistic representation - literature, in particular. I also look at King Lear and Hamlet in their context of early modern Christian apocalypticism, taking apocalypticism as a possible precursor to today's discourses of annihilation. I argue that the spectre of annihilation problematises traditional realist mimesis, revealing the complex and...

The thesis explores the development of Shakespeare’s political ideas, in particular his exploration of authority, and the legitimacy of resistance towards it, in the two English history tetralogies (as well as the self-contained history, King John), and examines the ways in which this protracted engagement with the question of kingship – and governance more generally – informs his turn to tragedy towards the end of the 1590s. The thesis argues that criticism has tended to downplay the importance of the first tetralogy in the Shakespeare canon (particularly the Henry VI plays), and as a corollary it has overlooked the important continuities that can be traced from Shakespeare’s earliest engagement with politics to his treatment of power in Julius Caesar and Hamlet. The thesis sees the history plays as essentially paradoxical and ambivalent. Shakespeare presents the past as both a shining example to which each succeeding generation must aspire, but also as a legacy which they are powerless to fulfil, while he treats the dynastic conflicts of the Houses of York and Lancaster as essentially intractable, with each new pretender to the throne – however legitimate his claim – undermined by a host of legal, moral, and pragmatic considerations. It is a central contention of the thesis that it was Shakespeare’s failure satisfactorily to resolve the intractable political conflicts of the first tetralogy which prompted him to confront a similar set of questions in King John, before returning to them yet again in the more highly acclaimed second tetralogy. The thesis concludes by arguing that far from representing a breach with his history plays, the tragedies are continuous with them. So rather than identifying the ‘origins’ of Hamlet either in Shakespeare’s reaction to the fall of Essex or the death of his son, Hammet, in 1596, it is more persuasive to see the play as arising from the debates and problems which were initially addressed in the first tetralogy.

This thesis discusses the ways in which Bret Easton Ellis uses Hamlet and Peter Pan as sources in his novel Lunar Park.

In his plays, Heiner Mller uses postdramatic techniques to challenge audiences. Adaptations of his work tend to either engage with these techniques or attempt to make his work more comprehensible for audiences. In this thesis, I will investigate examples of Mller adaptations from different geographic locations outside of Europe. Each example uses a play by Mller to explore contemporary political issues. I will first cover the trend of adapting Mller textually, and the problems inherent in this process. Then I will provide an in-depth analysis of El Perifrico de Objetos Mquina Hamlet. This production, which is an Argentinean adaptation of Mllers seminal play Hamletmachine, uses postdramatic techniques that place spectators at the forefront in the production of meaning. As a result, Mquina Hamlet is able to link Mller not only to the political history of Argentina, but also to the history of violence in the world.

Le sujet proposé pour ce mémoire création est une étude comparative de la figure shakespearienne d'Hamlet à travers les actualisations textuelles Hamlet-machine d'Heiner Müller et Hamlet, prince du Québec de Robert Gurik. Nous montrerons comment les procédés utilisés par Müller et Gurik transforment le modèle oedipien contenu dans la pièce La Tragique Histoire de Hamlet Prince de Danemark de Shakespeare. L'approche théorique de cette étude est la psychanalyse freudienne et notamment, les analyses de la pièce Hamlet de Shakespeare réalisées par Ernest Jones et André Green. Freud et Jones après lui découvrent dès 1897 que la tragédie de Shakespeare se présente comme une reprise rajeunie et compliquée de la tragédie d'OEdipe Roi. Notre hypothèse est que d'une culture à l'autre, de l'Angleterre élisabéthaine à l'Allemagne de la Guerre Froide, en passant par le Québec de la Révolution tranquille, les thèmes fondamentaux du récit oedipien seront accentués différemment. Ce mémoire est la suite de la création (Hamlet) sans titre, une mise à l'épreuve théâtrale dont nous avons écrit et mis en scène le texte. Cette actualisation du personnage Hamlet avait comme but la réinterprétation des thèmes oedipiens. Elle confirme le potentiel cathartique du caractère oedipien de la figure de Hamlet. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Hamlet, Œdipe, Hamlet-machine, Hamlet, prince du Québec, Psychanalyse, Grotowski.

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Following contemporary readings/writings of the ghosts of Hamlet’s father, in particular those of Derrida, Borges, and Joyce, this study intends to further elucidate the affiliation between scholar, spectre, and archive. This work demonstrates how Hamlet both conforms to a scholarly process of archivization and a silencing of the ghost, and simultaneously renders a slipping away of the spectre at its precise point of capture, engendering the infinite archive that is “irreducible by explanation” (Derrida, 1998, p. 87) and never closed. It is this opening and pulling apart, this expansion at the point of its closure, that allows the ghosts of Shakespeare and his Hamlet to enter into the texts of Borges, Joyce, and Derrida.

During the height of the English Renaissance, the revenge tragedies The Spanish Tragedy and Hamlet were introduced to the English literary canon. In this essay, I will focus on the similarities that the protagonists, Hamlet and Hieronimo, share as prototypical avengers. Although Hamlet’s contribution to the genre should not be discredited, I will argue that the similar characterisation of Hieronimo in The Spanish Tragedy, portrays the same depth and entitlement to the acclaim as a prototypical avenger as Hamlet. Even though their portrayal may differ in tone, their shared commonality attributes equal complexity to both characters. I will compare and analyse the two plays in order to demonstrate that both characters should be considered prototypical avengers. The essay concludes that a reluctance to revenge and a tendency to contemplate the morality of the action is prominently shared by both prototypical avengers. Although critics generally infer Hieronimo is a less complex character in comparison with Hamlet, this essay will show how both avengers deserve equal credit. This essay illustrates this statement by juxtaposing their equal need to find justification before taking revenge, use of suicide to emphasise their moral dilemma, and comment on the tragic consequences of revenge.

Following contemporary readings/writings of the ghosts of Hamlet’s father, in particular those of Derrida, Borges, and Joyce, this study intends to further elucidate the affiliation between scholar, spectre, and archive. This work demonstrates how Hamlet both conforms to a scholarly process of archivization and a silencing of the ghost, and simultaneously renders a slipping away of the spectre at its precise point of capture, engendering the infinite archive that is “irreducible by explanation” (Derrida, 1998, p. 87) and never closed. It is this opening and pulling apart, this expansion at the point of its closure, that allows the ghosts of Shakespeare and his Hamlet to enter into the texts of Borges, Joyce, and Derrida.