Proefschrift--Amsterdam. / Bibliography: p. [141]-143.

Proefschrift--Amsterdam. / Bibliography: p. [141]-143.

In act I, scene 2 of Shakespeare's Hamlet, one of the key themes presented is the theme of order versus disorder. Gertrude's hasty marriage to Claudius and their lack of grief over the recent death of King Hamlet violate Hamlet's sense of order and are the cause of Hamlet's anger and despair in 1.2. Rather than contrast Hamlet with his uncle and mother, Olivier constructs an Oedipal relationship between Hamlet and Gertrude--unsupported by the text--that undermine's the characterization of Hamlet as a man of order. In contrast, Tony Richardson presents Claudius' and Gertrude's actions as a violation of the order in which Hamlet believes.

Death's presence on the Renaissance stage, and in Renaissance life, has been noticed and remarked upon by scholars in the past. The role of death in the early modern period was in flux due to major changes in religious and social life. During this time, the relationship between the living and dead was put into question, and the way the culture handled preparing for death began to change in significant, if subtle, ways. Renaissance drama became a stage for exploring and confronting the presence of death in life. King Lear and Hamlet remain two of Shakespeare's most enduring meditations on death, though the interpretations of the deaths and the meaning gleaned from the texts varies. My project involves presenting an alternative reading of the deaths that can only be found when one reads the performances in relation to primary documents of the time that deal with similar preparations for death. By reading Hamlet in relation to execution rhetoric and King Lear in relation to will-writing in the early modern period, we can begin to understand the value of their deaths in accordance with the societies they represent. Ultimately, Hamlet succeeds in satisfying the demands of an execution and creates a death that serves both himself and his community. On the other hand, Lear fails to adequately prepare for death and compose a considerate will, which leaves his kingdom in ruins. Both are monarchs whose bodies represent the states they leave behind, but only one manages to satisfy a monumentality that maintains the stability of his kingdom.

No description available.

No description available.

[pt] A presente pesquisa analisa criticamente os espetáculos Ham-let, dirigido por José Celso Martinez Corrêa, e Ensaio.Hamlet, dirigido por Enrique Diaz. Reflete sobre os diferentes modos como essas duas montagens transformam e reatualizam o clássico de Shakespeare, no contexto do chamado teatro pós-dramático, favorável a obras fragmentárias, híbridas, abertas a pesquisas de novas linguagens e interferências performáticas. A referência teórica principal da pesquisa é o pensamento de Gilles Deleuze e Félix Guattari, com ênfase nas reflexões que estes desenvolveram acerca das relações entre arte e devir. Sustenta-se que as duas encenações instanciam de formas distintas o expediente de minoração de obras maiores, assim como descrito por Deleuze em obra sobre a dramaturgia de Carmelo Bene. Além de apresentar e discutir convergências e divergências nas estratégias de minoração adotadas nas duas encenações, esta dissertação inclui também uma exploração pontual dos lugares ocupados em cada caso pela personagem Ofélia, partindo da hipótese de que esta pode ser produtivamente tomada como força de minoração atuante já própria na peça de Shakespeare. O conceito de tradução enquanto transcriação, do poeta e ensaísta brasileiro Haroldo de Campos, e o conceito de ensaio, do filósofo alemão Theodor Adorno, são também referenciais teóricos utilizados na pesquisa. / [en] This dissertation critically analyzes two dramatic works: Ham-let, directed by José Celso Martinez Corrêa, and Ensaio.Hamlet, directed by Enrique Diaz. It reflects about the different ways in which these two plays transform and renovate the Shakespeare s classic in the context of the so-called Postdramatic theater, a milieu that favors fragmentary, hybrid works, open to the research of new languages and to performing interferences. The main theoretical framework is the thought of Gilles Deleuze and Felix Guattari, emphasizing the reflections they developed on the relationship between art and becoming. It is argued that the two stagings instantiate, in different ways, the procedure of minoring a major work, such as described by Deleuze in his work on the dramaturgy of Carmelo Bene. In addition to presenting and discussing general convergences and differences in the strategies of minoration adopted by the two directors, this dissertation also includes a specific address to the places occupied by Ophelia in each case, assuming that this character can be productively taken as a force of minoration already at work in Shakespeare s play. The concept of translation as trancreation, from Brazilian poet and essayist Haroldo de Campos, and the concept of essay, from German philosopher Theodor Adorno, are also theoretical references used in the research.

Taboo and Transgression in British Literature from the Renaissance to the Present develops an innovative overview of the interdisciplinary theoretical approaches to the topic that have emerged in recent years. Alongside exemplary model analyses of key periods and representative primary texts, this exciting new anthology of critical essays has been specifically designed to fill a major gap in the field of literary and cultural studies. This book traces the complex dynamic and ongoing negotiation of notions of transgression and taboo as an essential, though often neglected, facet to understanding the development, production, and conception of literature from the early modern Elizabethan period through postmodern debates. The combination of a broad theoretical and historical framework covering almost fifty representative authors and uvres makes this essential reading for students and specialists alike in the fields of literary studies and cultural studies.

Teen Shakespeare films have largely been dismissed as films which “dumb down” Shakespeare’s original texts and which are marketed in a manipulative way in order to sell teens fantasies that appeal to them. Among the most popular and recognizable actresses of this genre is Julia Stiles, known for her leading roles in 10 Things I Hate About You, O, and Hamlet. Several scholars have critiqued Stiles’s films for the ways that they depict feminism and American teen girlhood. In this thesis, I argue that Stiles’s films present a spectrum of, an admittedly limited, feminism that becomes increasingly more progressive. By exploring Stiles’s portrayal of feminism in these films, the hope is to move away from the idea of teen Shakespeare films as merely dumbed down versions of the plays and to, instead, move towards an understanding of the political and social role of this generic category.

Denna uppsats ämnar göra ett nedslag i svensk teateröversättning för den svenska teaterscenen. Teateröversättning är ett relativt outforskat forskningsfält generellt, men i synnerhet råder det en avsaknad av studier som fokuserar på svenska teateröversättningar. I detta syfte har undersökningen valt att analysera William Shakespeares, Hamlet, genom att analysera ett urval av svenska Hamletuppsättningar och tillhörande metatexter återskapas de strategier och normer som översättaren inkorporerar vid nyöversättning från den engelska källtexten till den svenska måltexten. Tre spelversioner av Hamlet från produktioner i Dramatens regi åren 1974 i översättning av Allan Bergstrand, 1986 i översättning av Britt G. Hallqvist och 2008 i översättning av Ulf Peter Hallberg utgör studiens material. Vidare har en variabelanalys genomförts där variablerna strykning, textindelning, pronominalbruk och bildspråk analyserats, både på makrotextuell nivå och mikrotextuell nivå. Resultatet visar att spelversionerna skiljer sig något åt när det kommer till strategier och textuella normer. Hamlet från 1974 tenderar att vara mer adekvansinriktad medan Hamlet från 1986 och 2008 tenderar att vara mer acceptansinriktade. Studien fann även att ingen av de undersökta spelversionerna lever upp till rådande normer när det kommer till mottagande. / This thesis seeks to touch upon Swedish theatre translations produced for the Swedish stage. Theatre translation is generally an relatively unchartered field, but there is particularly a lack of studies focused on Swedish theatre translation. For this reason this thesis has chosen to analyse William Shakespeare’s Hamlet. By analysing a selection of Hamlet productions and corresponding metatexts this thesis recreates strategies and norms incorporated in a retranslation of the English source text into a Swedish target text.Three stage versions of Hamlet, all productions of Dramaten from the years 1974, translated by Allan Bergstrand, 1986, translated by Britt G. Hallqvist, and 2008, translated by Ulf Peter Hallberg, were selected for this purpose. In addition, the following variables where investigated: reduction, textual structure, pronouns and imagery. This analysis was conducted both on a macro texual level and a micro textual level. The study shows that the stage version of Hamlet 1974 tends to be more adequate while the stage versions from 1986 and 2008 tend to be more acceptable when it comes to strategies. The thesis also found that none of the investigated stage versions fulfilled the expectancy norms of the audience.