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Life of William Shakespeare: A Critical Biography by
The Life of William Shakespeare is a fascinating and wide-ranging exploration of Shakespeare's life and works focusing on oftern neglected literary and historical contexts: what Shakespeare read, who he worked with as an author and an actor, and how these various collaborations may have affected his writing. Written by an eminent Shakespearean scholar and experienced theatre reviewer. Pays particular attention to Shakespeare's theatrical contemporaries and the ways in which they influenced his writing. Offers an intriguing account of the life and work of the great poet-dramatist structured around the idea of memory. Explores often neglected literary and historical contexts that illuminate Shakespeare's life and works.
Shakespeare: The Poet in his World by
First published in 1978. In this study, Shakespeare's own life story and the development of English theatrical history are placed in the wider context of Elizabethan and Jacobean times, but the works themselves are the final objective of this 'applied biography'. The main contention of the book is that Shakespeare's life was the lure of the stage itself which inspired him to transform what everyday life provided into the worlds of Hamlet, King Lear and Prospero.
Shakespeare and Biography by
Shakespeare and Biography is not a new biography of Shakespeare. Instead, it is a study of what biographers have said about Shakespeare, from the first formal biography in the early 18th century by Nicholas Rowe to Stephen Greenblatt, James Shapiro, Jonathan Bate, Germaine Greer, Katherine Duncan-Jones, Park Honan, René Weis, and others who have written recent biographical accounts of England's greatest writer. The emphasis is on what sort of issues these biographers have foundespecially interesting in relation to sex and gender, politics, religion, pessimism, misanthropy, jealousy, aging, family relationships, the end of a career, the end of life. How has Shakespeare's contemplation of these issues changed and grown, and in what ways do those changes reflect new cultural developments inour world as it continues to reinterpret Shakespeare?
The Truth about William Shakespeare: Fact, Fiction and Modern Biographies by
A polemical attack on the ways recent Shakespeare biographers have disguised their lack of information.How can biographies of Shakespeare continue to appear when so little is known about him? And when what isknown has been in the public domain for so long? Why have the majority of the biographies published in the last decade been written by distinguished Shakespeareans who ought to know better? To solve this puzzle, David Ellis looks at the methods that Shakespeare's biographers have used to hide their lack of knowledge. At the same time, by exploring efforts to write a life of Shakespeare along traditional lines, it asks what kind of animal 'biography' really is and how it should be written.Key Features* An exposé of the Shakespeare biography industry showing that books which are marketed as biographies of Shakespeare are nothing of the kind. * From this book, the reader can learn all that is directly known about Shakespeare* Asks the reader to think about how we acquire our knowledge of other people and what we ought therefore to expect of biographies.
William Shakespeare by
Definitive, concise, and very interesting...From William Shakespeare to Winston Churchill, the Very Interesting People series provides authoritative bite-sized biographies of Britain's most fascinating historical figures - people whose influence and importance have stood the test of time.Each book in the series is based upon the biographical entry from the world-famous Oxford Dictionary of National Biography.
Will in the World: How Shakespeare became Shakespeare by
A young man from a small provincial town moves to London in the late 1580s and, in a remarkably short time, becomes the greatest playwright not of his age alone but of all time. How is an achievement of this magnitude to be explained? How did Shakespeare become Shakespeare? Stephen Greenblatt brings us down to earth to see, hear, and feel how an acutely sensitive and talented boy, surrounded by the rich tapestry of Elizabethan life, could have become the world's greatest playwright. A Pulitzer Prize and National Book Award Finalist.
For materials on Renaissance Art please see the Traditions of Art 2 class guide where you'll find 4 tabs on the subject.
Hamnet: A Novel of the Plague by
Agnes is a wild creature who walks her family's land with a falcon on her glove and is known throughout the countryside for her unusual gifts as a healer, understanding plants and potions better than she does people. Once she settles with her husband on Henley Street in Stratford-upon-Avon she becomes a fiercely protective mother and a steadfast, centrifugal force in the life of her young husband, whose career on the London stage is taking off when his beloved young son succumbs to sudden fever. A luminous portrait of a marriage, a shattering evocation of a family ravaged by grief and loss, and a tender and unforgettable re-imagining of a boy whose life has been all but forgotten, and whose name was given to one of the most celebrated plays of all time, Hamnet is mesmerizing, seductive, impossible to put down--a magnificent leap forward from one of our most gifted novelists.
All for Nothing: Hamlet's Negativity by
Hamlet as performed by philosophers, with supporting roles played by Kant, Nietzsche, and others. A specter is haunting philosophy--the specter of Hamlet. Why is this? Wherefore? What should we do? Entering from stage left: the philosopher's Hamlet. The philosopher's Hamlet is a conceptual character, played by philosophers rather than actors. He performs not in the theater but within the space of philosophical positions. In All for Nothing, Andrew Cutrofello critically examines the performance history of this unique role. The philosopher's Hamlet personifies negativity. In Shakespeare's play, Hamlet's speech and action are characteristically negative; he is the melancholy Dane. Most would agree that he has nothing to be cheerful about. Philosophers have taken Hamlet to embody specific forms of negativity that first came into view in modernity. What the figure of the Sophist represented for Plato, Hamlet has represented for modern philosophers. Cutrofello analyzes five aspects of Hamlet's negativity: his melancholy, negative faith, nihilism, tarrying (which Cutrofello distinguishes from "delaying"), and nonexistence. Along the way, we meet Hamlet in the texts of Kant, Coleridge, Hegel, Marx, Schopenhauer, Kierkegaard, Nietzsche, Freud, Russell, Wittgenstein, Heidegger, Benjamin, Arendt, Schmitt, Lacan, Deleuze, Foucault, Derrida, Badiou, Zizek, and other philosophers. Whirling across a kingdom of infinite space, the philosopher's Hamlet is nothing if not thought-provoking. amlet's negativity: his melancholy, negative faith, nihilism, tarrying (which Cutrofello distinguishes from "delaying"), and nonexistence. Along the way, we meet Hamlet in the texts of Kant, Coleridge, Hegel, Marx, Schopenhauer, Kierkegaard, Nietzsche, Freud, Russell, Wittgenstein, Heidegger, Benjamin, Arendt, Schmitt, Lacan, Deleuze, Foucault, Derrida, Badiou, Zizek, and other philosophers. Whirling across a kingdom of infinite space, the philosopher's Hamlet is nothing if not thought-provoking.
Hamlet by
Read Shakespeare's plays in all their brilliance--and understand what every word means! Don't be intimidated by Shakespeare! These popular guides make the Bard's plays accessible and enjoyable. Each No Fear guide contains: The complete text of the original play A line-by-line translation that puts Shakespeare into everyday language A complete list of characters with descriptions Plenty of helpful commentary
Hamlet by
Shakespeare's plays are thought-provoking and complex texts that explore the human themes of romance, deceit, tragedy, comedy, and revenge. These activity guides are designed by teachers for teachers to help students navigate the complexity. Each guide contains a total of 30 activities divided into six sections of four activities and one review. At the end of each guide is a final test, a variety of culminating activities, and an answer key. Each reproducible activity eBook is approximately 68-pages
Hamlet by
Timeless Shakespeare-designed for the struggling reader and adapted to retain the integrity of the original play. These classic plays retold will grab a student's attention from the first page. Presented in traditional play script format, each title features simplified language, easy-to-read type, and strict adherence to the tone and integrity of the original. Thirty-five reproducible activities per guide reinforce basic reading and comprehension skills while teaching high-order critical thinking. Also included are teaching suggestions, background notes, summaries, and answer keys. The guide is digital and only available on CD-ROM; simply print the activities you need for each lesson.
Hamlet's Absent Father by
Avi Erlich finds that Hamlet deals not with repressed patricidal impulses but with a complex search, partially unconscious, for a strong father. Much more than he wants to have killed his father, Hamlet wants his father back and seeks a strong man with whom to identify. The playwright presents one ambivalent father figure after another, each an imitation or parody of the seemingly titanic king. Polonius, Osrick, Yorick, Old Fortinbras, Priam, Achilles, Horatio--these are a few versions ofthe father who bequeathed to his son his own ambivalence. Originally published in 1978. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Hamlet's Age and the Earl of Southampton by 
Hamlet's Arab Journey: Shakespeare's Prince and Nasser's Ghost by
For the past five decades, Arab intellectuals have seen themselves in Shakespeare's Hamlet: their times "out of joint," their political hopes frustrated by a corrupt older generation. Hamlet's Arab Journey traces the uses of Hamlet in Arabic theatre and political rhetoric, and asks how Shakespeare's play developed into a musical with a happy ending in 1901 and grew to become the most obsessively quoted literary work in Arab politics today. Explaining the Arab Hamlet tradition, Margaret Litvin also illuminates the "to be or not to be" politics that have turned Shakespeare's tragedy into the essential Arab political text, cited by Arab liberals, nationalists, and Islamists alike. On the Arab stage, Hamlet has been an operetta hero, a firebrand revolutionary, and a muzzled dissident. Analyzing productions from Egypt, Syria, Iraq, Jordan, and Kuwait, Litvin follows the distinct phases of Hamlet's naturalization as an Arab. Her fine-grained theatre history uses personal interviews as well as scripts and videos, reviews, and detailed comparisons with French and Russian Hamlets. The result shows Arab theatre in a new light. Litvin identifies the French source of the earliest Arabic Hamlet, shows the outsize influence of Soviet and East European Shakespeare, and explores the deep cultural link between Egypt's Gamal Abdel Nasser and the ghost of Hamlet's father. Documenting how global sources and models helped nurture a distinct Arab Hamlet tradition, Hamlet's Arab Journey represents a new approach to the study of international Shakespeare appropriation. Some images inside the book are unavailable due to digital copyright restrictions.
Hamlet's Dreams: The Robben Island Shakespeare by
Hamlet's Dreams brings together the Robben Island Prison of Nelson Mandela and the prison that is Denmark for Shakespeare's Hamlet. David Shalkwyk uses the circulation of the so-called 'Robben Island Shakespeare', a copy of the Alexander edition of the Complete Works that was secretly circulated, annotated and signed by a group of Robben Island political prisoner in the 1970s (including Nelson Mandela), to examine the representation and experience of imprisonment in South African prison memoirs and Shakespeare's Hamlet. It looks at the ways in which oppressive spaces or circumstances restrict the ways in which personal identity can be formed or formulated in relation to others. The 'bad dreams' that keep Hamlet from considering himself the 'king of infinite space' are, it argues, the need for other people that becomes especially evident in situations of real or psychological imprisonment.
Hamlet's Perfection by
How does the rash yet serene Hamlet of act 5 arise from the passive and grief-stricken Hamlet of act 1? What path leads him from sickened thoughts of birth and incest to the certainty that thoughtfulness itself must be escaped through bold action? The roles of Senecan avenger and patient Christian may seem worlds apart, observes William Kerrigan, but Shakespeare fused them in a character that has fascinated the world for centuries. In this lively study, Kerrigan celebrates both Hamlet's perfectionthe character's creation of new ideals out of an inheritance of disillusionment--and Hamlet 's perfection--the play's brilliance as Shakespeare's greatest tragedy. Kerrigan's approach reflects his interests in literary formalism, historical scholarship, intellectual history, and psychoanalysis.
Hamlet's Problematic Revenge by
Hamlet's Problematic Revenge: Forging a Royal Mandate provides a new argument within Shakespearean studies that argues the oft-noted arrest of the play's dramaturgical momentum, especially evident in Hamlet's much delayed enactment of his revenge, represents in fact a succinct emblem of the "arrested development" in the moral maturity of the entire cast, most notably, Hamlet himself--as the unifying disclosure and tragic problem in the play. Settling for unreflective and short-sighted personal gratifications and cold comforts, they truantly elbow aside a more considerable moral obligation. Again and again, all yield this duty's commanding priority to a childishly self-regarding fear of offending those in nominal positions of power and questionable positions of authority--figures, like Ophelia and Hamlet's fathers, for instance, demanding an unworthy deference. While Hamlet fails to consider with loving regard the improved well-being of the larger community to which he owes his existence and, fails to interrogate the moral adequacy of the Ghost's command of violent reprisal (two things he never does nor even contemplates doing), "all occasions" in the play "do inform against" him and merely "spur a dull revenge"--not, as he interprets his own words, arguing the need for greater urgency in his vendetta, but, instead, to "inform against" the criminality of that very course itself. His revenge therefore can be argued as "dull," not because he cannot summon the wherewithal to enact it more bloodily, but because in obsessing about it ceaselessly he remains unreceptive to its "dull" or "unenlightened" opposition to the evil he hopes to eradicate. Hamlet does not avenge his father; this book argues that he becomes him. Amidst a wealth of previously unremarked figurative mirrorings, as well as much of the seemingly digressive material in Hamlet within Shakespearean studies, Hamlet's Problematic Revenge brings to light a new interpretation of the tragic problem in the play.
Hamlet: a Critical Reader by
Hamlet remains the most-studied of all Shakespeare's great tragedies. This collection of newly-commissioned essays gives readers an overview of past critical views of the play as well as new writing about the play from today's leading scholars. The range of perspectives offered makes the book an invaluable companion to anyone studying the play at an advanced level. The final chapter on learning and teaching resources is particularly useful as a guide for further study.
Hamlet: An Authoritative Text, Intellectual Backgrounds, Extracts from the Sources, Essays in Criticism by
The "Intellectual Backgrounds" and "Extracts from the Sources" sections, both highly praised, remain as germane as ever. Intellectual Backgrounds includes important readings on melancholy, demonology, the nature of man, and death, including works by Peter de la Primaudaye, Timothy Bright, Lewes Lavater, G. Gifford, Michel de Montaigne, and Heironymous Cardanus. Extracts from the Sources provides pre-Shakespearean accounts of the story of Hamlet, reprinting substantial excerpts from Saxo Grammaticus's Historia Danica and Belleforest's Histoires Tragiques."Criticism" has been revised to accommodate the most significant recent interpretations of Hamlet while retaining the seminal essays of the First Edition. Twenty-three critical analyses are featured, including those by Samuel Johnson, Johann Wolfgang von Goethe, Samuel Taylor Coleridge, William Hazlitt, A. C. Bradley, D. H. Lawrence, T. S. Eliot, G. Wilson Knight, C. S. Lewis, Harry Levin, Peter J. Seng, Rebecca West, Arnold Kettle, Margaret W. Ferguson, Jacqueline Rose, and William Empson.An updated Selected Bibliography is also included.
Hamlet: A User's Guide by
"Pennington's great experience of the play...love for it...depth of knowledge...of many productions and interpretations culminate in a book of infinite value to any actor, director and above all to any passionate playgoer...written with passion, humor and rigor...an excellent read." Ralph Fiennes
Hamlet: Character Studies by
Arguably Shakespeare's most famous play, Hamlet is studied widely at universities internationally. Approaching the play through an analysis of its key characters is particularly useful as there are few plays which have commanded so much critical attention in relation to "character" as Hamlet. The guide includes: an introductory overview of the text, including a brief discussion of the background to the play including its sources, reception and critical tradition; an overview of the narrative structure; chapters discussing in detail the representation of the key characters including Hamlet, Gertrude and Ophelia as well as the more minor characters; a conclusion reminding students of the links between the characters and the key themes and issues and a guide to further reading.
Hamlet: Fold on Fold by
William Shakespeare's Hamlet is probably the best-known and most commented upon work of literature in Western culture. The paradox is that it is at once utterly familiar and strangely elusive--very like our own selves, argues Gabriel Josipovici in this stimulating and original study. Moreover, our desire to master this elusiveness, to "pluck the heart out of its mystery," as Hamlet himself says, precisely mirrors what is going on in the play; and what Shakespeare's play demonstrates is that to conceive human character (and works of art) in this way is profoundly misguided. Rather than rushing to conclusions or setting out a theory of what Hamlet is "about," therefore, we should read and watch patiently and openly, allowing the play to unfold before us in its own time and trying to see each moment in the context of the whole. Josipovici's valuable book is thus an exercise in analysis which puts the physical experience of watching and reading at the heart of the critical process--at once a practical introduction to a great and much-loved play and a sophisticated intervention in some of the key questions of theory and aesthetics of our time.
Hamlet: Language and Writing by
This lively and informative guide reveals Hamlet as marking a turning point in Shakespeare's use of language and dramatic form as well as addressing the key problem at the play's core: Hamlet's inaction. It also looks at recent critical approaches to the play and its theatre history, including the recent David Tennant / RSC Hamlet on both stage and TV screen.
Hamlet: Study Guide by
Theme: Hi-Lo, graphic novels, illustrated, Shakespeare, classics. This series features classic Shakespeare retold with graphic color illustrations. Educators using the Dale-Chall vocabulary system adapted each title. Each 64-page, book retains key phrases and quotations from the original play. Research shows that the more students read, the better their vocabulary, their ability to read, and their knowledge of the world. Containing 11 reproducible exercise to maximize vocabulary development and comprehension skills, these guides include pre-and post-reading activities, story synopses, key vocabulary, and answer key. The guides are digital, you simply print the activities you need for each lesson.
Hamlet after Q1: An Uncanny History of the Shakespearean Text by
In 1823, Sir Henry Bunbury discovered a badly bound volume of twelve Shakespeare plays in a closet of his manor house. Nearly all of the plays were first editions, but one stood out as extraordinary: a previously unknown text of Hamlet that predated all other versions. Suddenly, the world had to grapple with a radically new--or rather, old--Hamlet in which the characters, plot, and poetry of Shakespeare's most famous play were profoundly and strangely transformed. Q1, as the text is known, has been declared a rough draft, a shorthand piracy, a memorial reconstruction, and a pre-Shakespearean "ur-Hamlet," among other things. Flickering between two historical moments--its publication in Shakespeare's early seventeenth century and its rediscovery in Bunbury's early nineteenth--Q1 is both the first and last Hamlet. Because this text became widely known only after the familiar version of the play had reached the pinnacle of English literature, its reception has entirely depended on this uncanny temporal oscillation; so too has its ongoing influence on twentieth- and twenty-first-century ideas of the play. Zachary Lesser examines how the improbable discovery of Q1 has forced readers to reconsider accepted truths about Shakespeare as an author and about the nature of Shakespeare's texts. In telling the story of this mysterious quarto and tracing the debates in newspapers, London theaters, and scholarly journals that followed its discovery, Lesser offers brilliant new insights on what we think we mean when we talk about Hamlet.
Hamlet and the Acting of Revenge by
Introduction - PART 1 - The Ghost - Thyestes and Revenge Structure - The Spanish Tragedy: Dagger and Mirror - Antonio's Revenge: Stoic and Player - The Revenger's Tragedy: Mirror and Dagger - PART 2 HAMLET - Commandment - Performance - Unmasking - I Antithesis - II Deliverance - Appendix - Notes - Index
Hamlet in His Modern Guises by
Focusing on Shakespeare's Hamlet as foremost a study of grief, Alexander Welsh offers a powerful analysis of its protagonist as the archetype of the modern hero. For over two centuries writers and critics have viewed Hamlet's persona as a fascinating blend of self-consciousness, guilt, and wit. Yet in order to understand more deeply the modernity of this Shakespearean hero, Welsh first situates Hamlet within the context of family and mourning as it was presented in other revenge tragedies of Shakespeare's time. Revenge, he maintains, appears as a function of mourning rather than an end in itself. Welsh also reminds us that the mourning of a son for his father may not always be sincere. This book relates the problem of dubious mourning to Hamlet's ascendancy as an icon of Western culture, which began late in the eighteenth century, a time when the thinking of past generations--or fathers--represented to many an obstacle to human progress. Welsh reveals how Hamlet inspired some of the greatest practitioners of modernity's quintessential literary form, the novel. Goethe's Wilhelm Meister's Apprenticeship, Scott's Redgauntlet, Dickens's Great Expectations, Melville's Pierre, and Joyce's Ulysses all enhance our understanding of the play while illustrating a trend in which Hamlet ultimately becomes a model of intense consciousness. Arguing that modern consciousness mourns for the past, even as it pretends to be free of it, Welsh offers a compelling explanation of why Hamlet remains marvelously attractive to this day.
Hamlet in Pieces: Shakespeare Reworked : Peter Brook, Robert Lepage, Robert Wilson by
Between 1995 and 1996, three highly unusual shows were produced by three celebrated figures in world theatre: Qui Est La, directed by Peter Brook; Elsinore, directed by Robert Lepage; and Hamlet - A Monologue, directed by Robert Wilson. Each was a version - at least in part - of Shakespeare's Hamlet, although none treated the show in anything like an orthodox manner.
Hamlet in Purgatory by
In "Hamlet in Purgatory," renowned literary scholar Stephen Greenblatt delves into his longtime fascination with the ghost of Hamlet's father, and his daring and ultimately gratifying journey takes him through surprising intellectual territory. It yields an extraordinary account of the rise and fall of Purgatory as both a belief and a lucrative institution--as well as a capacious new reading of the power of "Hamlet." In the mid-sixteenth century, English authorities abruptly changed the relationship between the living and dead. Declaring that Purgatory was a false "poem," they abolished the institutions and banned the practices that Christians relied on to ease the passage to Heaven for themselves and their dead loved ones. Greenblatt explores the fantastic adventure narratives, ghost stories, pilgrimages, and imagery by which a belief in a grisly "prison house of souls" had been shaped and reinforced in the Middle Ages. He probes the psychological benefits as well as the high costs of this belief and of its demolition. With the doctrine of Purgatory and the elaborate practices that grew up around it, the church had provided a powerful method of negotiating with the dead. The Protestant attack on Purgatory destroyed this method for most people in England, but it did not eradicate the longings and fears that Catholic doctrine had for centuries focused and exploited. In his strikingly original interpretation, Greenblatt argues that the human desires to commune with, assist, and be rid of the dead were transformed by Shakespeare--consummate conjurer that he was--into the substance of several of his plays, above all the weirdly powerful Hamlet. Thus, the space of Purgatory became the stage haunted by literature's most famous ghost. This book constitutes an extraordinary feat that could have been accomplished by only Stephen Greenblatt. It is at once a deeply satisfying reading of medieval religion, an innovative interpretation of the apparitions that trouble Shakespeare's tragic heroes, and an exploration of how a culture can be inhabited by its own spectral leftovers. This expanded Princeton Classics edition includes a new preface by the author.
The Hamlet Vocation of Coleridge and Wordsworth by 
Hamlet Without Hamlet by
'Hamlet' without Hamlet sets out to counter the modern tradition of abstracting the character Hamlet from the play. For over two centuries, Hamlet has been valued as the icon of consciousness: but only by ignoring the hard fact of his dispossession. By admitting that premise, this book brings the play to life around man's relation to land, from graves to estate to empire. Key preoccupations are thereby released, including the gendered imperatives of genealogy, and man's elemental affinity to dust. As de Grazia demonstrates from the 400 years of Hamlet's afterlife, such features have disappeared into the vortex of an interiorized Hamlet, but they remain in the language of the play as well as in the earliest accounts of its production. Once reactivated, a very different Hamlet emerges, one whose thoughts and desires are thickly embedded in the worldly, and otherworldly, matters of the play: a Hamlet within Hamlet.
Hide Fox, and All After: What is Concealed in Shakespeare's Hamlet? by
Is there anything more to say on Hamlet, this most-discussed of plays? It has become a hive of furious theorising, an anthill of scholarly research. Author J. D. Winter looks at the text afresh, seeing it as something to be viewed through a play-goer's eyes: what is taking place on stage, and that only. He adopts three phrases from the text to provide a context for his approach: the play's the thing, a rhapsody of words, and the invisible event. The first suggests the spectacle itself, without regard to what has been written about it. There is no reference to outside opinion nor is another literary work named. The second indicates an awareness of the text as poem. While the tremendous sweep of Shakespearean blank verse-the prose-paragraphs on fire with their own poetry, the whispering gallery of metaphor-can scarcely be accorded proper respect in a prose commentary, certain rhapsodic effects are noted. Finally, the play is contained within a mystery. There is the question of the prince's mental state, that so consumes other characters; there is the question of his procrastination, which he himself is desperate about. But the larger question, which in one shape or another has dogged critics down the ages, has to do with the drift of the action towards its culmination, including the way the mind of the audience (or reader) is taken on board. There can be no definitive answer to Hamlet or Hamlet. But like a signpost in a swarming mist, the third phrase may offer a faint clue: the invisible event. [Subject: Hamlet, Shakespeare, Literary Criticism, Theatre Studies]
Is Hamlet a Religious Drama?: An Essay on a Question in Kierkegaard by
This volume provides a valuable resource for instrumental conductors, conducting teachers, and students. Most universities offering advanced degrees in instrumental conducting cannot provide a training orchestra or wind ensemble for the conductor. The chamber orchestra, which can be easily organized and requires a smaller instrumentation, provides a reasonable alternative. The chamber ensemble has the potential to offer training for the developing conductor and to expand the repertoire of the professional conductor. A Conductor's Repertory of Chamber Music lists over one thousand original works for chamber ensembles ranging in size from nine to fifteen solo instruments. The work includes three sections: the Repertory, a complete data base of compositions listed by composer and including instrumentation, publisher, the composer's date of birth, and the number of required musicians; the Repertory Classified, which lists compositions according to similar combinations of instruments; and a Title Index.
Modern Hamlets and Their Soliloquies by
In "Modern Hamlets and Their Soliloquies" (Iowa, 1992), Mary Maher examined how modern actors have chosen to perform HamletOCOs soliloquies, and why they made the choices they made, within the context of their specific productions of the play. Adding to original interviews with, among others, Derek Jacobi, David Warner, Kevin Kline, and Ben Kingsley, "Modern Hamlets and Their Soliloquies: An Expanded Edition" offers two new and insightful interviews, one with Kenneth Branagh, focusing on his 1997 film production of the play, and one with Simon Russell Beale, discussing his 2000-2001 run as Hamlet at the Royal National Theatre."
Mousetrap by
This is a study of Hamlet as literary myth, a figurative mode of art in which structure is basic; yet primal myth, myth in the larger, non-literary sense, becomes part of it too, because the substance of Hamlet seems to be of this kind.
New Essays on Hamlet by
The 17 essays in this collection reflect the plurality of discourse on Hamlet that has characterised criticism from the English Renaissance to the present. They examine the play from a variety of perspectives, including Jungian archetypes and sacrificial themes.
A New Look at the Old Sources of Hamlet by 
Philosophy and the Puzzles of Hamlet: a study of Shakespeare's Method by
Shakespeare's famous play, Hamlet, has been the subject of more scholarly analysis and criticism than any other work of literature in human history. For all of its generally acknowledged virtues, however, it has also been treated as problematic in a raft of ways. In Philosophy and the Puzzles of Hamlet, Leon Craig explains that the most oft-cited problems and criticisms are actually solvable puzzles. Through a close reading of the philosophical problems presented in Hamlet, Craig attempts to provide solutions to these puzzles. The posing of puzzles, some more conspicuous, others less so, is fundamental to Shakespeare's philosophical method and purpose. That is, he has crafted his plays, and Hamlet in particular, so as to stimulate philosophical activity in the "judicious" (as distinct from the "unskillful") readers. By virtue of showing what so many critics treat as faults or flaws are actually intended to be interpretive challenges, Craig aims to raise appreciation for the overall coherence of Hamlet: that there is more logical rigor to its plot and psychological plausibility to its characterizations than is generally granted, even by its professed admirers. Philosophy and the Puzzles of Hamlet endeavors to make clear why Hamlet, as a work of reason, is far better than is generally recognized, and proves its author to be, not simply the premier poet and playwright he is already universally acknowledged to be, but a philosopher in his own right.
Questions of Authority: A Reading of Hamlet. by 
The Renaissance Hamlet: Issues and Responses in 1600 by
Drawing on recent advances in historical knowledge, the author describes contemporary attitudes toward issues such as rebellion, conscience, regicide, incest, retribution, and mourning. His investigation reveals a number of convincing new reasons for viewing Hamlet not as an irresolute young man but as a vigorous and determined figure in confrontation with the moral dilemmas of his age. By understanding the play in its original terms, we find that it takes on new depth and power for our own time. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Revenge by
This title examines the theme of revenge in Hamlet, Othello, True Grit, The Princess Bride, and "The Cask of Amontillado." It features four analysis papers that consider the revenge theme, each using different critical lenses, writing techniques, or aspects of the theme. Critical thinking questions, sidebars highlighting and explaining each thesis and argument, and other possible approaches for analysis help students understand the mechanics of essay writing. Features include a glossary, references, websites, source notes, and an index. Aligned to Common Core Standards and correlated to state standards. Essential Library is an imprint of Abdo Publishing, a division of ABDO.
Shakespeare's Big Men: Tragedy and the Problem of Resentment by
Shakespeare's Big Men examines five Shakespearean tragedies - Julius Caesar, Hamlet, Othello, Macbeth, and Coriolanus - through the lens of generative anthropology and the insights of its founder, Eric Gans.
Shakespeare's Hamlet by
In the CliffsComplete guides, the novel'scomplete text and a glossary appear side-by-side with coordinating numbered lines to help you understand unusual words and phrasing. You'll also find all the commentary and resources of a standard CliffsNotes for Literature. CliffsComplete Hamlet covers details of the most widely produced and critiqued Shakespearean play. Written in poignant language,Hamlet contains all the elements necessary for a good tragedy, including a brave and daring hero who suffers a fatal flaw. Discover what happens to the complicated cast of characters -- and save valuable studying time -- all at once. Enhance your reading ofHamlet with these additional features: A summary and insightful commentary for each chapter Bibliography and historical background on the author, William Shakespeare A look at Early Modern England historical, intellectual, religious, and social context Insight into the play's classical elements and language A character map that graphically illustrates the relationships among the characters Review questions, a quiz, discussion guide, and activity ideas A Resource Center full of books, articles, films, and Web sites Streamline your literature study with all-in-one help from CliffsComplete guides!
Shakespeare's Hamlet: The Relationship between Text and Film by
Hamlet is the most often produced play in the western literary canon, and a fertile global source for film adaptation. Samuel Crowl, a noted scholar of Shakespeare on film, unpacks the process of adapting from text to screen through concentrating on two sharply contrasting film versions of Hamlet by Laurence Olivier (1948) and Kenneth Branagh (1996). The films' socio-political contexts are explored, and the importance of their screenplay, film score, setting, cinematography and editing examined. Offering an analysis of two of the most important figures in the history of film adaptations of Shakespeare, this study seeks to understand a variety of cinematic approaches to translating Shakespeare's "words, words, words" into film's particular grammar and rhetoric
Shakespeare: Hamlet by
In this useful guide, Paul Cantor provides a clearly structured introduction to Shakespeare's most famous tragedy. Cantor examines Hamlet's status as tragic hero and the central enigma of the delayed revenge in the light of the play's Renaissance context. He offers students a lucid discussion of the dramatic and poetic techniques used in the play. In the final chapter he deals with the uniquely varied reception of Hamlet on the stage and in literature generally from the seventeenth century to the present day.
Stage Directions in Hamlet: New Essays and New Directions by
The subject of stage directions in 'Hamlet', those brief semiotic codes that are embellished by historical, theatrical, and cultural considerations, produces a rigorous examination in the fifteen essays contained in this collection. This volume encompasses essays that are guardedly inductive in their critical approaches, as well as those that critique modern productions that attempt to achieve Shakespearean effect through a modern aesthetic. The volume also includes essays that enunciate the production of stage business as a cultural interplay between productions and social agencies outside the theater.
Style in Hamlet by
Shakespeare intended his plays to be seen, not read. With this thought uppermost in mind, Charney offers here a provocative analysis of Hamlet, the most stylistically inventive of all Shakespeare's plays, strictly in terms of its style-by which he means the distinct modes of expression used by the playwright in accomplishing his dramatic ends. Careful consideration is given to the stagecraft of the play, to lighting and sound effects, gesture and scenery. The play's imagery is discussed with attention to its style as well as to its content. Each of the three main characters is examined in terms of his unique mode of expression. Among the interesting discoveries this approach allows is a new perspective on the character of Hamlet, who is found to have four distinct styles which he employs as the occasion demands. Originally published in 1969. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The Tain of Hamlet by
Shakespeare's Hamlet is considered by many to be the cornerstone of the English literary canon, a play that remains universally relevant. Yet it seems likely that we have spent so long reading the play for its capacity to reflect ourselves that we have lost sight of the thing itself. The goal of this book is to look beyond the Hamlet that has bedazzled critics for centuries, to seek to apprehend the play in all of its historical distinctness. This is not simply the search for what the play meant to early modern audiences, less still the pursuit of the author's intention. Instead, the tain of Hamlet is offered as the historical, material evidence of how the play came to be, from its sources in Danish legend to the contemporary historical forces that shaped the business world of Elizabethan players and playwrights. Drawing on methods from textual studies and cultural history, this investigation into the origins of Shakespeare's most famous play unravels a number of longstanding myths about the players, the printers, the patrons, and other historical figures whose lives intersected with the making of Hamlet, including the Bard himself.
To Be or Not to Be by
Hamlet's "To be or not to be" soliloquy is quoted more often than any other passage in Shakespeare. It is arguably the most famous speech in the Western world - though few of us can remember much about it. This book carefully unpacks the individual words, phrases and sentences of Hamlet's soliloquy in order to reveal how and why it has achieved its remarkable hold on our culture. Hamlet's speech asks us to ask some of the most serious questions there are regarding knowledge and existence. In it, Shakespeare also expands the limits of the English language. Douglas Bruster therefore reads Hamlet's famous speech in "slow motion" to highlight its material, philosophical and cultural meaning and its resonance for generations of actors, playgoers and readers.
Understanding Hamlet: A Student Casebook to Issues, Sources, and Historical Documents by
Shakespeare's Hamlet, regarded by many as the world's most famous play by the world's most famous writer, is one of the most complex, demanding, discussed, and influential literary texts in English. As a means of access to this play, this unique collection of primary materials and commentary will help student and teacher explore historical, literary, theatrical, social, and cultural issues related to the play. In an approach unique for this series, Corum guides the reader through a literary analysis of Hamlet's options. He examines the popular theatres of the day in which Shakespeare and his company first produced Hamlet and discusses the genre of tragedy in which it is written. Through judicious selection of primary historical documents, the work provides contexts for understanding Hamlet's melancholy, the ghost of Hamlet's father, the theme of revenge, and Hamlet's feigned madness. Chapters on Gertrude and Ophelia illuminate these characters in the context of the play and early modern English culture. Each chapter contains a variety of materials, many of which are not readily available elsewhere: essays, poems, histories, treatises, official documents, stories, religious tracts, homilies, memoirs, engravings, village records, and fifteen illustrations. An explanatory introduction precedes each document. Each chapter concludes with study questions, topics for written and oral exploration, and a list of suggested readings. This casebook will enrich the reader's understanding of the play and the context in which it was written.
William Shakespeare's Hamlet by
William Shakespeare's Hamlet(c.1600-1601) has achieved iconic status as one of the most exciting and enigmatic of plays. It has been in almost constant production in Britain and throughout the world since it was first performed, fascinating generations of audiences and critics alike. Taking the form of a sourcebook, this guide to Shakespeare's remarkable play offers: extensive introductory comment on the contexts, critical history and performance of the text, from publication to the present annotated extracts from key contextual documents, reviews, critical works and the text itself cross-references between documents and sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading.
William Shakespeare: Hamlet by
This book aims to give students the basis for an informed discussion of Shakespeare's play and to explore it as a play profoundly concerned with the business of playing and the tragedy of Hamlet as a actor.
