標題: Titlebook: Hamlet and Emotions; Paul Megna,Bríd Phillips,R. S. White Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive licen [打印本頁] 作者: 小巷 時間: 2025-3-21 19:15
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作者: Cholesterol 時間: 2025-3-21 23:01 作者: Incompetent 時間: 2025-3-22 04:09
A Conjuration of Patrick: A Legacy of Doubt and Imagining in essay explores one aspect of the intrusion of the medieval past upon the Renaissance present of the play, conjured up by Hamlet’s exclamation, ‘by Saint Patrick’. In this reference, Hamlet calls up the tradition associated with Saint Patrick’s Purgatory in Ireland, which originated, in literary form作者: glans-penis 時間: 2025-3-22 08:19 作者: 無法取消 時間: 2025-3-22 12:08 作者: Cholagogue 時間: 2025-3-22 14:06 作者: CLASH 時間: 2025-3-22 20:16 作者: gentle 時間: 2025-3-22 23:01
’s ‘Spendthrift Sigh’: Emotional Breathing On and Off the Stage and the external and between actors and audience. Drawing on Renaissance and modern theories of emotions to explore the affective resonance of sighing in ., the chapter examines what it means to waste one’s self in breath, or how breath consumes the body as much as it invigorates it. Hypocritical, 作者: 起來了 時間: 2025-3-23 04:41
‘Eyes Without Feeling, Feeling Without Sight’: The Sense of Sight in ‘look’ and ‘see’. Theories of vision in early modern literature were driven by the work of Galen and mediated through the writings of thinkers such as Thomas Wright, Anthony Munday, and George Hakewill. In this chapter I examine the complex interplay between vision and emotion in .: a play in which 作者: 失眠癥 時間: 2025-3-23 07:22 作者: 元音 時間: 2025-3-23 11:22 作者: blight 時間: 2025-3-23 15:31
‘Something After’?: , and Dreads it is understood in a variety of intellectual traditions, can shed light on the play’s dramaturgical structure. The ambiguous nature of dread, I suggest, reflects the central dramatic conflict of Hamlet, in which both the titular character and Claudius are locked in an affective struggle, each fea作者: Valves 時間: 2025-3-23 21:04 作者: 最初 時間: 2025-3-24 02:03
‘Speech Falters Speech Flinches When Horror Lifts a Fist to It’: Action, Emotion, and Inertia in Thr the text, and those many embodied Hamlets that may be seen in performance. While there have been numerous adaptations of William Shakespeare’s ., in this essay, I focus on three plays that treat Hamlet as a marginalised and mainly reluctant player in the revenge narrative: Howard Barker’s .—. (2002作者: 合乎習(xí)俗 時間: 2025-3-24 03:59 作者: notion 時間: 2025-3-24 07:00 作者: HATCH 時間: 2025-3-24 12:26
es in which the play engages with theatrical art—Hamlet’s response to the First Player’s speech, and the court reaction to .. One of the issues that Shakespeare explores in a play riddled with questions is: does tragedy make anything happen? Both defenders and detractors of the theatre postulate tha作者: 爭議的蘋果 時間: 2025-3-24 18:32 作者: 有害 時間: 2025-3-24 21:54
https://doi.org/10.1057/9780230503526to share Horatio’s ‘fear and wonder’ at the apparition. But we can acknowledge a mounting suspense as the Ghost twice vanishes and, at its third appearance, beckons Hamlet to a more remote place before revealing its mission. Solid it may be, but the Ghost knows how to make itself uncanny. Previous s作者: arthroplasty 時間: 2025-3-24 23:14 作者: gait-cycle 時間: 2025-3-25 03:57 作者: 細胞膜 時間: 2025-3-25 08:06 作者: cajole 時間: 2025-3-25 12:47 作者: Munificent 時間: 2025-3-25 16:06 作者: 擋泥板 時間: 2025-3-25 20:11 作者: ZEST 時間: 2025-3-26 03:24
https://doi.org/10.1007/978-3-030-71266-2le seems to see, a benign and effective ruler whose legitimacy no other character questions, and the usurper and murderer that Hamlet sees. This essay considers how Claudius appears to different characters, and suggests that the relationship between his varying images sheds light on the play’s patte作者: Inflamed 時間: 2025-3-26 05:50
s it is understood in a variety of intellectual traditions, can shed light on the play’s dramaturgical structure. The ambiguous nature of dread, I suggest, reflects the central dramatic conflict of Hamlet, in which both the titular character and Claudius are locked in an affective struggle, each fea作者: agnostic 時間: 2025-3-26 10:55
https://doi.org/10.1007/978-3-319-54852-4 performance, whether deliberately, unwittingly, or even deceptively. In order to better understand the multiple functions of memory in ., this essay considers ., a reduced, promenade version of the play performed at Kronborg Castle, .’s Elsinore, drawing on approaches including Pierre Nora’s ., Vir作者: Eeg332 時間: 2025-3-26 14:38 作者: 獸皮 時間: 2025-3-26 18:05
https://doi.org/10.1057/9780230582651tentialist theatre. Unlike the bulk of existentialist literature and philosophy, however, Stoppard’s play does not deal with the anxiety that arises when one recognizes her absolute freedom to act in a meaningless and random world. Instead, . explores the horror that arises from an opposite epiphany作者: 新奇 時間: 2025-3-26 23:45
Book 2019nces, adaptors, and academics have with what may well be Shakespeare’s moodiest play. Its chapters explore emotion in .Hamlet., as well as the myriad emotions surrounding .Hamlet.’s debts to the medieval past, its relationship to the cultural milieu in which it was produced, its celebrated performan作者: Pander 時間: 2025-3-27 04:29 作者: champaign 時間: 2025-3-27 07:14 作者: 甜瓜 時間: 2025-3-27 12:24 作者: 厭倦嗎你 時間: 2025-3-27 15:42
https://doi.org/10.1007/978-3-319-54852-4considers ., a reduced, promenade version of the play performed at Kronborg Castle, .’s Elsinore, drawing on approaches including Pierre Nora’s ., Virginia Woolf’s literary pilgrimage, Marvin Carlson’s spatial haunting, Edward Soja’s Thirdspace, Gertrude Stein’s syncopated time, and Rebecca Schneider’s historical reenactment.作者: Incorruptible 時間: 2025-3-27 17:56
https://doi.org/10.1057/9781137449078, in the twelfth-century Latin treatise, the . In this medieval text, just as in ., the imagination is not the diametrical opposite of truth, especially when it came to knowledge of the afterlife. The . explains Purgatory as something like a vast piece of poetry, which was nevertheless essentially true.作者: 拋物線 時間: 2025-3-28 00:58
https://doi.org/10.1057/9780230503526tage ghosts owe much to Seneca, whose phantoms are bloodcurdling but not eerie. There was another tradition, however, of fireside tales designed to inculcate fear and wonder. While many of these oral narratives are necessarily lost, enough material survives to indicate an additional source for Shakespeare’s Ghost.作者: flourish 時間: 2025-3-28 02:56 作者: eczema 時間: 2025-3-28 09:19
d strand of Senecan thought in Shakespeare’s tragedy. Reconfiguring the largely discredited but still influential opposition of Shakespeare and Jonson, this essay argues that Shakespeare’s classicism may be more pervasive and Jonson’s interest in the emotions more profound than comparisons between the two writers have tended to recognise.作者: Expediency 時間: 2025-3-28 12:10
The Political Economy of Health Careth wish in the first soliloquy—a temptation to suicide—, but also that he actively seeks Ovidian transformation in the form of a watery metamorphosis. Indeed, the desire to weep becomes a powerful engine of tragic catharsis despite the period’s profound reservations about mourning.作者: 歸功于 時間: 2025-3-28 15:07 作者: defuse 時間: 2025-3-28 22:45 作者: glomeruli 時間: 2025-3-29 00:10 作者: insular 時間: 2025-3-29 04:33
https://doi.org/10.1007/978-3-030-71266-2rn of linkings and doublings. While the Ghost wears different costumes in different scenes, Claudius always looks the same, but talks differently to each person he speaks to, thinking himself into their heads. His complexity and emotional intelligence make this his tragedy as well as Hamlet’s.作者: 得體 時間: 2025-3-29 10:48 作者: 我正派 時間: 2025-3-29 14:02
https://doi.org/10.1007/978-1-349-20468-7), Heiner Müller’s . (1977), and my own . (2009). These plays explore to varying degrees some of the principal themes raised in Shakespeare’s text—particularly questions of power, subjectivity, Hamlet’s presumed inertia, and those frequent misogynistic outbursts expressed by the protagonist.作者: catagen 時間: 2025-3-29 16:01 作者: 朋黨派系 時間: 2025-3-29 22:00 作者: Kernel 時間: 2025-3-30 00:22 作者: TIGER 時間: 2025-3-30 05:37
‘For by the Image of My Cause, I See / The Portraiture of His’: , and the Imitation of Emotionpondence can involve emulation as well as imitation. The chapter argues that the emotional competition between the characters within these texts resembles the aesthetic rivalry between the authors of these texts. In this way, the period’s fascination with emotional imitation is enacted on a textual or intertextual level.作者: 白楊魚 時間: 2025-3-30 09:41 作者: hypertension 時間: 2025-3-30 15:47
’s Tearsth wish in the first soliloquy—a temptation to suicide—, but also that he actively seeks Ovidian transformation in the form of a watery metamorphosis. Indeed, the desire to weep becomes a powerful engine of tragic catharsis despite the period’s profound reservations about mourning.作者: overwrought 時間: 2025-3-30 17:29 作者: 愛花花兒憤怒 時間: 2025-3-30 20:48
‘Eyes Without Feeling, Feeling Without Sight’: The Sense of Sight in the fallibility of vision is repeatedly connected to our inability to definitively read the emotions of others. I also consider the idea of emotional blindness and the gap between sight and emotional awareness in ..作者: 清澈 時間: 2025-3-31 03:42 作者: FELON 時間: 2025-3-31 06:11 作者: 為現(xiàn)場 時間: 2025-3-31 10:52
‘Something After’?: , and Dreadring and inspiring fear in the other. Drawing on understandings of dread from both the existentialist philosophical tradition and the modern psychological school of Terror Management Theory, this essay maps the career of dread in Hamlet, suggesting how the emotion functions complementarily as a thematic and a structural element.作者: 帽子 時間: 2025-3-31 14:29
‘Speech Falters Speech Flinches When Horror Lifts a Fist to It’: Action, Emotion, and Inertia in Thr), Heiner Müller’s . (1977), and my own . (2009). These plays explore to varying degrees some of the principal themes raised in Shakespeare’s text—particularly questions of power, subjectivity, Hamlet’s presumed inertia, and those frequent misogynistic outbursts expressed by the protagonist.
