Renaissance Studies Commons^™

The Substance Of Reality: Moral Perfectionism In Shakespeare's Hamlet., David Wright

Electronic Theses and Dissertations

Through a selection of and close reading of key passages, I offer an interpretation of Hamlet that seeks to illuminate the play as an important work of moral philosophy, and to situate the play within a strand of moral philosophy named moral perfectionism by Stanley Cavell. Indeed, Hamlet is a masterpiece of Renaissance drama, but when read with attention to moral perfectionism, the play yields additional layers of meaning. Hamlet is a “philosophical drama” that navigates the “moral calling of philosophy”—a text that seems to, almost uncannily, elicit the audience to think reflectively, to ask fundamental human questions along …

Hamlet In Cinema: Oedipus Lives On, Keolanani Kinghorn

Quidditas

I have often questioned why Shakespeare’s Hamlet, a play more than 400 years old, remains tied to a century-old Freudian concept. Since Freud’s Oedipus Complex has been disproven, what purpose does it still serve and why are directors still intrigued by this interpretation of Hamlet? In 1949, Dr. Ernest Jones published his book, Hamlet and Oedipus (1949),1 but at the time he was also collaborating with Laurence Olivier to create the first movie adaptation of Hamlet to embrace the Oedipus Complex. I believe that because of Jones and Olivier Shakespeare’s Hamlet will always be connected to psychoanalysis. While …

Re-Drowning Ophelia: The Representation Of Female Disintegration In Recent Films Of Hamlet, Joanne E. Gates

Presentations, Proceedings & Performances

Presented at the Fall 2001 Popular / American Culture Association of the South, Atlantic Beach, Florida, this paper examines several depictions of Ophelia in films of Hamlet starring Kenneth Branagh, Ethan Hawke, Mel Gibson, Kevin Kline, Derek Jacobi, Richard Burton, Campbell Scott. The title hints at Mary Pipher's Re-Claiming Ophelia, in light of then widely circulating Julia Stiles interpretation, where we repeatedly see her contemplating her suicide by drowning. My study elevates the Ophelia of LisaGay Hamilton in the Campbell Scott Hamlet, released the same year. The presentation featured video clips from this Campbell Scott production, originally airing on …

Teaching The Structure Of Hamlet: The "To Be Or Not To Be" Soliloquy Repositioned In Recent Film Adaptations, Joanne E. Gates

Presentations, Proceedings & Performances

At a crucial turning point in online access to quality productions of Shakespeare, the (April 2010) Great Performances airing of Hamlet (with David Tennant and Patrick Stewart), the occasion arose to turn the open access to it into teaching strategies. Along with all else quirky about it, the production accepts what seems to be a trend in recent film adaptations, dating from at least Zeffirelli's with Mel Gibson in 1991; that is, to rearrange the sequence of Hamlet's 2.2 and 3.1 soliloquies. The precedent dates to the 1603 First Quarto, perhaps, but everything else about the first quarto …

What Happens (And Doesn't) In Hamlet (And Who Cares?), Joanne E. Gates

Presentations, Proceedings & Performances

This lecture, sponsored by Sigma Tau Delta, uses the classic text by John Dover Wilson, What Happens in Hamlet, to initiate some important considerations on appreciating and teaching Hamlet. Attached as addenda 3 is a Handout which includes the list of soliloquies, keyed to act, scene, lines, as recorded in both the Riverside 2^nd edition and Norton 3^rd edition texts.

Wilson often gravitates to conundrums of the text. Is Hamlet fearing his own mental instability when he warns Marcellus and Horatio that he may put an "antic disposition" on? Why does Shakespeare give us two versions …

“There’S Rosemary, That’S For Remembrance:” Suicide Ideation And Portraying Ophelia’S Madness, Ian M. Borden, Sarah Imes Borden

Quidditas

Ophelia’s madness in Hamlet is too often portrayed or understood in a generalized fashion. Historical analysis of the play, as well as historical and recent reviews of Ophelia’s performance show how Ophelia has been considered a character controlled by outside forces, and her madness lacking direction or purpose. Applying the concept of suicide ideation to the character’s actions illuminates both our historical understanding of the character, and provides modern day performers a cohesive and focused model from which to draw.

“What Is He Whose Grief Bears Such An Emphasis?” Hamlet’S Development Of A Mourning Persona, Jennifer Lodine-Chaffey

Quidditas

Long viewed by scholars as destructive to his selfhood and detrimental to his swift execution of revenge, Hamlet’s concern with the outward expression of his grief actually plays an integral part in his struggles to forge a mourning identity in the wake of his father’s death. The Shakespearean prince’s attempts to faithfully perform his interior bereavement, I contend, are challenged by his father’s command to enact his mourning through outward revenge, which at first seems contrary to Hamlet’s hope to discover a mourning persona consonant with his grief. By the conclusion of the drama, though, Hamlet embraces mourning as part …