hamlet research paper ophelia

Hamlet Research Paper & Essay Examples

When you have to write an essay on Hamlet by Shakespeare, you may need an example to follow. In this article, our team collected numerous samples for this exact purpose. Here you’ll see Hamlet essay and research paper examples that can inspire you and show how to structure your writing.

✍ Hamlet: Essay Samples

• What Makes Hamlet such a Complex Character? Genre: Essay Words: 560 Focused on: Hamlet’s insanity and changes in the character Characters mentioned: Hamlet, Claudius, Ophelia
• Shakespeare versus Olivier: A Depiction of ‘Hamlet’ Genre: Essay Words: 2683 Focused on: Comparison of Shakespeare’s Hamlet and Laurence Olivier’s adaptation Characters mentioned: Hamlet, the Ghost, Claudius, Ophelia, Gertrude
• Drama Analysis of Hamlet by Shakespeare Genre: Essay Words: 1635 Focused on: Literary devices used in Hamlet Characters mentioned: Hamlet, Claudius, Gertrude, Ophelia
• Hamlet’s Renaissance Culture Conflict Genre: Critical Essay Words: 1459 Focused on: Hamlet’s and Renaissance perspective on death Characters mentioned: Hamlet, Claudius, Ophelia, Horatio
• Father-Son Relationships in Hamlet – Hamlet’s Loyalty to His Father Genre: Explicatory Essay Words: 1137 Focused on: Obedience in the relationship between fathers and sons in Hamlet Characters mentioned: Hamlet, Laertes, Ophelia, Polonius, Fortinbras, Polonius, the Ghost, Claudius
• A Play “Hamlet” by William Shakespeare Genre: Essay Words: 1026 Focused on: Hamlet’s personality and themes of the play Characters mentioned: Hamlet, Claudius, Ophelia, Gertrude, Polonius
• Characterization of Hamlet Genre: Analytical Essay Words: 876 Focused on: Hamlet’s indecision and other faults Characters mentioned: Hamlet, Ophelia, Claudius, the Ghost, Gertrude
• Hamlet’s Relationship with His Mother Gertrude Genre: Research Paper Words: 1383 Focused on: Hamlet’s relationship with Gertrude and Ophelia Characters mentioned: Hamlet, Gertrude, Ophelia, Claudius, Polonius
• The Theme of Revenge in Shakespeare’s Hamlet Genre: Research Paper Words: 1081 Focused on: Revenge in Hamlet and how it affects characters Characters mentioned: Hamlet, Claudius, Gertrude, the Ghost
• Canonical Status of Hamlet by William Shakespeare Genre: Essay Words: 1972 Focused on: Literary Canon and interpretations of Hamlet Characters mentioned: Hamlet, Horatio, Claudius
• A Critical Analysis of Hamlet’s Constant Procrastination in Shakespeare’s Hamlet Genre: Essay Words: 1141 Focused on: Reasons for Hamlet’s procrastination and its consequences Characters mentioned: Hamlet, Claudius, Gertrude, Ophelia, Polonius
• Role of Women in Twelfth Night and Hamlet by Shakespeare Genre: Research Paper Words: 2527 Focused on: Women in Shakespeare’s Twelfth Night and Hamlet Characters mentioned: Ophelia, Gertrude, Hamlet, Claudius, Laertes, Polonius
• William Shakespeare’s Hamlet, Prince of Denmark Genre: Essay Words: 849 Focused on: Key ideas and themes of Hamlet Characters mentioned: Hamlet, Ophelia, Laertes
• Shakespeare: Hamlet Genre: Essay Words: 1446 Focused on: The graveyard scene analysis Characters mentioned: Hamlet, Ophelia, Laertes, Claudius, Gertrude, Polonius
• Oedipus Rex and Hamlet Compare and Contrast Genre: Term Paper Words: 998 Focused on: Comparison of King Oedipus and Hamlet from Sophocles’ Oedipus the King and William Shakespeare’s Hamlet . Characters mentioned: Hamlet
• The Play “Hamlet Prince of Denmark” by W.Shakespeare Genre: Essay Words: 824 Focused on: How Hamlet treats Ophelia and the consequences of his behavior Characters mentioned: Hamlet, Ophelia, Claudius, Gertrude, Polonius, Laertes
• Hamlet by William Shakespeare Genre: Explicatory Essay Words: 635 Focused on: Key themes of Hamlet Characters mentioned: Hamlet, Claudius, Gertrude, Fortinbras
• Hamlet’s Choice of Fortinbras as His Successor Genre: Essay Words: 948 Focused on: Why Hamlet chose Fortinbras as his successor Characters mentioned: Hamlet, Fortinbras, Claudius
• Hamlet, Laertes, Fortinbras: Avenging the Death of their Father Compare and Contrast Genre: Compare and Contrast Essay Words: 759 Focused on: Paths and revenge of Hamlet, Laertes, and Fortinbras Characters mentioned: Hamlet, Laertes, Fortinbras, Claudius
• Oedipus the King and Hamlet Genre: Essay Words: 920 Focused on: Comparison of Oedipus and King Claudius Characters mentioned: Hamlet, Claudius, Gertrude
• Hamlet Genre: Term Paper Words: 1905 Focused on: Character of Gertrude and her transformation Characters mentioned: Gertrude, Hamlet, Claudius, the Ghost, Polonius
• Compare Laertes and Hamlet: Both React to their Fathers’ Killing/Murder Compare and Contrast Genre: Compare and Contrast Essay Words: 1188 Focused on: Tension between Hamlet and Laertes and their revenge Characters mentioned: Hamlet, Laertes, Ophelia, Polonius, Claudius, Gertrude
• Recurring Theme of Revenge in Hamlet Genre: Essay Words: 1123 Focused on: The theme of revenge in Hamlet Characters mentioned: Hamlet, Laertes, Ophelia
• The Function of the Soliloquies in Hamlet Genre: Research Paper Words: 2055 Focused on: Why Shakespeare incorporated soliloquies in the play Characters mentioned: Hamlet, Claudius, Gertrude
• The Hamlet’s Emotional Feelings in the Shakespearean Tragedy Genre: Essay Words: 813 Focused on: What Hamlet feels and why Characters mentioned: Hamlet, Gertrude, Claudius
• Blindness in Oedipus Rex & Hamlet Genre: Research Paper Words: 2476 Focused on: How blindness reveals itself in Oedipus Rex and Hamlet Characters mentioned: Hamlet, Claudius, Horatio, the Ghost
• “Hamlet” and “Rosencrantz and Guildenstern are Dead” Genre: Essay Words: 550 Focused on: Comparison of Hamlet and Rosencrantz and Guildenstern are Dead Characters mentioned: Hamlet, Rosencrantz, Guildenstern
• The Role of Queen Gertrude in Play “Hamlet” Genre: Essay Words: 886 Focused on: Gertrude’s role in Hamlet and her involvement in King Hamlet’s murder Characters mentioned: Gertrude, Hamlet, the Ghost, Claudius, Polonius
• Rosencrantz and Guildenstern Genre: Explicatory Essay Words: 276 Focused on: The role and destiny of Rosencrantz and Guildenstern in Hamlet Characters mentioned: Rosencrantz, Guildenstern, Hamlet, Claudius
• Passing through nature into eternity Genre: Term Paper Words: 2900 Focused on: Comparison of Because I Could Not Stop for Death, and I Died for Beauty, but was Scarce by Emily Dickinson with Shakespeare’s Hamlet Characters mentioned: Hamlet, the Ghost, Claudius, Gertrude
• When the Truth Comes into the Open: Claudius’s Revelation Genre: Essay Words: 801 Focused on: Claudius’ confession and secret Characters mentioned: Claudius, Hamlet
• Shakespeare Authorship Question: Thorough Analysis of Style, Context, and Violence in the Plays Hamlet, Julius Caesar, Twelfth Night Genre: Term Paper Words: 1326 Focused on: Whether Shakespeare wrote Hamlet, Julius Caesar, Twelfth Night Characters mentioned: Hamlet
• Measuring the Depth of Despair: When There Is no Point in Living Genre: Essay Words: 1165 Focused on: Despair in Hamlet and Macbeth Characters mentioned: Hamlet
• Violence of Shakespeare Genre: Term Paper Words: 1701 Focused on: Violence in different Shakespeare’s plays Characters mentioned: Hamlet, Horatio, Claudius, Gertrude, Palonius, Laertes,
• Act II of Hamlet by William Shakespeare Genre: Report Words: 1129 Focused on: Analysis of Act 2 of Hamlet Characters mentioned: Hamlet, Polonius, Ronaldo, Laertes, Rosencrantz, Guildenstern, First Player, Claudius
• The Value of Source Study of Hamlet by Shakespeare Genre: Explicatory Essay Words: 4187 Focused on: How Shakespeare adapted Saxo Grammaticus’s Danish legend on Amleth and altered the key characters Characters mentioned: Hamlet, Ophelia, Gertrude, Claudius, the Ghost, Fortinbras, Horatio, Laertes, Polonius
• Ophelia and Hamlet’s Dialogue in Shakespeare’s Play Genre: Essay Words: 210 Focused on: What the dialogue in Act 3 Scene 1 reveals about Hamlet and Ophelia Characters mentioned: Hamlet, Ophelia
• Lying, Acting, Hypocrisy in Shakespeare’s “Hamlet” Genre: Essay Words: 1313 Focused on: The theme of deception in Hamlet Characters mentioned: Hamlet, Gertrude, Claudius, Ophelia
• Shakespeare’s Hamlet’s Behavior in Act III Genre: Report Words: 1554 Focused on: Behavior of different characters in Act 3 of Hamlet Characters mentioned: Hamlet, Claudius, Gertrude, Ophelia, Rosencrantz, Guildenstern, Polonius
• The Masks of William Shakespeare’s Play “Hamlet” Genre: Research Paper Words: 1827 Focused on: Hamlet’s attitude towards death and revenge Characters mentioned: Hamlet, the Ghost
• Ghosts and Revenge in Shakespeare’s Hamlet Genre: Essay Words: 895 Focused on: The figure of the Ghost and his relationship with Hamlet Characters mentioned: Hamlet, the Ghost, Gertrude, Claudius
• Macbeth and Hamlet Characters Comparison Genre: Essay Words: 1791 Focused on: Comparison of Gertrude in Hamlet and Lady Macbeth in Macbeth Characters mentioned: Gertrude, Claudius, Hamlet
• Depression and Melancholia Expressed by Hamlet Genre: Essay Words: 3319 Focused on: Hamlet’s mental issues and his symptoms Characters mentioned: Hamlet, Claudius, Ophelia, Laertes, the Ghost, Polonius
• Meditative and Passionate Responses in the Play “Hamlet” Genre: Essay Words: 1377 Focused on: Character of Hamlet in Shakespeare’s play and Zaffirelli’s adaptation Characters mentioned: Hamlet, Claudius, Gertrude, Ophelia, Polonius
• Portrayal of Hamlet in Shakespeare’s Play and Zaffirelli’s Film Genre: Essay Words: 554 Focused on: Character of Hamlet in Shakespeare’s play and Zaffirelli’s adaptation Characters mentioned: Hamlet, Ophelia
• Hamlet in the Film and the Play: Comparing and Contrasting Genre: Essay Words: 562 Focused on: Comparison of Shakespeare’s Hamlet and Zeffirelli’s version of the character Characters mentioned: Hamlet
• Literary Analysis of “Hamlet” by William Shakespeare Genre: Essay Words: 837 Focused on: Symbols, images, and characters of the play Characters mentioned: Hamlet, the Ghost, Claudius, Gertrude, Ophelia
• Psychiatric Analysis of Hamlet Genre: Essay Words: 1899 Focused on: Hamlet’s mental state and sanity in particular Characters mentioned: Hamlet, Claudius, Ophelia, Laertes, Polonius
• Hamlet and King Oedipus Literature Comparison Genre: Essay Words: 587 Focused on: Comparison of Hamlet and Oedipus Characters mentioned: Hamlet

Thanks for checking the samples! Don’t forget to open the pages with Hamlet essays that you’ve found interesting. For more information about the play, consider the articles below.

• Share to Facebook
• Share to Twitter
• Share to LinkedIn
• Share to email

Study Guide Menu

• Summary & Analysis
• Genre & Literary Analysis
• Important Quotes
• Essay Topics
• Essay Samples
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2023, August 14). Hamlet Research Paper & Essay Examples. https://ivypanda.com/lit/hamlet-study-guide/essay-samples/

"Hamlet Research Paper & Essay Examples." IvyPanda , 14 Aug. 2023, ivypanda.com/lit/hamlet-study-guide/essay-samples/.

IvyPanda . (2023) 'Hamlet Research Paper & Essay Examples'. 14 August.

IvyPanda . 2023. "Hamlet Research Paper & Essay Examples." August 14, 2023. https://ivypanda.com/lit/hamlet-study-guide/essay-samples/.

1. IvyPanda . "Hamlet Research Paper & Essay Examples." August 14, 2023. https://ivypanda.com/lit/hamlet-study-guide/essay-samples/.

Bibliography

IvyPanda . "Hamlet Research Paper & Essay Examples." August 14, 2023. https://ivypanda.com/lit/hamlet-study-guide/essay-samples/.

• Search Menu
• Editor's Choice
• Author Guidelines
• Open Access Options
• Submission Site
• Self-Archiving Policy
• Why Submit?
• About The Cambridge Quarterly
• Editorial Board
• Advertising and Corporate Services
• Journals Career Network
• Dispatch Dates
• Terms and Conditions
• Journals on Oxford Academic
• Books on Oxford Academic

What If the Play Were Called Ophelia ? Gender and Genre in Hamlet

• Article contents
• Figures & tables
• Supplementary Data

Jillian Luke, What If the Play Were Called Ophelia ? Gender and Genre in Hamlet , The Cambridge Quarterly , Volume 49, Issue 1, March 2020, Pages 1–18, https://doi.org/10.1093/camqtly/bfz038

• Permissions Icon Permissions

I wish, I wish, but it’s all in vain, I wish I were a maid again; But a maid again I never can be Till apples grow on an orange tree.      (Anonymous, traditional ballad)

In a 2015 article for Vice , Rosalind Jana writes that ‘most of us know of Ophelia whether or not we’ve read Hamlet’ and invites her reader to ‘type [Ophelia’s] name into Google and … find hundreds of depictions of her watery demise’. 1 Such a search leads the viewer through numerous ‘Ophelia’ paintings – by, among others, Alexandre Cabanel, Victor Clarins, Thomas Francis Dicksee, Arthur Hughes, George Jules, and John William Waterhouse – alongside anime-style cartoons, gifs from film adaptations, and photograph upon photograph of twenty-first-century women playing at drowning in the bath. Broadly speaking, the aesthetic of artistic representations of Ophelia has remained largely consistent since the nineteenth century, with a few noted exceptions. 2 Most frequently singled out for reproduction is the moment when Ophelia is borne up ‘mermaid-like’ before the ‘poor wretch’ is ‘pulled’ to her ‘muddy death’ (IV.vii.174–82). 3 Reylia Slaby’s 2013 photograph ‘Never let me go’ ( Figure 1) from her Tales from Japan series demonstrates how these visual tropes might be undercut in the pursuit of a more interesting retelling of Ophelia’s story. Initially, the photograph’s depiction of a woman strewn with flowers lying in a body of water seems to fit straight into a nineteenth-century mode of representation. A closer comparison, however, of ‘Never let me go’ with the most well-known and influential example of the dominant aesthetic, John Everett Millais’s painting Ophelia (1851–2), reveals the subtle subversiveness of Slaby’s photograph. 4 The hands, eyes, and mouth of Millais’s Ophelia are open; her hair sprawls out behind her in the water, displaying its beauty without obscuring her face. She floats almost entirely above the waterline, and her posture and facial expression suggest total resignation to her fate, and total availability to her viewers. The flowers that she carries do not obscure our view of her face, her dress, her hair, or her breasts. Her openness and receptiveness seem to invite the viewer’s steady, pleasurable gaze. 5 When viewed with Millais’s painting in mind, Slaby’s model seems to reject this kind of voyeurism. Her eyes and mouth are clamped shut, and her hair is strewn across her face. Her body is almost entirely below the waterline, and the flowers that she carries further obscure our view. Small white petals float away from Slaby’s model, and the contrast between the obvious tension in her body and the delicate and uncontrollable petals makes this movement seem chaotic. In an interview with the photographer, Sanna Hellberg comments that the photograph ‘shows a girl holding a bouquet of flowers, thinking that the tighter she holds it, the less likely she will be to lose it. But petals are already floating away, and in reality, it is her tight grip that makes the flowers fall apart.’ 6 The way in which Slaby’s photograph pushes back against the viewer’s gaze offers a totally different experience to looking at Millais’s painting, which seems to revel in a comparatively unselfconscious kind of voyeurism. The tight grip of the hands and the iron vice of the jaw infuse Slaby’s image with a tension that makes the viewing experience uncomfortable: something is rotten in the photograph.

Email alerts

Citing articles via.

• Recommend to Your Librarian

Affiliations

• Online ISSN 1471-6836
• Print ISSN 0008-199X
• Copyright © 2024 Cambridge Quarterly
• About Oxford Academic
• Publish journals with us
• University press partners
• What we publish
• New features  
• Open access
• Institutional account management
• Rights and permissions
• Get help with access
• Accessibility
• Advertising
• Media enquiries
• Oxford University Press
• Oxford Languages
• University of Oxford

Oxford University Press is a department of the University of Oxford. It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide

• Copyright © 2024 Oxford University Press
• Cookie settings
• Cookie policy
• Privacy policy
• Legal notice

This Feature Is Available To Subscribers Only

Sign In or Create an Account

This PDF is available to Subscribers Only

For full access to this pdf, sign in to an existing account, or purchase an annual subscription.

Academia.edu no longer supports Internet Explorer.

To browse Academia.edu and the wider internet faster and more securely, please take a few seconds to  upgrade your browser .

Enter the email address you signed up with and we'll email you a reset link.

• We're Hiring!
• Help Center

Reviving Ophelia: Reaching Adolescent Girls through Shakespeare's Doomed Heroine

Related Papers

Jessica Carniel

Various attempts have been made to reclaim Shakespeare's heroines from tragic fates and patriarchal oppression. Hamlet's Ophelia has been a particular source of inspiration for writers and filmmakers but, as with many heroines of the tragedies, the greatest challenge for revising Ophelia is rewriting her death, which is the pivotal point of her narrative significance in the original play. Framed within a broader consideration of the feminist project to revive and reclaim Ophelia in the 1990s and beyond, this article considers how treatment of Ophelia's death in twenty-first century has been the significant narrative turning point for adaptations and appropriations. This focus on her death has either facilitated or compromised her subjectivity and agency. The article concludes with suggestions for the other thematic and technical possibilities afforded to both creative writers and literary scholars engaged in the process of canonical revision.

Stephen O'Neill

It is no longer possible to think of Ophelia simply as the restricted tragic girl of Hamlet. Rather, she is a recurrent text, image, and even a brand that can be endlessly repurposed and appropriated. Building on recent work on Ophelia as a discourse that names and constitutes the contemporary girl, this essay examines a variety of Ophelia productions on the video-sharing platform YouTube. It identifies particular genres of response and situates them in terms of current debates within girls' studies, as well as media studies. The objective here is to think more precisely about the modes and politics of girls' media uses. What is at stake in the turn — or return — to Ophelia within online culture? To what extent is Ophelia a progressive text? More broadly, does the democratic media-making associated with Web 2.0 signal new, meaningful forms of feminism, or might we dealing with the latest phase of "girl power"? This essay interprets Ophelia videos in terms of a triptych, "YouTube-Shakespeare-Ophelia." Each of these terms should be understood as a frame, both enabling and delimiting, through which girls produce and/or perform postfeminist identities online. Ophelia becomes a meta-language for a set of negotiations about girl culture and the (im)possibility of authentic expression in the contemporary mediascape.

Simonetta Falchi

The Shakespearean fair Ophelia has become through the centuries a multi faceted heroine apt to embody all the victims of patriarchal domination, but also the evil and victimized decadent lady, who would annihilate her tormentor. Similar oxymoronic identifications were possible partly because of the vagueness that distinguishes her character in the Shakespearean tragedy, and partly because of the fluctuating status of adolescent girls in society. Moreover, the contemporary reception of Ophelia has strongly been biased by the treatment of this literary myth by the Pre-Raphaelite Brotherhood. In the Victorian era, when issues about the condition, the power, and the rights of women were raised with particular force, Ophelia soon became an icon of sublime but dangerous beauty. Such an association even came to the point that Elizabeth Siddal – poet, painter, and model of Millais’s Ophelia – was identified with the Shakespearean heroine, by virtue of her unquenchable thirst for knowledge, her unrequited love, her prettiness, and the torture she allegedly provoked to Dante Gabriel Rossetti’s conscience.

Women's Studies: An Interdisciplinary Journal

Magda Romanska

The paper elicits how the late-nineteenth-century theatrical tradition of staging Hamlet and the aesthetic tradition of representing Ophelia intertwined to produce the modern necro-aesthetic. Caught between death and beauty, but excluded from the ontological predicament of the Shakespearean story, Ophelia became a model of turn-of-the-century feminine subjectivity (subsequently marked in contemporary aesthetics by the blend of refinement and sophistication). The visual discourse of representing dead Ophelia—driven by the compulsion to “see” on the canvas what was not “represented” on stage—filled in the cognitive-narrative gap in the staging of the story. Visualized as “blind to everything external” and “blissfully elsewhere,” as Hegel put it in his Aesthetics, Ophelia provided a platform for the interconnection of the theatrical, visual, and linguistic discourse of the time. The image of her dead body thus solidifies the core of the death-driven feminine subject, “shattered by something intrinsic to her very being,” to quote Hegel again. The paper draws on the socio-economic aspects of the nineteenth-century gender relations which eventually came to glorify the image of an emaciated, fragile woman, with Ophelia being a central figure in the equation.

Performance Research: A Journal of the Performing Arts (Special Issue: On Shakespeare)

Yukari Yoshihara

In April 2014, Nihon Hoso Kyokai (NHK: Japan Broadcasting Company) aired a short animated film titled " Ophelia, not yet ". Ophelia, in this animation, survives, as she is a backstroke champion. This article will attempt to contextualize the complex negotiations, struggles and challenges between high culture and pop culture, between Western culture and Japanese culture, between authoritative cultural products and radicalized counterculture consumer products (such as animation), to argue that it would be more profitable to think of the relationships between highbrow/lowbrow, Western/non-Western, male versus female, heterosexual versus non-heterosexual, not simply in terms of dichotomies or domination/subordination, but in terms of reciprocal enrichment in a never-ending process of mutual metamorphoses.

Actes des congrès de la Société française Shakespeare volume 37

Alexa Alice Joubin

Asian directors leverage Shakespeare’s own propensity to undermine dominant ideologies of gender—notably through the Ophelia figure—in their effort to renew Asian performance traditions. How do Shakespeare and modern directors talk to each other across cultural and historical divides? How does Ophelia become “unbound” through supralinguistic structures of spectacle and music? With case studies of three Hamlet films: Haider (India, 2004), The King and the Clown (South Korea, 2005), and Prince of the Himalayas (Tibet, 2006), this article examines how Asian films negotiate with Asian cultural norms, ideas of Ophelia as an iconic victim, and the image of Hamlet as a brooding male intellectual. Outside their country of origin, these films attract audiences who are enthralled by the performance of the exotic, whether it’s Shakespearean or Asian motifs. Within their local market, the name brand of an editorialized Anglophone Shakespeare helps to boost their production value. Filmmakers see the co-presence of Shakespearean and Asian motifs as an asset, as “double kisses.” They use selective elements, such as conventionalized Bollywood dance and Chinese martial arts sequences, as common denominators and bonding agents between different periods and cultures. ============ Comment de nouvelles images d’Ophélie émergent-elles des scripts et discours narratifs modernes ? Certains metteurs en scène asiatiques ont choisi de tirer parti de la propension de Shakespeare à saper l'idéologie dominante sur le rôle des femmes, notamment à travers le personnage d’Ophélie, afin de renouveler la tradition théâtrale asiatique. Quel dialogue existe-t-il entre Shakespeare et les metteurs en scène contemporains au-delà des fossés historiques et culturels ? Avec l’analyse de trois adaptations d’Hamlet (Haider, Bollywood, 2004; Le roi et le clown, Corée, 2005; et Prince de l’Himalaya, Tibet, 2006), cet article se propose d'examiner l'approche que prennent ces productions sur l’image d’Ophélie comme victime emblématique ainsi que sur les normes culturelles asiatiques. En dehors de leur pays d'origine, ces films attirent un public fasciné par un certain exotisme, qu’il soit shakespearien, de motif asiatique, ou une combinaison des deux. Au sein de leur marché local, l’image de marque d'un contenu shakespearien d'origine anglophone renforce une valeur ajoutée prestigieuse. L’utilisation par ces metteurs en scène de conventions cinématographiques spécifiques, tels que la danse bollywoodienne, ou encore les séquences d'arts martiaux chinois, sert de dénominateur commun et de liant entre différentes périodes pour aboutir à une double identité culturelle.

Scripta Uniandrade

Shakespeare's Ophelia is an iconic character with conflicting myths. She is both an innocent "rose of May" and a sexually aware singer in act 4. Both her lyric sufferings and her suicide-as-resistance to the patriarchy enabled contrasting interpretations. Asian directors leverage Shakespeare's own propensity to undermine dominant ideologies of gender in their effort to renew Asian performance traditions. With case studies of three Hamlet films: Haider (India, 2004), The King and the Clown (South Korea, 2005), and Prince of the Himalayas (Tibet, 2006), this article examines how Asian films negotiate ideas of Ophelia as an iconic victim and a feminist voice.

Nizar Zouidi

The Libation Bearers by Aeschylus, King Oedipus by Sophocles and Hamlet by William Shakespeare are domestic tragedies in which the dead father plays a central role. In the three plays, the father of the tragic hero is murdered and his restless soul haunts the world of the living in different forms to seek revenge. The dead father is never appeased until the blood of the killers is spilled by the living son. According to Marjorie Garber, revenge can sometimes be an act of homage. It falls to the son to fulfill the command of the dead father in order to prove his legitimacy. The act of revenge is a restoration of the father’s legacy. In the three plays, the place of the father is usurped by another man who has a hand in his death. The son should end this usurpation by avenging the father. He should fulfil the commands of the father and preserve his legacy. Filial obedience is central to the politics of monarchy. According to Martha C. Nussbaum, “devotion and obedience to a good father” (227) are “monarchical emotions.” (Ibid) Monarchy is based on different forms of continuity. It does not tolerate deviations and ruptures. The son should observe the tradition to be accepted as king. In the three plays under scrutiny, the questions of legitimacy and succession to the throne are intertwined with the domestic theme of dead-father- living-son relationship. This paper seeks to examine the different approaches to dead-father-living-son ambivalent dynamics of recognition and denial in these three revenge tragedies. It argues that the fear of bastardy haunts the three plays in different forms. The three protagonists and Laertes are given the task of proving their political and sexual legitimacy by avenging their respective fathers.

Anna K Laycock

An exploration into evolving cultural constructions of Ophelia over 250 years.

RELATED PAPERS

Sara El-Khalik

Dance Chronicle

Linda McJannet , Emily Winerock

SEDERI Yearbook

Gender Studies, Ed. Reghina Dascal, University of The West, Timisoara, 2012. pp. 355-374.

Gabriella Tóth

Delia Ungureanu

Rachel Lacy

Shakespeare Seminar

David J Amelang

Yousef Awad , Barkuzar Dubbati

Shakespeare Quarterly

Scott A. Trudell

Isabel Beatrice Mydland

Maurizio Calbi

Unpublished PhD Thesis

Heather Froehlich

F. Zeynep Bilge

Maria-Novella Mercuri

Interdisciplinary Literary Studies

Marcia Eppich-Harris

Gülşen Sayin

Elizabeth A . Marshall

Masafumi Monden

Revista de la Asociación Española de Estudios …

NOA TALAVAN

Remedios Perni

Mesut Günenç

Journal of Postgraduate Research, Trinity College Dublin.

Mohammad Safaei

Jennifer E Nicholson

English Language and Literature Studies

The Oxford Handbook of Shakespeare's Poetry

Steve Newman

Journal of Adaptation in Film & Performance, 4. 1 : 27-47.

Gülşen Sayın

Michael Hollinger

Tsukuba University Area Studies Journal

Marianne Kimura （木村マリアン）

Komal Tujare

Muneeb Masoud

•   We're Hiring!
•   Help Center
• Find new research papers in:
• Health Sciences
• Earth Sciences
• Cognitive Science
• Mathematics
• Computer Science
• Academia ©2024