Details

Autor(en) / Beteiligte

• Megna, Paul[Herausgeber]
• Phillips, Bríd[Herausgeber]
• White, R.S[Herausgeber]

Titel

Hamlet and Emotions [electronic resource]

Auflage

1st ed. 2019

Ort / Verlag

Cham : Springer International Publishing

Erscheinungsjahr

2019

Link zum Volltext

• SpringerLink Books - AutoHoldings

Beschreibungen/Notizen

• 1. ‘Prologue to the omen coming on’ - Robert White -- 2.‘in a dream of passion’: Introducing Hamlet and Emotion - Paul Megna and Bríd Phillips -- Part I: ‘Between who?’: Influences and Inter-Texts -- 3. Hamlet and Tragic Emotion - Indira Ghose -- 4.A Conjuration of Patrick: A Legacy of Doubt and Imagining in Hamlet - Michael D. Barbezat -- 5. Fear and Wonder: Shakespeare’s Ghost in the Fireside Tradition - Catherine Belsey -- 6. ‘For by the image of my cause, I see / The portraiture of his’: Hamlet and the Imitation of Emotion - Richard Meek -- 7. ‘Each subtlest passion, with her source and spring’: Hamlet, Sejanus and the Concealment of Emotion - Jane Rickard -- Part II: ‘I know not “seems”’: Expression and Sensation -- 8. Hamlet’s Tears - Dympna Callaghan -- 9. Hamlet’s ‘Spendthrift Sigh’: Emotional Breathing on and off the Stage - Naya Tsentourou -- 10. ‘Eyes without feeling, feeling without sight’: The Sense of Sight in Hamlet - Bríd Phillips -- Part III: ‘this quintessence of dust’: Character -- 11. Horatio as Author: Storytelling and Stoic Tragedy in Hamlet - Jeffrey R. Wilson -- 12. ‘A king of shreds and patches’: Claudius, Clothes, Feeling - Lisa Hopkins -- 13. ‘Something After?’: Hamlet and Dread - Bradley Irish -- Part IV: ‘Remember me’: Performance and Adaptation -- 14. Misremembering Hamlet at Elsinore- Kathryn Prince -- 15. ‘Speech falters speech flinches when horror lifts a fist to it’: Action, Emotion, and Inertia in Three Hamlet Variations - Stephen Chinna -- 16. Shakespeare’s Hamlet and Stoppard’s Guildenstern Leap between Un-Existentialist Anguish and Un-Absurdist Happiness - Paul Megna -- 17. Horatio: Loyal Friend of Hamlet and Nutshell - Robert White.
• This volume bears potent testimony, not only to the dense complexity of Hamlet’s emotional dynamics, but also to the enduring fascination that audiences, 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 performance history, and its profound impact beyond the early modern era. Its component chapters are not unified by a single methodological approach. Some deal with a single emotion in Hamlet, while others analyse the emotional trajectory of a single character, and still others focus on a given emotional expression (e.g., sighing or crying). Some bring modern methodologies for studying emotion to bear on Hamlet, others explore how Hamlet anticipates modern discourses on emotion, and still others ask how Hamlet itself can complicate and contribute to our current understanding of emotion.