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The Play’s the Thing : The Role of Public Performance in Echoes of Hamlet’s Play, The Mousetrap in Michael Almereyda’s Hamlet(2000), Tom Stoppard’s Dogg’s Hamlet, Cahoot’s Macbeth(1979), Akira Kurosawa’s The Bad Sleep Well(1960), and Laurence Olivier’s Hamlet(1948)
https://chuo-u.repo.nii.ac.jp/records/2000754
https://chuo-u.repo.nii.ac.jp/records/200075453f11c1a-b460-4306-95b9-2f7f9c25b364
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
0286-7710_64_001-023.pdf
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2024-03-04 | |||||||
| タイトル | ||||||||
| タイトル | The Play’s the Thing : The Role of Public Performance in Echoes of Hamlet’s Play, The Mousetrap in Michael Almereyda’s Hamlet(2000), Tom Stoppard’s Dogg’s Hamlet, Cahoot’s Macbeth(1979), Akira Kurosawa’s The Bad Sleep Well(1960), and Laurence Olivier’s Hamlet(1948) | |||||||
| 言語 | en | |||||||
| タイトル | ||||||||
| タイトル | The Play’s the Thing : The Role of Public Performance in Echoes of Hamlet’s Play, The Mousetrap in Michael Almereyda’s Hamlet(2000), Tom Stoppard’s Dogg’s Hamlet, Cahoot’s Macbeth(1979), Akira Kurosawa’s The Bad Sleep Well(1960), and Laurence Olivier’s Hamlet(1948) | |||||||
| 言語 | en | |||||||
| 言語 | ||||||||
| 言語 | eng | |||||||
| 資源タイプ | ||||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||
| 資源タイプ | departmental bulletin paper | |||||||
| 著者 |
Bates, Daniel
× Bates, Daniel
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| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | The theory of intertextuality states that all texts exist within a complex interrelationship with other texts. While any single text exists as part of a system that refers to, recycles, and draws upon other texts that have come before, it is not an exclusively linear relationship. For a reader, ones’ perception of any given appropriation is eschewed toward the order in which that particular individual originally encountered each text. This complicated correlation is the focus of this portfolio which concentrates on The Mousetrap, Hamlet’s own play from William Shakespeare’s tragedy Hamlet, and its echo in a number of later works. This pivotal scene in the Shakespearean text has been reworked countless times in divergent styles, often being flexibly adapted depending upon the cultural context and specific plot requirements of each interpretation. This paper focuses on three cinematic adaptations, each originating from a different country within different eras as well as one dramatic text, scrutinizing the contemporary contextual reasons behind the choices that the directors and/or writers of each appropriation chose to make, in addition to those directorial choices made by the characters of Hamlet in his own play. The overriding connection discovered between the various appropriations is the importance that performance plays as a means of portraying individual human emotions and representations of truth and morality. This link is explored through the echoed performances in a range of public, political, and private settings, while at the same time questioning to what extent a viewer or reader’s prior knowledge of an adaptation is necessary in order to fully appreciate its reworking. | |||||||
| 言語 | en | |||||||
| 書誌情報 |
ja : 英語英米文学 巻 64, p. 1-23, 発行日 2024-02-20 |
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| 出版者 | ||||||||
| 出版者 | 中央大学英米文学会 | |||||||
| 言語 | ja | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 0286-7710 | |||||||
| 権利 | ||||||||
| 言語 | ja | |||||||
| 権利情報 | この資料の著作権は、資料の著作者または学校法人中央大学に帰属します。著作権法が定める私的利用・引用を超える使用を希望される場合には、掲載誌発行部局へお問い合わせください。 | |||||||
| フォーマット | ||||||||
| 内容記述タイプ | Other | |||||||
| 内容記述 | application/pdf | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||
