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

gait-cycle

細(xì)胞膜

cajole

Munificent

擋泥板

ZEST

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

Inflamed

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

agnostic

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

Eeg332

獸皮

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