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      다국어 초록 (Multilingual Abstract) kakao i 다국어 번역

      Seen from the perspective of what the hero says, Hamlet is a contradictory play for Hamlet does not do as he says he is going to do. This has led many critics to conjecture concerning the character of the hero. Some mistakenly separate Hamlet from the playas if he were an independent man in the real world and read themselves into his problems. However, as a character in the drama, no matter how dominant he may be, he is only a part of the whole which is a series of situations. Hamlet does as the situations direct him. Along with other characters, he is only a component part of the situations he participates in. He is, unlike individuals in the real world, a being created for the situation he is in so he is not more important than the situation for which he exists. As a part of the whole, which is the play, he has no identity other than the situations which set the limits no matter what he says. In this respect, he is the speaker who is spoken as E. D. Hirsch, Jr. pointed out. Seen from this perspective, Hamlet is a public man, “th’observed of all observers,” who should not kill Claudius out of personal sense of hatred and anger. He does so only when the observers can believe that the present king is the murderer of the former king. Hamlet’s duty as given to him by the ghost of his father and the dramatic situation is not just to kill but to restore the order of his kingdom which has been fallen apart due to the usurpation since the death of old Hamlet. Though Hamlet inveighs his inactions and delays, he is an undaunted soldier and prince, as Fortinbras later acknowledges, who has fought in single combat, as his father did, to save his kingdom from becoming a couch for luxury and damned incest by choosing “To be,” which, includes Hamlet’s antic disposition, wordplay and play-within-the-play, things which look like doing nothing but actually keep the dramatic situations going.
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      Seen from the perspective of what the hero says, Hamlet is a contradictory play for Hamlet does not do as he says he is going to do. This has led many critics to conjecture concerning the character of the hero. Some mistakenly separate Hamlet from the...

      Seen from the perspective of what the hero says, Hamlet is a contradictory play for Hamlet does not do as he says he is going to do. This has led many critics to conjecture concerning the character of the hero. Some mistakenly separate Hamlet from the playas if he were an independent man in the real world and read themselves into his problems. However, as a character in the drama, no matter how dominant he may be, he is only a part of the whole which is a series of situations. Hamlet does as the situations direct him. Along with other characters, he is only a component part of the situations he participates in. He is, unlike individuals in the real world, a being created for the situation he is in so he is not more important than the situation for which he exists. As a part of the whole, which is the play, he has no identity other than the situations which set the limits no matter what he says. In this respect, he is the speaker who is spoken as E. D. Hirsch, Jr. pointed out. Seen from this perspective, Hamlet is a public man, “th’observed of all observers,” who should not kill Claudius out of personal sense of hatred and anger. He does so only when the observers can believe that the present king is the murderer of the former king. Hamlet’s duty as given to him by the ghost of his father and the dramatic situation is not just to kill but to restore the order of his kingdom which has been fallen apart due to the usurpation since the death of old Hamlet. Though Hamlet inveighs his inactions and delays, he is an undaunted soldier and prince, as Fortinbras later acknowledges, who has fought in single combat, as his father did, to save his kingdom from becoming a couch for luxury and damned incest by choosing “To be,” which, includes Hamlet’s antic disposition, wordplay and play-within-the-play, things which look like doing nothing but actually keep the dramatic situations going.

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      목차 (Table of Contents)

      • 인용문헌
      • Abstract
      • 인용문헌
      • Abstract
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      참고문헌 (Reference)

      1 Barnet,Sylvan, "William Shakespeare:The Tragedy of Hamlet,Prince of Denmark" Signet Classics 1998

      2 Hirsch,E.D.Jr, "Validity in Interpretation" Yale UP 1978

      3 Brooks,Cleanth, "Understanding Drama" Holt, Reinhardt and Winston 1961

      4 Mack, Maynard, "The World of Hamlet, In Shakespeare: The Tragedies: A Collection of Critical Essays" Prentice- Hall 44-60, 1964

      5 Edwards,Philip, "The New Cambridge Shakespeare: Hamlet, Prince of Denmark" Cambridge UP 1988

      6 Fergusson,Francis, "The Idea of a Theater" Princeton UP 1972

      7 Gardener, Helen, "The Historical Approach: Hamlet, In Shakespeare: The Tragedies: A Collection of Critical Essays" Prentice-Hall 61-70, 1964

      8 Bevington,David, "The Complete Works of Shakespeare" Longman 1997

      9 Mahood,M.M, "Shakespeare’s Wordplay" Methuen 1979

      10 Honigmann,E.A.J, "Shakespeare: Seven Tragedies: Dramatist’s Manipulation of Response" Macmillan 1985

      1 Barnet,Sylvan, "William Shakespeare:The Tragedy of Hamlet,Prince of Denmark" Signet Classics 1998

      2 Hirsch,E.D.Jr, "Validity in Interpretation" Yale UP 1978

      3 Brooks,Cleanth, "Understanding Drama" Holt, Reinhardt and Winston 1961

      4 Mack, Maynard, "The World of Hamlet, In Shakespeare: The Tragedies: A Collection of Critical Essays" Prentice- Hall 44-60, 1964

      5 Edwards,Philip, "The New Cambridge Shakespeare: Hamlet, Prince of Denmark" Cambridge UP 1988

      6 Fergusson,Francis, "The Idea of a Theater" Princeton UP 1972

      7 Gardener, Helen, "The Historical Approach: Hamlet, In Shakespeare: The Tragedies: A Collection of Critical Essays" Prentice-Hall 61-70, 1964

      8 Bevington,David, "The Complete Works of Shakespeare" Longman 1997

      9 Mahood,M.M, "Shakespeare’s Wordplay" Methuen 1979

      10 Honigmann,E.A.J, "Shakespeare: Seven Tragedies: Dramatist’s Manipulation of Response" Macmillan 1985

      11 Jacobus,Lee A, "Shakespeare and the Dialect of Certainty" St. Martins 1992

      12 Gregson,James, "Public & Private Man in Shakespeare" Croom Helm 1983

      13 Lewis, C. S, "Interpretations of Shakespeare" Clarendon 124-141, 1985

      14 Kermode, Frank, "Hamlet, Prince of Denmark, In The Riverside Shakespeare" Houghton Mifflin 1183-1188, 1997

      15 Mercer,Peter, "Hamlet and the Acting of Revenge" Macmillan 1987

      16 Summers,Joseph, "Dreams of Love and Power on Shakespeare’s Plays" Claredon 1984

      17 Butcher,S.H, "Aristotle’s Theory of Poetry and Fine Art" Kalyani Publishers 1978

      18 Hunt, John, "A Thing of Nothing: The Catastrophic Body in Hamlet" 39 (39): 27-43, 1988

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      학술지 이력

      학술지 이력
      연월일 이력구분 이력상세 등재구분
      2027 평가 재인증평가 신청대상 (재인증)
      2021-01-01 등재 등재학술지 유지 (재인증) KCI등재
      2018-01-01 등재 등재학술지 유지 (등재유지) KCI등재
      2015-01-01 등재 등재학술지 유지 (등재유지) KCI등재
      2011-01-01 등재 등재학술지 유지 (등재유지) KCI등재
      2009-01-01 등재 등재학술지 유지 (등재유지) KCI등재
      2007-01-01 등재 등재학술지 유지 (등재유지) KCI등재
      2004-01-01 등재 등재학술지 선정 (등재후보2차) KCI등재
      2003-01-01 등재 등재후보 1차 PASS (등재후보1차) KCI등재후보
      2002-01-01 등재 등재후보학술지 유지 (등재후보1차) KCI등재후보
      1999-07-01 등재 등재후보학술지 선정 (신규평가) KCI등재후보
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      학술지 인용정보

      학술지 인용정보
      기준연도 WOS-KCI 통합IF(2년) KCIF(2년) KCIF(3년)
      2016 0.12 0.12 0.14
      KCIF(4년) KCIF(5년) 중심성지수(3년) 즉시성지수
      0.12 0.11 0.561 0.03
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