The Eternity of Hamlet --Talk briefly about Hamlet's character

The character of Hamlet is evidently designed by its illustrious author as a picture of an amiable prince, an affectionate son, a fast friend, and a fine gentleman. Yet in no one of these respects is it by any means intitled to our approbation. From the beginning of the play till his killing the king at the end of the fifth act we find him irresolute, unnatural, inconstant, melancholy and brutal. That Hamlet’s character, thus formed by nature, and thus modelled by situation, is often variable and uncertain. I will content myself with the supposition that this is the very character which Shakespeare meant to allot him.

A Cross-Cultural Comparison of the Issue of Self-Knowledge in Sophocles＇ Oedipus Tyrannus, Shakespeare＇s Hamlet and the Bhagavadgita

Greek and Shakespearean tragic truth emerges from pollution, moral brokenness, and pain. This also applies to the tragic truth of the Indian epics, except that this karmic kind of truth is not considered decisive. Crucial in the Indian case is cosmic truth, and Hindu cosmic truth is never produced out of pollution or pain. In Arjuna＇s case, Krishna＇s revelatory knowledge is religiously saving knowledge, whereas in Oedipus＇ case, Apollo＇s and Teiresias＇ revelatory knowledge is religiously dooming knowledge. In Hamlet＇s case, religiously saving knowledge is an object of theological speculation and of philosophical doubt. In the Hindu case, self-knowledge means absolute knowledge and ultimate liberation; in the Greek case, self-knowledge means self-discovery and the recognition of human fragility; in the Shakespearean case, self-knowledge means self-exploration and doubting oneself.

A Comparative Study of the Ghost Literary Motif in Snow in Midsummer by Guan Hanqing and Hamlet by Shakespeare

In classical Chinese literature,employing the literary motif of the ghost represents both the writers'desire to escape the pattern of didactic literature promoted by Confucianism and their attempt to revolt against the rigidity of the Confucian dogma that is far too entrenched in reality and inhibits their creativity.Written during the Yuan Dynasty(1279-1368)by Guan Hanqing(1225-1302),Snow in Midsummer presents the injustice of Dou'E who dies for a crime she did not commit,with the girl returning to the world of the living in the form of a ghost to obtain her justice.The motif of the vengeful ghost also appears in Shakespeare's(1564-1616)play,Hamlet.In this essay,I will investigate comparatively the dramatic aesthetics through which the spirits are outlined in the two plays,the comedy used by Guan Hanqing and Shakespeare,respectively,in the scenes of the appearance of spirits,and last but not least,the religious substratum contained in the symbolism of these ghosts.After a contrastive analysis of the dramaturgical and aesthetic construction of the two spirits in these plays,I argue that,despite their belonging to two different cultural spaces,both authors question through the supernatural the moral values of the societies in which they lived.

基于CiteSpace的我国《哈姆雷特》研究可视化分析

《哈姆雷特》进入我国已百余年,催生了一大批《哈姆雷特》研究文献。以中国知网期刊论文数据库中的2 087条研究文献为考察对象,借助科学计量工具CiteSpace对主要作者、研究单位、研究热点和研究前沿绘制了相应的知识图谱。研究发现文学批评研究、翻译研究、戏剧改编研究和课堂教学研究等4个领域是我国《哈姆雷特》研究的热点。人物塑造研究和中西文化对比是我国《哈姆雷特》研究的前沿。今后需要加强研究的实证性,增加《哈姆雷特》在我国的接受度研究以及增强跨学科研究与合作。

重新译解“To be,or not to be…”——兼析哈姆雷特的心灵历程与悲剧性格

以戏剧情境论和阐释循环论为思想背景,如果细斟独白词句、还原独白情境、理解独白者整体心灵历程和性格特征,哈姆雷特的那段著名独白"To be,or not to be…"可以翻译为"挺身而出,还是隐忍退缩…"。从全剧整体来看,哈姆雷特性格中超越性与缺陷性的结合构成了他悲剧性格的内核,并最终导致他的悲剧命运;而将"To be,or not to be…"翻译为"挺身而出,还是隐忍退缩…"恰好能在隐喻的层面上让人感受到哈姆雷特悲剧性格中的超越性和缺陷性。以戏剧情境论和阐释循环论为指导,在翻译时充分考虑到人物所处的情境和人物整体的心灵历程,译出人物的内在生命特征,无疑是一种值得尝试的戏剧翻译方法。

《三色堇:<哈姆莱特>解读》与莎学研究——兼及文学评论的创新范式

国内莎士比亚研究在现象展示层面踟蹰不前,鲜有真知灼见的著作。这在中华莎学和文学批评的学术领域形成了一个困难不小的瓶颈。而孟宪强先生的专著《三色堇:<哈姆莱特>解读》改变了这一状况,为中华莎学和文学批评事业的理论价值与学术意义的传播和推广起到了启迪作用。本文主要总结归纳了该书中关于文学评论创新的范式和方法:其一,理论上的颠覆性和重建性;其二,认识上的超越性和自我创见性;其三,学术范式和态度的开放性与思辨性;其四,研究方向旨归的本体性。