Academic literature on the topic '1564-1616 Symbolism'

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.

Les relations entre l'homme et l'animal jouent un rôle essentiel dans la structuration de l'univers poétique et théatral de Shakespeare. L'apparente banalité du bestiaire tient a ce qu'il est le reflet des idées communement admises. Le monde animal de Shakespeare, qui n'est pas sans un certain rapport documentaire avec la réalité courante telle qu'elle est perçue au temps de la renaissance, renvoie surtout à une tradition littéraire et à des présupposés culturels véhiculés et entretenus notamment par le langage commun. Discours plusieurs voix, le texte des pieces de Shakespeare met en oeuvre la richesse et la cohérence, mais aussi les ambivalences et les imrecisions, d'un ensemble de figures animales qui rendent compte des tensions et des contradictions d'un monde en crise menacé par la violence et le désordre. En faisant rejouer le clivage entre l'homme et la bête, le pur et l'impur, le domestique et le sauvage, les images animales permettent, a partir du principe d'analogie généralisé, de représenter les rapports fondamentaux de l'homme avec lui-même, la femme, la société et l'au-dela, et de définir ainsi des rôles et des situations dramatiques très variés
The relationship between man and animal plays an essential role in the structuring of Shakespeare's poetic and theatrical universe. The apparent banality of the bestiary is due to the fact it reflects received ideas. Shakespears's animal world which records, to a not insignificant extent, perceptions of reality current at the time of the renaissance, stems largely from a literary tradition and from cultural assumptions embodied in and perpetuated by the everyday language of the time. A discourse made up of several voices, shakespeare's texts bring into play the richness and coherence but also the ambivalence and imprecisions of a set of animal figures which reveal the tensions and contradictions of a world in crisis, a world threatened by violence and disorder. By re-enacting the split between man and animal, the pure and the impure, the domesticated and the wild, animal images make it possible, according to the principale of generalized analogy, to depict the fundamental relationships man has with himself, with woman, with society and with the beyond, and, in this way, to delineate a large variety of roles and dramatic situations