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Nicholas, Simon. "Is Hamlet untranslatable? : renegotiating the boundaries of translatability in twentieth century German Hamlets". Thesis, De Montfort University, 2002. http://hdl.handle.net/2086/10727.
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This thesis will focus on twentieth-century German translations and adaptations of Shakespeare's Hamlet. Some of the pre-requisites of a work's translatability are that it must exist in a stable text, its meaning should be accessible to interpretation, and it should provide a unitary comment that can be re-constructed in a second language and culture. I do not believe that Hamlet satisfies any of these pre-requisites. There is no transcendent text, it seems to resist interpretation, and the lack of a unitary comment problematises the articulation of a response to the play that can be re-coded in the target text. Translators seek to stabilise and interpret, whereas Hamlet is semantically and formally in continuous motion and resists attempts at closure. The demands of translation and the nature of Hamlet seem to be in direct conflict, and I begin my investigation with a hypothesis that Hamlet is 'untranslatable'. I have conducted a series of interviews with German translators of Hamlet, and I have used these discussions to construct a dialogue in this thesis. In Part 1 of the study I will focus on those translators of the play that have agreed that Hamlet is a flawed work, which must be repaired and improved before it can be translated. This dialogue explores the assumptions about Shakespeare's 'artistic failure' and how changes to the text are thought to facilitate its translatability. There will be an investigation of how translators and editors have continually rewritten Hamlet based on notions of 'correct' text. I will examine the validity of concepts such as the 'originar work and 'fidelity' to originals, as the premise on which translation is based, and I will question whether the work of these translators is phenomenologically flawed. In Part 2 of this thesis I will proceed to consider whether Hamlet has been rejected as untranslatable because of metaphysical qualities that foreground our notions of the play. It seems to be the case that translators only experience the problem of untranslatability, or of Hamlet as a flawed work, when certain demands are made on the transcendent text in which Hamlet is believed to exist. The translators and adapters, whose work is the object of my analysis in the second part of this study; have been able to circumscribe the issue of translatability by changing the way they have understood the ontology of Hamlet. By deconstructing notions of the unitary work or the transcendent text, and conceiving of Hamlet as a series of enactments or a methodological field, it becomes possible to trahslatethe material across the boundaries of language and culture. I will thus develop the argument that by moving away from traditional notions of a 'work' to understand Hamlet as a broader cultural text, we can re-think the interpretive possibilities of the play and push back the boundaries of what has been traditionally possible through the limited practice of translation. I will be working towards the conclusion that translation theorists should re-think their conceptions of the 'source text' and the function of translation, working from a field of cultural material, rather than attempting to translate a non-existent transcendent text. The work of translators and adapters examined in the second part of my study presents a more productive approach to translation, and a more realistic II understanding of the ontology of literary works, compared with the attempts of other translators, who continue in their search for the play's lost echt. My research methodology, which involved the construction of a dialogue between translators, is also an attempt to promote a method of analysing and evaluating translations that includes the translator. Analyses of translations too often treat the translation as if it had been written in a social, political, linguistic and cultural vacuum. In fact, there are many factors that decide how a text is going to be translated even before the translator reaches his text. There have been many forces that have shaped and conditioned the way Hamlet has been translated and appropriated in German, ranging from large-scale intervention from political regimes like the Nazi Party and the Socialist State in East Germany, to small-scale domestic quarrels with a spouse. My thesis combines textual analysis and detailed discussions with translators, in order to develop a fuller understanding of the pragmatics of translation, and the need for a new interpretative methodology.
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Treib, Philipp [Verfasser], Thilo [Akademischer Betreuer] Hammen, Thilo [Gutachter] Hammen i Hajo [Gutachter] Hamer. "Untersuchung des Einflusses klimatischer Faktoren auf die Provokation epileptischer Anfälle / Philipp Treib ; Gutachter: Thilo Hammen, Hajo Hamer ; Betreuer: Thilo Hammen". Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2021. http://nbn-resolving.de/urn:nbn:de:bvb:29-opus4-171547.
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Prendergast, Jane Margaret. "Mapping feminism in Shakespeare's Hamlet: 'I Hamlet'". Thesis, Prendergast, Jane Margaret (1999) Mapping feminism in Shakespeare's Hamlet: 'I Hamlet'. PhD thesis, Murdoch University, 1999. https://researchrepository.murdoch.edu.au/id/eprint/52929/.
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In this dissertation I have endeavoured through words and figures to 'map' my performance of Hamlet from a feminist perspective. Assuming that both the audience and the reader are familiar with Shakespeare's text, I have centred my project around an adaptation and performance of Hamlet called 'I, Hamlet'. 'I, Hamlet' is a perspective of the play, scripted for three actors, that focuses on the performance of gender and identity. The resultant map, this dissertation, is constructed out of several different 'mappings' that intersect and inform one another. These mappings include:
1. A critical and narrative mapping that is word-and image-based.
2. The performance text: 'I, Hamlet'.
3. A video documenting the performance 'I, Hamlet'.
4. A video journal mapping experiences of the 'I, Hamlet' tour across Europe.
I am as central to this project as Hamlet is central to Hamlet. I have situated myself both inside and outside my discourse: inside, because I am embodying the text in performance; and outside, because I am analysing my process from a distance. My mappings therefore attempt to reflect this inside/outside, theory/practice, praxis.
Although I observe a fairly traditional written layout and offer the work in sequential Chapters, I have adopted strategies of performative writing in order to "deterritorialize" this linear mode. To do this, I have ventured on a "line of flight," living 'in-between' texts as performer, narrator and critic.2 As an investigative work it is open to multiplicities of meaning: it seeks to be open-ended and generative, rather than closed and conclusive.
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Barreto, Eduardo. ""Hamlet" and Marginality". FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/1859.
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This research aims to explore the place of marginality (or that which is not the immediate focus of narrative) in the context of the play and through the examination of the characters of Fortinbras and Horatio, in William Shakespeare’s Hamlet. The intended outcome is to encourage diversified perspectives and approaches to the play by focusing on the marginal themes and/or characters.
The chapters address the characters of Fortinbras and Horatio; the first inverts the protagonist/foil relationship by reading Hamlet as a foil to Fortinbras, while the second uses Freud’s “The Uncanny” as a way to understand Horatio’s role in the play, as its uncanniest phenomena. Both are marginal to the text, but both are significant to the understanding of the text.
Essentially, the objective is to encourage readings of the play, and of narratives, that appreciate the complexity of marginality, in order to broaden the language for future research.
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Sharif, Mohammad Muazzam. "Hamlet in Pakistan". Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/417235/.
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This thesis tests and questions the concept of revenge in Hamlet against the context of Pukhtun culture in the Khyber Pukhtunkhwa (KP) province of Pakistan. As this study seeks to understand the emotive meaning of revenge in a range of cultural contexts, I explore the way in which Hamlet is read and interpreted in a culture where revenge, as in the debased form of badal, is both current and pervasive. The KP universities‘ students who belong to the culture, where revenge is considered obligatory, tend to identify themselves with various characters of the play, particularly Hamlet. This study seeks to ascertain the experience of the play as a dramaturgical construct which questions the revenge ethos capable of modifying entrenched beliefs among young Pakistanis engaged in reading the play at KP universities. As a result, I explore the role and use of Hamlet as an educational tool to combat revenge practices in Pakistan. This research contributes to the growing work on Shakespeare criticism and performance in different cultures around the world by presenting the relevant appropriations of the play in Pakistan and worldwide.
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Semenenko, Aleksei. "Hamlet the Sign : Russian Translations of Hamlet and Literary Canon Formation". Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7148.
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This work is an attempt to answer one simple question: What is Hamlet? Based on the material of Hamlet translations into Russian, the dissertation scrutinizes the problems of literary canon formation, translation and textuality proceeding in two parallel directions: the historical analysis of canon formation in translation and the conceptualization of Hamlet’s textuality. The methodological framework is defined in the context of Jurij Lotman’s semiotics of culture, which is invaluable for an understanding of the mechanisms of literary evolution, the theory of translation and literary canon formation. The study examines the history of Hamlet in Russia from 1748 until the present with special attention to analysis of the canonical translations, theater productions of the Shakespearean classic and the phenomenon of Hamletism. The case study of the 1964 film by Grigorij Kozincev focuses on the problem of the cinematographic canon of Hamlet. Further, the work scrutinizes various types of representation of Hamlet in such semiotic systems as the theater, the cinema, and the pictorial arts, and also examines how Hamlet functions as a specific type of sign. The final section returns to the question of canon formation and textuality. The results of the research show that 1) the literary canon appears to be closely associated with the concepts of genre and myth, 2) in order to become canonical it is imperative for a literary text to function on the level of microcanon and to be represented in modes other than the written.
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Roehrl, Tobias. "Das Hypothenar-Hammer-Syndrom". Diss., lmu, 2008. http://nbn-resolving.de/urn:nbn:de:bvb:19-88781.
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Roesler, Stephanie. "Yves Bonnefoy et «Hamlet»". Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86507.
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Between 1957 and 1988, the contemporary French poet Yves Bonnefoy translated Shakespeare's Hamlet five times. This thesis is an in-depth analysis of these five translations and of their evolution: above all, it explores Yves Bonnefoy's poetics of translation. The first section examines Bonnefoy's articulated understanding of poetry, translation and their relationship, but also of Shakespeare and Hamlet, in order to contextualize the translations and define Bonnefoy's approach to the translation process (position traductive) and his translation project, according to the method proposed by Antoine Berman.The second section provides a survey of Bonnefoy's translations through the study of two passages of the play, followed by a detailed analysis. The objective is to characterize Bonnefoy's translations at the lexical, syntactic and poetic levels. Questions addressed in this section include: Is Bonnefoy faithful to the original text, or does he translate creatively? Does he successfully combine the ethical and poetic dimensions of translation? We will explore Bonnefoy's translation poetics and practice through the hypothesis that the notions of dialogue and dialectics are the most appropriate conceptual tools for describing his translation practice as revealed in the five translations of Hamlet. These two concepts also involve the notion of voice, and one is moved to enquire whose is more audible in these five versions, Shakespeare's or Bonnefoy's.
The detailed analysis is followed by a critical examination of Bonnefoy's five versions of Hamlet by means of a forced confrontation between the poet's texts and his declared translation project. Here, the notion of re-enunciation is introduced in order to complement the ideas of dialogue and dialectic, and thereby re-define and better characterize the faithfulness and the creativity practiced by Bonnefoy. The creative aspect of translating is re-examined through the concepts of domesticating and appropriating. Finally, while exposing the gaps between theory and practice in Bonnefoy's oeuvre as a translator, this thesis aims at defining the general trend of Bonnefoy's translations while emphasizing his originality as a translator.
Entre 1957 et 1988, le poète français contemporain Yves Bonnefoy a traduit le Hamlet de Shakespeare à cinq occasions. Cette thèse se veut une analyse approfondie de ces cinq traductions et de leur évolution, dans l'objectif de caractériser la poétique de traducteur d'Yves Bonnefoy. Pour ce faire, nous examinons dans notre première section le rapport de Bonnefoy à la poésie et à la traduction, puis à Shakespeare et à Hamlet afin de contextualiser les traductions et de définir la position traduisante et le projet de traduction de Bonnefoy, selon la méthode proposée par Antoine Berman.
La seconde section est consacrée à l'analyse proprement dite, que nous entamons en donnant un aperçu des traductions de Bonnefoy à travers deux passages de la pièce, avant de nous lancer dans l'analyse détaillée des traductions. Dans le cadre de celle-ci, nous cherchons à caractériser les traductions de Bonnefoy au niveau lexical, syntaxique et poétique : Bonnefoy est-il fidèle au texte original ou davantage créateur ? Parvient-il à allier les dimensions éthique et poétique du traduire ? Nous avançons l'hypothèse selon laquelle les deux notions de dialogue et de dialectique sont deux outils conceptuels qui nous permettent de décrire la pratique traduisante de Bonnefoy telle qu'elle se manifeste dans les cinq traductions de Hamlet. Ces deux concepts mettent en jeu la notion de voix : qui de Shakespeare ou de Bonnefoy est le plus audible dans les cinq traductions ?
Enfin, l'analyse détaillée est suivie d'un commentaire et d'une critique des traductions, qui passe par une confrontation des traductions au projet du traducteur. Les notions de dialogue et de dialectique sont complétées par celle de ré-énonciation, afin de redéfinir et de caractériser plus avant la fidélité et la création telles que Bonnefoy les pratique. Nous réexaminons le pôle de la création à l'aide des notions traductologiques de domestication et d'appropriation. Finalement, tout en soulignant les écarts entre théorie et pratique, nous tentons de dégager le mouvement d'ensemble des traductions de Bonnefoy et de mettre en valeur l'originalité de sa poétique de traducteur.
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Blair, David. "Hamlet from The Stage". Digital Commons @ East Tennessee State University, 2010. https://dc.etsu.edu/etd/1671.
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Hamlet From The Stage is a video production designed to be an extra feature on the DVD video of the stage production of Hamlet, performed by the Division of Theatre and Dance at East Tennessee State University, and filmed by the Department of e-Learning during the Spring Semester of 2009. Hamlet From The Stage is a professional interview style video package of the cast of Hamlet designed to help inexperienced collegiate actors learn some useful tools when approaching a Shakespearean audition or performance. This video package represents over eleven months of production: concept, writing, set design and studio setup, interview scheduling, filming, editing, audio enhancements, and video color correction. The ETSU Department of e-Learning is scheduled to have the post-production on the Hamlet DVD production completed by the end of Spring 2010 and Hamlet From The Stage will be packaged and released as the Hamlet Bonus Features on that DVD.
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Evans, Madisen Jade. "An All-Female Hamlet". Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/honors/510.
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Sessler, Brigitte. "Hamlet - ein lyrisches Politikum? Hamlet in deutschsprachigen Gedichten vom 18. Jahrhundert bis heute". Heidelberg Winter, 2007. http://d-nb.info/987386263/04.
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Sessler, Brigitte. "Hamlet - ein lyrisches Politikum ? : Hamlet in deutschsprachigen Gedichten vom 18. Jahrhundert bis heute /". Heidelberg : Winter, 2008. http://d-nb.info/987386263/04.
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Breedlove, Allegra B. "Hamlet #PRINCEOFDENMARK: Exploring Gender and Technology through a Contemporary Feminist Re-Interpretation Of Hamlet". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/667.
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Barrus, David W. "Hamlet : the design as process". Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of Theatre and Dramatic Arts, c2012, 2012. http://hdl.handle.net/10133/3389.
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This thesis represents the written portion of the Degree Requirements of
the Master of Fine Arts in Theatre Design.
The Thesis production of HAMLET, by Wm. Shakespeare (edited by Brian
C. Parkinson), was the University of Lethbridge Department of Theatre and
Dramatic Arts third show of the 2011 – 2012 Mainstage Theatre season,
running February 14 – 18, 2012, performed at the University Theatre in the
University of Lethbridge Centre for the Arts, Lethbridge, Alberta. HAMLET
was directed by Brian C. Parkinson, with the assistant direction of L. Jay
Whitehead and Yvonne Mandel.
Contained within this written portion of the thesis is a discussion of the
design concepts for this production, along with photographic records of
models, technical drawings, and other pertinent information.viii, 176 leaves : col. ill. ; 29 cm
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Breedlove, Allegra B. "The Digital Soliloquies of Hamlet". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/618.
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Bjurström, Andrea. "Screen:play : Hamlet genom okända skärmdumpar". Thesis, Konstfack, Grafisk design & illustration, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7359.
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For my graduation project I was interested in title cards, intertitles and captions from past films and clips. I am fascinated by their typography and art, but also the visual aspects of age and use. Aided by the writings of the artist and filmmaker Hito Steyerl, I explored the world of the poor quality image, an image that has been copied and pasted into different (mainly digital) channels of distribution. I found my own way of translating the visual language of an image with a past. Quoting one of the most retold (copied and pasted) plays; The Tragedy of Hamlet, Prince of Denmark written by William Shakespeare, ca 1600.
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Malm, Lauren Lynnae, i Lauren Lynnae Malm. "Hamlet, Conscience, and Free Will". Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/625077.
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This thesis examines William Shakespeare's Hamlet through the historical conflict between Protestantism and Catholicism. Shakespeare writes in a religious atmosphere heavily informed by the sixteenth-century religious conflict between the Protestant Church of England and Catholic ideology. While the Church of England controlled English religious thought through strict censorship of Catholic theology, the Church was unable to erase the Catholic history of the country. In Hamlet, these two opposing ideologies come face to face. Prince Hamlet, linked to the Protestant Reformer Dr. Martin Luther through an education at Wittenberg, demonstrates great courage through his trust in God's sovereignty. Hamlet finds his religious conscience crippled by the appearance of the Ghost of his father from Purgatory, a uniquely Catholic view of the afterlife. The confusion caused by Catholic theology continues when Claudius, responsible for the death of Hamlet’s father, is unable to repent of his sins due to his belief in Catholic works-based salvation. Until Hamlet regains his Protestant faith in grace-based salvation and God's predestined control of fate, he cannot take his revenge. Once Hamlet regains his Protestant faith, his trust in predestined fate leads to death. In Hamlet, acceptance of predestination lead to the destruction of the individual.
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Berger, Amy White. "Claudius' story in Shakespeare's Hamlet". Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 2003. http://www.kutztown.edu/library/services/remote_access.asp.
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Sanchez, Isabel M. "The Root of the Recycled: A Comparative Analysis of Shakespeare's "Hamlet" and the Mythological "Ur-Hamlet"". FIU Digital Commons, 2012. http://digitalcommons.fiu.edu/etd/782.
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The purpose of my thesis was to explore the problem surrounding the sources believed to constitute the Ur-Hamlet from which Shakespeare derived Hamlet. By utilization of close reading, analysis, and archetypical criticism, my thesis confirms Shakespeare’s usage of the “Hero as Fool” archetype present in the Danish legend of Amleth, translated by Saxo Grammaticus and Francois Belleforest, as the Ur-Hamlet.
My study is significant because it further develops the notion that the earlier legend served as the originary source for Hamlet, while providing evidence that rejects the validity of other sources of the Ur-Hamlet. The evidence was corroborated by presenting analytical comparisons of the framework both works share. Focusing on the archetypal origins of Shakespeare’s plot, characters and their actions revealed a more complex understanding of the play. These findings indicate and substantiate the claim that the Ur-Hamlet can be no other source but the Danish legend of Amleth.
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Petrollino, Sara. "A grammar of Hamar". Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2176.
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Cette étude est la toute première tentative de description complète de la grammaire du hamar, une langue parlée par environ 46.500 personnes dans le sud-ouest de l'Ethiopie (Lewis 2009). L'étude est basée sur des données collectées pendant 9 mois de travail sur le terrain entre 2013 et 2014 dans les territoires des Hamar. Les données sur la langue ont été recueillies auprès de 14 locuteurs natifs dans les villages hamar, et sont composées de 50 textes de longueurs et de genres différents. Cette grammaire décrit la phonologie, la morphologie, la syntaxe et certains aspects de la pragmatique et du discours du hamar et est organisée en 13 chapitres suivis par trois annexes : l'annexe A et B se composent d'un lexique sélectionné d’environ 1 400 entrées, l’annexe C contient trois textes hamar annotés. L'analyse qui sous-tend cette monographie grammaticale suit le cadre théorique Basic Linguistic Theory (la théorie linguistique de base - Dixon 1997, 2010, 2012)This study is the first-ever attempt at a comprehensive grammatical description of Hamar, a language spoken in South West Ethiopia by approximately 46.500 people (Lewis 2009). The study is based on 9 months of fieldwork carried out between 2013and 2014 in Hamar territories. Language data was gathered from 14 native speakers in Hamar villages, and it amounts to 50 texts of varying lengths and genres. The grammar investigates the phonology, the morphology, the syntax and somepragmatic and discourse-related features of Hamar and it is organized in 13 chapters followed by three appendices: appendix A and B consist of a selected lexicon of circa 1400 entries, appendix C includes three annotated Hamar texts.The analysis underlying this monograph grammar follows the theoretical framework of Basic Linguistic Theory (Dixon 1997, 2010, 2012)
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Hamlen, Sarah Ann. "An evaluation of concerns of extension field faculty in western states regarding renewable energy education as it pertains to programmatic design and implementation". Thesis, Montana State University, 2012. http://etd.lib.montana.edu/etd/2012/hamlen/HamlenS0512.pdf.
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Demand for information and educational programming on the topic of renewable energy continues to grow within Extension. In this study, evidence showed that Extension was not addressing educational demands on the subject. Using the Concerns-Based Adoption Model as a theoretical framework, this study sought to identify concerns of Extension educators in Montana, Wyoming, and Colorado that influence programmatic efforts in renewable energy. The objectives of the study were to: 1) measure the levels of faculty engagement in renewable energy education 2) describe the concerns (as defined by the Concerns-Based Adoption Model) of Extension educators regarding renewable energy education, 3) determine whether field faculty concerns differ by the primary job function, and 4) identify concerns of subgroups that may influence program involvement with renewable energy education. The study was conducted using a census of Extension educators (n=307) in Montana, Wyoming, and Colorado in October 2011. Using an electronic, web-based Stages of Concern Questionnaire (SoCQ) survey, the study had a response rate of 41% (n=126). Quantitative methods of analysis included SoCQ profile comparisons, High Stage Score and Second High Stage Score analysis, analysis-of-variance (ANOVA), and Tukeys post hoc t-test analysis for significant results in the ANOVA analysis. Across all job functions and subgroups analyzed, faculty indicated a 99% Unconcerned, or Stage 0 Concern, and profiled as "non-users" of the innovation "renewable energy programming". Results reflected a general lack of knowledge and awareness about renewable energy programming, followed by strong personal concerns about adopting this change. While three subgroups indicated potential negative dispositions to renewable energy programming, the majority of faculty were positively disposed but indicated a "nonuse" state. Therefore, Extension educators had little or no knowledge of or involvement with the innovation, and were doing little to become more involved. Based on these results, recommended change management strategies for the Extension organization were generated. These strategies focus on the need for clear definition of "renewable energy programming" and the determination of acceptable levels of field faculty engagement.
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Sander, Johanna. "Hamlet på motorcyklar : En komparativ analys av TV-serien Sons of Anarchy och Shakespeares drama Hamlet". Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-6947.
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In 2008 Fox first aired its hit show Sons of Anarchy, a drama series about a Californian motorcycle club. The main thrust is about the club’s vice-president and his struggle to find his place in a life of violence. According to creator Kurt Sutter the series is partly based on Shakespeare’s 16th century drama Hamlet - Prince of Denmark, which causes the show to often be referred to as ”Hamlet on Harleys”. Focusing on the first two seasons of the series, this essay looks into the relationship between the two works of art. Asking how the inspiration of the play is reflected in the television series, it compares the stories’ main themes and motives with help of the actantial model, as well as the different characters and their relationships with each other. A major motive in both pieces being vengeance and violence, the last chapter of the analysis looks into those themes and their importance for the main character. The series uses Shakespeare´s play as an inspiration and an underlying superstructure, there are remarkable similarities in these seemingly completely different stories. The characters are the main driving force of both tales, and the greatest link between the works consists in them trying to expose the workings of the human mind and their study of human behavior and relationships.
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Kasdan, David Oliver. "The neopragmatist's hammer: forging administrative authority". Cleveland, Ohio : Cleveland State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1273086674.
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Thesis (Ph.D.)--Cleveland State University, 2010.Abstract. Title from PDF t.p. (viewed on May 7, 2010). Includes bibliographical references (p. 130-138). Available online via the OhioLINK ETD Center and also available in print.
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Pettersson, Frida. "Från Hamlet till 3D : Lejonkungens marknadsföringsprocess". Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-24131.
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Den här uppsatsen handlar om hur film marknadsförs via trailrar, exemplet är filmen Lejonkungen från 1994 och dess uppföljare samt en nyutgåva. Syftet är att undersöka vad det är som hamnar i fokus i filmernas trailrar, vad de har gemensamt och vad som skiljer dem åt, samt hur berättelsen förnyas. Uppsatsen tar upp forskning om high concept, trailrar och Disney för att få en teoretisk grund till analysen av vad som hamnar i huvudsakligt fokus i trailrarna och vad det fyller för funktion. Med hjälp av tidigare forskning och analys av trailrarna undersöker uppsatsen vilka strategier filmskapare använder för att locka en publik att gå och se deras filmer.
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Brown, Kenneth A. F. "Hydraulic hammer design & development project". Thesis, Glasgow Caledonian University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555683.
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This report outlines the work I carried out during a three year Knowledge Transfer Partnership (KTP) project. The project itself was design and development based, producing a design for a new product through to manufacturing and identifying marketing strategies for the product. The product is a hydraulic hammer which is used in construction, demolition and quarrying industries. The hydraulic hammer is classed as a carrier attachment. The hydraulic hammer attaches either to the arm of an excavator or the rear arm of a backhoe loader and uses the carrier's hydraulic system to allow it to operate. The report provides an in depth review of prior learning relevant to the development of a new and novel hydraulic hammer product and a detailed analysis of research methods required for the project. An analysis of suitable design methods and a review of the hydraulic hammer project background is outlined and a detailed analysis of leading edge software to deliver a new and novel simulated hydraulic prototype hammer product is discussed. The report also contains an investigation of leading edge manufacturing facilities relevant to a new and novel hammer product. A procedure for initial and field testing was produced and conducted to gain an in depth operational understanding of the hammer design and is included in the report. Economics relating to the manufacture of products and processes used throughout Europe are examined and the relevant British and European standards relating to manufacture and processes are analysed. Marketing techniques and strategies required when a new and novel product is launched into an existing market is also provided. Finally, the KTP is examined in relation to the provision of experiential work based learning and an analysis of the value of work based learning for the development and delivery of knowledge through KTP using experimental theories is also presented.
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Chilukwa, Nathan Ntanda. "Vibratory hammer compaction of granular materials". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80132.
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Thesis (MScEng)--Stellenbosch University, 2013.ENGLISH ABSTRACT: Compaction is one of the key processes in the construction of road pavement layers. Not only is it significant in ensuring the structural integrity of the material in the road layers, but it also has an influence on the engineering properties and performance of the soil material. A poorly compacted material is characterised by low density, high porosity and below standard shear strength. This, as a result causes rutting, moisture susceptibility, potholing, corrugations and passability problems on the road. Therefore, it is vitally important that field compaction is done correctly. For this reason, laboratory compaction methods have been developed to simulate the field compaction process in the laboratory. The Mod AASHTO test has long been used as the laboratory compaction method of choice by virtue of its simplicity and the lack of bulky equipment required. However, previous studies have established that the Modified AASHTO method does not adequately simulate field compaction criteria especially for cohesionless materials. Two reasons have been advanced; The Mod AASHTO compaction method does not adequately simulate the compaction done in the field when the granular mix is laid; The compaction method may cause disintegration of the material. Alternative tests have been considered and much research has focused upon the use of a modified demolition hammer (vibratory hammer) for laboratory compaction of granular materials. This study undertook to evaluate the influence of test factors pertinent to the vibratory hammer compaction method. The influence of these test factors on compaction time and obtainable material density was assessed with the objective of developing a compaction method for granular materials. Vibratory hammer compaction tests were conducted on G3 hornfels, G4 hornfels and G7 sandstone material types and to a lesser extent, reclaimed asphalt (RA). Densities obtained were referenced to Mod AASHTO compaction density. Findings of the study showed that, the mass of the tamping foot has a significant influence on the obtainable compaction density. Other factors such as, moisture content, frequency and frame rigidity were also found to affect compaction with the vibratory hammer. In addition, it is shown that the surcharge load does not significantly influence the obtainable compaction density but does contribute to the confinement of the material and restricts the upward bounce of the hammer. On the basis of the results and findings, a compaction method was proposed, incorporating test parameters and factors that would provide ideal results for a set compaction time. Repeatability tests showed that, the developed vibratory hammer compaction method was effective in compacting graded crushed stone material types (i.e. G3 and G4) and probably RA. The test was not as effective on the G7 material. Further studies on this material (G7) are required. In addition to the previous testing regime, a comparative assessment of the developed vibratory hammer compaction method in relation to the vibratory table method was done. The results show that the vibratory hammer is capable of producing specimens of densities comparable to those of the vibratory table. A sieve analysis undertaken before and after compaction showed that compaction with the developed vibratory hammer compaction method does not result in any significant material disintegration. Based on the results of this study, a specification for the determination of maximum dry density and optimum moisture content of granular material using the vibratory hammer is recommended.
AFRIKAANSE OPSOMMING: Kompaksie is een van die belangrikste prosesse in die konstruksie van die padplaveisel. Dit is nie net waardevol vir die versekering van strukturele integriteit van die materiaal, maar dit het ook 'n invloed op die ingenieurseienskappe en vermoë van die grond materiaal. 'n Swak gekompakteerde materiaal word gekenmerk deur 'n laë digtheid, hoë porositeit, on onvoldoende skuifweerstand. Die kenmerke maak die material vatbaar vir vogen. Lei tot spoorvorming, slaggate, golwe en deurgangs probleme op die pad. Dit is dus uiters noodsaaklik dat veld kompaksie korrek gedoen word. Om hierdie rede, is kompaksie metodes in die laboratorium ontwikkel om sodaend veldkompaksie te simuleer. Die “Mod AASHTO” laboratorium kompaksie toets is die gekose laboratorium kompaksie metode op grond van sy eenvoudigheid en gebruik van minimale toerusting. Vorige studies het egter bevestig dat die “Mod AASHTO”-metode nie veldkompaksie akkuraat kan simuleer nie, veral vir kohesielose materiaal. As gevolg van twee hoofredes; Die Mod AASHTO kompaksiemetode is nie ‘n realistiese en vergelykende simmulering van kompaksie soos dit in die veld gedoen word nie; Die kompaksie metode mag verbrokkeling van die materiaal veroorsaak. Alternatiewe toetse was oorweeg en baie navorsing het gefokus op die gebruik van 'n aangepaste vibrerende hamer. Hierdie studie het onderneem om verskeie relevante toetsfaktore van die vibrerende hamer en hul invloed op die kompaksie en verkrygbare digtheid te bestudeer. Die invloed van hierdie toetsfaktore op kompaksietyd en verkrygbare materiaal digtheid was geassesseer met die doel om 'n kompaksiemetode vir granulêre materiaal te ontwikkel. Vibrerende hammer kompaksietoetse was uitgevoer op G3 hornfels, G4 hornfels en G7 sandsteen materiaal en tot 'n mindere mate herwinde asfalt. Digthede verkry was verwys na die Mod AASHTO kompaksie digtheid. Resultate van die studie het getoon dat die gewig van die stamp voet ‘n merkwaardige invloed het op die verkrygbare kompaksie digtheid. Ander faktore soos voginhoud, frekwensie en raam styfheid het ook getoon om kompaksiedigtheid te beïnvloed met die vibrerende hammer. Benewens was ook getoon dat die toeslaglading geen beduidende invloed het op die verkrygbare kompaksie digtheid nie, maar wel bydrae tot die inperking van die materiaal en verhoed die vertikale terugslag van die hammer. Gebaseer op die resultate en bevindinge was ‘n kompaksiemetode voorgestel wat toets parameters integreer met toetsfaktore en tot volg ideale resultate vir ‘n gegewe kompaksietyd voorsien. Herhaalde kalibrasie toetse het getoon dat die ontwikkelde kompaksiemetode effektief is in die kompaktering van gegradeerde gebreekte klip materiaaltipes (G3 en G4) en moontlik herwanne asfalt. Die toets was nie so doeltreffend op die G7 materiaal nie. Verdere studies op hierdie materiaal (G7) is dus nodig. Addisioneel tot die vorige toets, is bevind dat ‘n vergelykende assesering van die ontwikkelde vibrerende hammer kompaksiemetode in verhouding tot die vibrerende tafel. Die resultate wys dat die vibrerende hammer die vermoë het om toetsmonsters met digthede vergelykbaar met die vibrerende tafel te produseer. Sifanalise voor en na kompaksie het getoon dat verdigting met die ontwikkelde vibrerende hamer kompaksie metode nie lei tot die disintegrasie van die materiaal nie. Gebasseer op die resultate van dié studie was ‘n spesifikasie vir die bepaling van maksimum droé digtheid en optimale voginhoud van granulêre material aangeraai.
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Sibbald, Alan. "Impact hammer testing of masonry sewers". Thesis, University of Edinburgh, 1988. http://hdl.handle.net/1842/14419.
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Loberg, Harmonie Anne Haag. "Hamlet haven : an online, annotated bibliography". University of South Florida, 2002. http://purl.fcla.edu/fcla/etd/SFE0000036.
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Loberg, Harmonie. "Hamlet Haven: An Online, Annotated Bibliography". Scholar Commons, 2002. https://scholarcommons.usf.edu/etd/1524.
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The Challenge: Today a daunting quantity of scholarship relating to Hamlet exists. While databases and electronic catalogues aid research, these directories present a virtual wall of minimal bibliographic data. Sorting through lists still takes eons. Meanwhile, new publications are constantly added to the academic stacks that ever threaten to tumble over.
The Solution: A web site that groups together scholarly publications using similar approaches and treating similar subjects will translate the overwhelming into the maneuverable. The online medium will provide accessibility to everyone--student, research assistant, instructor, scholar--and will guarantee the opportunity to update this resource on a regular basis.
Scope: Listings will span materials published between 1991and 2001. The bibliography will exclude notes, reviews, abstracts, and treatments of theatre and film performances as well as certain forums (e.g., newsletters, bulletins, electronic journals). Scholarship focusing on the Folio/Quartos debate seems relevant but requires specific and technical specialization and will thus be omitted. Pedagogical studies and comparisons of Hamlet to other literary works will also be excluded.
Research: IAC Expanded Academic Index, 1982-1995, IAC Expanded Academic Index, 1996-, and MLA Bibliography databases, as well as Dr. Sara Deats?private bibliography on Hamlet, will be combed for applicable scholarship.
Organization: The bibliography will categorize publications by theoretical approach (e.g., feminism, new historicism) and subject focus (e.g., characters, themes). It will arrange individual works alphabetically by author within each subsection, using the MLA format.
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Wellard, Andrew John. "Robert Hamer and Ealing Studios". Thesis, University of Ulster, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287223.
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Malone, Samuel C. III. "An Actor's Method to Building the Character of Hamlet in The Tragedy of Hamlet, Prince of Denmark". ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2096.
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This thesis will set out to examine the process needed in order to deliver the character of Hamlet as a fully dimensional, complex human being who transcends time periods and class distinctions to connect with any audience of any background. This text will include biographical information about the author, William Shakespeare, as well as historical information about the circumstances and atmosphere surrounding the birth of this play. It will also include information about other performances, which will serve as references for comparison in terms of character development. Included in the scored actor’s script are the Sanford Meisner Techniques of moment-to-moment analysis and actioning as it relates to Konstantin Stanislavski’s system, as well as any additional actor’s notes that may have contributed to character development.
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Sakr, Marwa [Verfasser]. "Women's Hammer Throw : Measurement Information System And Kinetic Energy of Body Segments and Hammer Head / Marwa Sakr". Konstanz : Bibliothek der Universität Konstanz, 2012. http://d-nb.info/102941596X/34.
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Park, Joon Boo. "Computer simulation of the hammer forging process". Ohio : Ohio University, 1986. http://www.ohiolink.edu/etd/view.cgi?ohiou1183145186.
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Hammer, Jan [Verfasser]. "Coherent electron transport in nanostructures / Jan Hammer". Konstanz : Bibliothek der Universität Konstanz, 2010. http://d-nb.info/1017326541/34.
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Hassila, Karlsson Carl Johan. "Tribological testing of top hammer drill buttons". Thesis, Uppsala universitet, Tillämpad materialvetenskap, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-280881.
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In the present work further modifications are implemented to an existing test setup for the evaluation of the wear of cemented carbide drill buttons in rock drilling applications. The test setup has been evaluated in previous diploma works, which has shown that the test successfully mimics the wear seen in rock drilling applications. The new modifications include friction and normal force measurements together with the collection of rock debris. This has been made possible by redesigning the sample holder and by manufacturing equipment making rock debris collection possible. The new modifications to the test setup were evaluated by comparing the wear of three different cemented carbide grades tested against sandstone and granite with two different loads. The data collected from the new modifications were found to be robust with lower than expected spread of data. The coefficient of friction when testing against sandstone was higher than when testing against granite. More adhered material was observed on the wear surface when testing against granite than against sandstone. Load dependence on the wear of the cemented carbide buttons is only seen for the softer cemented carbide grades when testing against sandstone. The wear of the buttons indicates a high dependence on the hardness of the different grades as shouldbe expected. This diploma work has been performed for Sandvik Mining, Rock Tools,a world leading supplier of rock drill equipment.
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Lema, Rodríguez Marcos. "Multiphase fluid hammer: modeling, experiments and simulations". Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209540.
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This thesis deals with the experimental and numerical analysis of the water hammer phenomenon generated by the discharge of a pressurized liquid into a pipeline kept under vacuum conditions. This flow configuration induces several multiphase phenomena such as cavitation and gas desorption that cannot be ignored in the water hammer behavior.The motivation of this research work comes from the liquid propulsion systems used in spacecrafts, which can undergo fluid hammer effects threatening the system integrity. Fluid hammer can be particularly adverse during the priming phase, which involves the fast opening of an isolation valve to fill the system with liquid propellant. Due to the initial vacuum conditions in the pipeline system, the water hammer taking place during priming may involve multiphase phenomena, such as cavitation and desorption of a non-
condensable gas, which may affect the pressure surges produced in the lines. Even though this flow behavior is known, only few studies model the spacecraft hardware configuration, and a proper characterization of the two-phase flow is still missing. The creation of a reliable database and the physical understanding of the water hammer behavior in propulsion systems are mandatory to improve the physical models implemented in the numerical codes used to simulate this flow configuration.
For that purpose, an experimental facility modeling a spacecraft propulsion system has been designed, in which the physical phenomena taking place during priming are generated under controlled conditions in the laboratory using inert fluids. An extended experimental campaign was performed on the installation, aiming at analyzing the effect of various working parameters on the fluid hammer behavior, such as the initial pressure in the line, liquid saturation with the pressurant gas, liquid properties and pipe configuration. The influence of the desorbed gas during water hammer occurrence is found to have a great importance on the whole process, due to the added compressibility and lower speed of sound by an increasing amount of non-condensable gas in the liquid + gas mixture. This results in lower pressure levels and faster pressure peaks attenuation, compared to fluids without desorption. The two-phase flow was characterized by means of flow visualization of the liquid front at the location where the fluid hammer is generated. The front arrival was found to be preceded by a foamy mixture of liquid, vapor and non-condensable gas, and the pressure wave reflected at the tank may induce the liquid column separation at the bottom end. While column separation takes place, the successive pressure peaks are generated by the impact of the column back against the bottom end.
The resulting experimental database is then confronted to the predictions of the 1D numerical code EcosimPro/ESPSS used to assess the propulsion system designs. Simulations are performed with the flow configuration described before, modeling the experimental facility. The comparison of the numerical results against the experimental data shows that aspects such as speed of sound computation with a dissolved gas and friction modeling need to be improved.
Doctorat en Sciences de l'ingénieur
info:eu-repo/semantics/nonPublished
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Records, Nathan D. Beard DeAnna M. Toten. "A director's approach to William Shakespeare's Hamlet". Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5082.
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Lee, John. "Shakespeare's Hamlet and the controversies of self". Thesis, University of Bristol, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.295030.
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Sweeney, Edmund J. "Water hammer transients in two-phase flow". Thesis, Massachusetts Institute of Technology, 1989. http://hdl.handle.net/1721.1/14518.
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Barros, Edlúcia Robélia Oliveira de. "Performances em Hamlet: textualidades, teatralidades e liminaridades". Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/5950.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation is the result of a diverse literature and aims to analyze multiple aspects in the tragedy Hamlet, Prince of Denmark (1600-1601), the Englishman William Shakespeare (1564-1616), as a performative text. To do so, it establishes relationships between this tragedy and some issues discussed on performance studies, specifically theatricality, liminality and textuality. Hamlet’s story is first related to the concept of theatricality as state from the Russian playwright and theater director Nicolas Evreinov (1879-1953), as well as establishes dialogues with the notion of liminality discussed by folklorist and ethnographer Arnold van Gennep German (1873-1957), also with ideas of the Russian thinker Mikhail Bakhtin (1895-1975) about the performance of language, among other notions about performing and human performance practices. Hamlet, the text, appears on the threshold between completeness and movement, between textuality and theatricality, between readings and cultures. It is described and further analyzed Hamlet assembly in Moscow Art Theatre (MAT), one of the famous readings and rewrites the Shakespearean tragedy. A scenic production, which features dialogues and confrontations between text and scene, between Aesthetics, between readings of the tragedy, which express themselves through the collisions between the directors of this performances, the actors and the spectators. Finally comes to aspects of reception of Hamlet.
Essa dissertação é resultante de uma pesquisa bibliográfica diversa e tem por objetivo analisar em múltiplos aspectos a tragédia Hamlet, Príncipe da Dinamarca (1600-1601), do inglês William Shakespeare (1564-1616), como um texto performativo. Para tanto, estabelece relações entre essa tragédia e algumas questões discutidas pelos estudos da performance, especificamente a teatralidade, a liminaridade e a textualidade. A história de Hamlet é relacionada principalmente ao conceito de teatralidade do dramaturgo e diretor teatral russo Nicolas Evreinov (1879-1953), bem como dialoga com a noção de liminaridade discutida pelo folclorista e etnógrafo germânico Arnold van Gennep (1873-1957), e com as ideias do pensador russo Mikhail Bakhtin (1895-1975) acerca da performance da linguagem, dentre outras noções acerca das práticas performáticas e performativas humanas. Hamlet, o texto, é apresentado no limiar, entre a completude e o movimento, entre a textualidade e a teatralidade, entre leituras e culturas. É descrita e analisada ainda a montagem de Hamlet no Teatro de Arte de Moscou (TAM), uma das famosas leituras e reescritas da tragédia shakespeariana. Uma produção cênica que apresenta o diálogo e o embate entre texto e cena, entre estéticas, entre leituras da tragédia que se expressam através das performances do encenador, do ator e do espectador. Finalmente, trata de aspectos da recepção de Hamlet.
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Kihlström, Jessica. "Experimental assessment of fluid hammer prediction algorithms". Thesis, Linnéuniversitetet, Sjöfartshögskolan (SJÖ), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74921.
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Fluid hammer is a problem, which may lead to catastrophic consequences and many engineers have a deficiency in competence when it comes to its prediction. This study´s objective is to assess various fluid hammer prediction models, to evaluate how substantial pressure thrusts would affect a system and to verify the analytical results toward experimental data. The experimental data are collected from a novel experimental rig constituted of tubes, valves and data acquisition (DAQ) equipment. The literature review reveals several algorithms, analytical calculations and items of transient numerical analysis software (simulation software) for this purpose. In this study, the fluid hammer prediction is performed by analytical and numerical analyses using the commercial mathematic software suite Maple 2017. Assessments reveal that the results differed between analytical calculation, simulation and experimental data. The experimental activities yield the lowest pressure thrust magnitude and transient analysis predicted the highest. For the sake of conservative prediction, use of simulation software is recommended.Vätskeslag är ett problem som kan ge katastrofala följder och många ingenjörer saknar kompetens när det handlar om att förutspå det. Målet med denna studie är att utvärdera olika metoder för att utvärdera hur betydande tryckstötarna blir i ett system samt att verifiera analytiska data gentemot ett experiment. Datan för experimentet fås från en testrigg som består av tuber, ventiler och instrumentering. Av litteraturstudien framgår att det finns flertalet algoritmer, analytiska beräkningar och transienta numeriska mjukvaror (simuleringsprogram) till detta syfte. I den här studien värderas och jämförs vätskeslag genom analytiska och numeriska analyser med hjälp av mjukvarupaketet Maple. 2017 Utvärdering av resultaten visar att de varierar med de olika metoderna. Experimentet gav de lägsta tryckstötarna och simuleringarna gav de högsta. Därför rekommenderar jag att för säkerhets skull använda simuleringsprogram.
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Hatab, Hanan Abou. "Arab Shakespeare : six Arab adaptations of Hamlet". Thesis, University of Essex, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.548589.
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Walsh, James Jason JR. "American Hamlet: Shakespearean Epistemology in Infinite Jest". Cleveland State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=csu1409079425.
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Craig, Travis S. "The Reclaimer: Azabon's Hammer, Prologue - Chapter 8". Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1510242979847811.
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Kelfkens, Rex Willem Constantyn. "Vibratory hammer compaction of Bitumin stabilized materials /". Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/1998.
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Gorini, F. M. "SHAKESPEARE AL CINEMA: HAMLET SECONDO KENNETH BRANAGH". Doctoral thesis, Università degli Studi di Milano, 2012. http://hdl.handle.net/2434/173515.
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This thesis focuses on the popularization on film of William Shakespeare’s plays. If the Shakespearean pictures shot in the silent era were more similar to filmed theatre performances than to adaptations, in the 1920s the Bard’s works start to be adapted for the cinema in order to reach a new and wider audience, thus triggering the phenomenon of the popularization of his plays. This process achieves a significant phase in the 1990s thanks to Kenneth Branagh’s adaptations, which cause a revival of the genre. Branagh’s experience is crucial in that he begins his artistic career in the theatre and afterwards takes on the role of actor and film director.
I present two case-studies: In the Bleak Midwinter, directed by Branagh in 1995, and William Shakespeare’s Hamlet, directed and interpreted by Branagh in 1996. They both rework the tragedy of Hamlet but from different perspectives: the former appropriates the anxieties of the Shakespearean characters and transfers them to the members of an eccentric, contemporary theatre company, while the latter adapts the integral version of Shakespeare’s play for the screen. That is why In the Bleak Midwinter is defined as an “appropriation” of Hamlet whereas William Shakespeare’s Hamlet is defined as an “adaptation”.
The relationship between the two screen versions is investigated. The analysis is based on the exploration of their intertextual connections and on the factors which in the two films contribute to the popularization of the source text. Not only does Branagh interpret the popularization of Shakespeare’s Hamlet as a compromise with Hollywood commercial values but he also includes a deep political awareness epitomized by the persistent presence of the Norwegian prince Fortinbras.
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Linda, Nilsson. "Att återge Hamlet : Översättningsnormer och strategier vid teateröversättning". Thesis, Stockholms universitet, Institutionen för svenska och flerspråkighet, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-133981.
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Denna uppsats ämnar göra ett nedslag i svensk teateröversättning för den svenska teaterscenen. Teateröversättning är ett relativt outforskat forskningsfält generellt, men i synnerhet råder det en avsaknad av studier som fokuserar på svenska teateröversättningar. I detta syfte har undersökningen valt att analysera William Shakespeares, Hamlet, genom att analysera ett urval av svenska Hamletuppsättningar och tillhörande metatexter återskapas de strategier och normer som översättaren inkorporerar vid nyöversättning från den engelska källtexten till den svenska måltexten. Tre spelversioner av Hamlet från produktioner i Dramatens regi åren 1974 i översättning av Allan Bergstrand, 1986 i översättning av Britt G. Hallqvist och 2008 i översättning av Ulf Peter Hallberg utgör studiens material. Vidare har en variabelanalys genomförts där variablerna strykning, textindelning, pronominalbruk och bildspråk analyserats, både på makrotextuell nivå och mikrotextuell nivå. Resultatet visar att spelversionerna skiljer sig något åt när det kommer till strategier och textuella normer. Hamlet från 1974 tenderar att vara mer adekvansinriktad medan Hamlet från 1986 och 2008 tenderar att vara mer acceptansinriktade. Studien fann även att ingen av de undersökta spelversionerna lever upp till rådande normer när det kommer till mottagande.This thesis seeks to touch upon Swedish theatre translations produced for the Swedish stage. Theatre translation is generally an relatively unchartered field, but there is particularly a lack of studies focused on Swedish theatre translation. For this reason this thesis has chosen to analyse William Shakespeare’s Hamlet. By analysing a selection of Hamlet productions and corresponding metatexts this thesis recreates strategies and norms incorporated in a retranslation of the English source text into a Swedish target text.Three stage versions of Hamlet, all productions of Dramaten from the years 1974, translated by Allan Bergstrand, 1986, translated by Britt G. Hallqvist, and 2008, translated by Ulf Peter Hallberg, were selected for this purpose. In addition, the following variables where investigated: reduction, textual structure, pronouns and imagery. This analysis was conducted both on a macro texual level and a micro textual level. The study shows that the stage version of Hamlet 1974 tends to be more adequate while the stage versions from 1986 and 2008 tend to be more acceptable when it comes to strategies. The thesis also found that none of the investigated stage versions fulfilled the expectancy norms of the audience.
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Lessard, Bruno. "The mind's I, moral agency in Shakespeare's Hamlet". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ61352.pdf.
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Suratos, Jennifer. "Hamlet, Nora, and the changing form of tragedy". Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/788.
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William Shakespeare’s influence on the genre of tragedy is both powerful and undeniable, while contemporary notions about tragedy have shifted into a modern light through the influence of Norwegian playwright Henrik Ibsen. This study concentrates specifically on Hamlet and A Doll’s House in order to indicate the ways in which ideas of tragedy have evolved. By investigating the effect of religion in Hamlet and the absence of it in A Doll’s House, I will argue that the main shift in tragedy is the loss of God. This thesis examines the transformation of the two heroes throughout the course of their respective plays and, in doing so, identifies the formal features which mark their claims to tragedy. While their processes differ greatly—Hamlet’s transformation is through a super-textual and self-analytic process while Nora’s process is one that emphasizes action over thought—both of their journeys are tied to the crucial and utterly tragic truth that they must face: the breakdown of their family.
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Trowbridge, Caroline W. "'Hammer in hand' : the geology of John Ruskin". Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273447.
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