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论《哈姆雷特》的不确定性

类型:英语论文 时间:2017年11月14日

IntroductionAfter more than four hundred years since Hamlet was created by WilliamShakespeare, literary criticisms on the tragedy have far superseded the manuscript,and the commentaries on it cover various aspects. Thereby, any critic who wants tostep into the field of reinterpreting Hamlet, which was once compared to the mostsplendid diamond on the crown and which was created at the summit of Shakespeare’sart, must go through the field which has been trampled by the feet of generations ofcontending scholars, whose criticisms and interpretations of the tragedy havetremendously exceeded the script. Yet, man himself, human nature, the meaning ofhuman existence are still the permanent fields that have infinite space for man toexplore, while, these subjects are concerned in this tragedy.Man is a permanent subject that can not be identified rigidly and man neverceases his interest in himself. And the identification of man varies with the changes ofculture and history. Knowing man and self is subjective, while subjectivity is aproduct of a particular culture which in fact shapes us. Culture is dynamic, anyone’sperception of the same object is different. It is true of the interpretation of the playHamlet which involves the basic philosophical issues on man. Critics of different agesstriving to reinterpret the work, in other words, are trying to reinterpret man and selfas well as the physical world.Its enduring vitality derives from its art of thought. Hamlet was created in the lateRenaissance period, so the tragedy mirrors and assembles the thoughts, assumptions,doubts and contemplation of the thinkers of that age. In this play, we can heardifferent voices concerning the same issue. As for each issue concerned in the tragedy,readers can hear tpletely distinct voices arguing, which seem to be uttered indeep contemplation by thinkers who move between two opposite poles. Moreimportantly, readers of different ages can sense the traces of mind in the course ofgrowth and find the route his or her thought has ever followed. Since its introduction,generations of readers, audience and literary critics are fascinated with the art of itslanguage and thought. Up to now, comments, criticisms as well as interpretations onlanguage, flexible image of one character is shaped. Thereby, various interpretationsof the same character come up. For this, E. A. J. Honigamann concludes it is becauseShakespeare adopts “vague impression” skill to shape characters. Even Shakespearehimself o

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