David Schalkwyk tells the ‘Robben Island Shakespeare' story and explores the representation and experience of imprisonment in South African prison memoirs and Shakespeare's Hamlet.
A nonfiction biography chronicling the life of Ira Aldridge, an African American actor who overcame racism to become one of the greatest Shakespearean actors of the nineteenth century.
This book takes a new approach to Shakespeare’s plays, exploring them as dream-thought in the modern psychoanalytic sense of unconscious thinking. Through his commitment to poetic language, Shakespeare offers images and dramatic sequences that illustrate fundamental developmental conflicts, the solutions for which are not preconceived but evolve through the process of dramatisation. In this volume, Meg Harris Williams explores the fundamental distinction between the surface meanings of plot or argument and the deep grammar of dreamlife, applied not only to those plays known as ‘dream-plays’ but also to critical sequences throughout Shakespeare’s oeuvre. Through a post-Kleinian model based on the thinking of Bion, Meltzer, and Money-Kyrle, this book sheds new light on both Shakespeare’s own relation to the play and on the identificatory processes of the playwright, reader, or audience. Dream Sequences in Shakespeare is important reading for psychoanalysts, playwrights, and students.
This is an invitation to enter the Mid Summer Night's Dream in many levels of analysis and complexity including scientific, ink blot, Marxist and Heidegger's philosophy
This volume bears potent testimony, not only to the dense complexity of Hamlet’s emotional dynamics, but also to the enduring fascination that audiences, adaptors, and academics have with what may well be Shakespeare’s moodiest play. Its chapters explore emotion in Hamlet, as well as the myriad emotions surrounding Hamlet’s debts to the medieval past, its relationship to the cultural milieu in which it was produced, its celebrated performance history, and its profound impact beyond the early modern era. Its component chapters are not unified by a single methodological approach. Some deal with a single emotion in Hamlet, while others analyse the emotional trajectory of a single character, and still others focus on a given emotional expression (e.g., sighing or crying). Some bring modern methodologies for studying emotion to bear on Hamlet, others explore how Hamlet anticipates modern discourses on emotion, and still others ask how Hamlet itself can complicate and contribute to our current understanding of emotion.
Hamlet on the Couch weaves a close reading of Shakespeare’s Hamlet with a large variety of contemporary psychoanalytic and psychological theory, looking at the interplay of ideas between the two. Hamlet can be read almost as a psychoanalytic case study and be used to understand and illustrate a range of core psychoanalytic concepts. Covering such basic psychoanalytic concepts as identity, transference and countertransference, the ‘good-enough’ mother, the compulsion to repeat and the death instinct, James E. Groves shows how Hamlet can shed new light on understanding psychoanalytic theory, and how psychoanalysis can in turn enrich our understanding of Shakespeare’s work. Perhaps the most radical feature of psychoanalysis is its tradition of self-examination. Mirroring it, the book throughout uses an eclectic, subjective critical approach to study how the poetry of Hamlet creates its realistically flawed and believably complex characters. Combining deep, insightful knowledge of Shakespeare and of psychoanalysis, Hamlet on the Couch will be of great interest to psychoanalysts and psychoanalytic psychotherapists, as well as literary scholars.
Shakespearean author and actor Ben Crystal gives a unique introduction to A Midsummer Night's Dream with guidance on what to think about before, during and after you see or study the play.
This novel, originally entitled A Trial of Faith, is an exploration of Shakespeare’s Hamlet in the form of a novel tracing the course of a Kleinian analysis. It is an experiment in literary criticism as much as in fiction, and was written in collaboration with the psychoanalyst Donald Meltzer, who supervised each weekly chapter as it was written, from an analyst’s perspective. The intention was to be faithful to the psychoanalytic process as well as to the aesthetic implications of Shakespeare’s play. The narrator and analyst is Horatio, whom Hamlet in the play asks to “tell his story” – the story of an adolescent break-down. Hamlet as a character invites an unusually close form of identification: as Hazlitt put it, “It is we who are Hamlet.” Horatio’s countertransference as one who is supposed to “suffer all yet suffer nothing” places him in a vulnerable and testing situation that tempts him towards breaches of technique. The novel, like the play (in my view) is structured around a series of dreams that Hamlet recounts to Horatio. Meanwhile the underlying preoccupation with playing-as-reality highlights some intriguing implications of Shakespeare’s own mid-career struggles as a dramatist: concerning the relation between genre, analysand-protagonist and analyst-playwright. The present revised edition of the novel includes a new introduction, some minor changes to the text, and the insertion of more quotations to mark the source of the emotional conflict. Such markers also illustrate the dreamlike and turbulent reading process of writing literary criticism, which entails not the deconstruction but (as was said of Ophelia) the “unshaping” of language in a way that “botches up words to fit the hearer’s own thoughts”. It is for readers to judge whether or not the current botching speaks to their own feelings stirred by Shakespeare’s play and helps to make sense of the reactions aroused in we who are Hamlet.