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| About the Series | ||
| About This Volume | ||
| Pt. 1 | Hamlet: The Complete Text | |
| Introduction: Biographical and Historical Contexts | 3 | |
| The Complete Text | 27 | |
| Note on the Text | 154 | |
| Textual Notes | 156 | |
| Pt. 2 | Hamlet: A Case Study in Contemporary Criticism | |
| A Critical History of Hamlet | 181 | |
| Feminist Criticism and Hamlet | 208 | |
| What Is Feminist Criticism? | 208 | |
| Feminist Criticism: A Selected Bibliography | 215 | |
| A Feminist Perspective: Representing Ophelia: Women, Madness, and the Responsibilities of Feminist Criticism | 220 | |
| Psychoanalytic Criticism and Hamlet | 241 | |
| What Is Psychoanalytic Criticism? | 241 | |
| Psychoanalytic Criticism: A Selected Bibliography | 251 | |
| A Psychoanalytic Perspective: "Man and Wife Is One Flesh": Hamlet and the Confrontation with the Maternal Body | 256 | |
| Deconstruction and Hamlet | 283 | |
| What Is Deconstruction? | 283 | |
| Deconstruction: A Selected Bibliography | 293 | |
| A Deconstructionist Perspective: Hamlet: Giving Up the Ghost | 297 | |
| Marxist Criticism and Hamlet | 332 | |
| What Is Marxist Criticism? | 332 | |
| Marxist Criticism: A Selected Bibliography | 345 | |
| A Marxist Perspective: "Funeral-Bak'd Meats": Carnival and the Carnivalesque in Hamlet | 348 | |
| The New Historicism and Hamlet | 368 | |
| What Is the New Historicism | 368 | |
| The New Historicism: A Selected Bibliography | 377 | |
| A New Historicist Perspective: "Suche Strange Desygns": Madness, Subjectivity, and Treason in Hamlet and Elizabethan Culture | 380 | |
| Glossary of Critical and Theoretical Terms | 403 | |
| About the Contributors | 416 |
| Price | Condition | Delivery | Seller | Action |
| $99.99 | Digital |
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Marsha Kelly
reviewed Hamlet: Prince of Denmark (A Norton Critical Edition) on May 12, 2007 Hamlet: Prince of Denmark (A Norton Critical Edition)
I don't have any earth-shattering insights to share from this most recent of god-knows-how-many readings, but this time through I was struck by:
1) what a damn fine piece of stagecraft this is, from the suspenseful, moody opening on the castle battlements to the solemn dead march carrying the prince offstage, and
2) how Shakespeare seems to want Hamlet's personality--particularly the wellspring of his actions (and lack of action)--to remain an enigma, and that he achieves this by infusing the character with so much of himself--so much wit and poetry, so much despondency and savagery--that the result is that the audience simply bows before the great mystery of human personality, and that this reverence for the unknown lurking in the heart of an extraordinary man intensifies the sense of pity, horror and waste that fills us at the end of the play.
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