Home Random Page


CATEGORIES:

BiologyChemistryConstructionCultureEcologyEconomyElectronicsFinanceGeographyHistoryInformaticsLawMathematicsMechanicsMedicineOtherPedagogyPhilosophyPhysicsPolicyPsychologySociologySportTourism






Psychoanalytic

In the first half of the 20th century, when psychoanalysis was at the height of its influence, its concepts were applied to Hamlet, notably by Sigmund Freud, Ernest Jones, and Jacques Lacan, and these studies influenced theatrical productions.

Freud suggested that an unconscious oedipal conflict caused Hamlet's hesitations. (Artist: Eugène Delacroix 1844).

In his The Interpretation of Dreams (1900), Freud's analysis starts from the premise that "the play is built up on Hamlet's hesitations over fulfilling the task of revenge that is assigned to him; but its text offers no reasons or motives for these hesitations".[83] After reviewing various literary theories, Freud concludes that Hamlet has an "Oedipal desire for his mother and the subsequent guilt [is] preventing him from murdering the man [Claudius] who has done what he unconsciously wanted to do".[84] Confronted with his repressed desires, Hamlet realises that "he himself is literally no better than the sinner whom he is to punish".[83] Freud suggests that Hamlet's apparent "distaste for sexuality"—articulated in his "nunnery" conversation with Ophelia—accords with this interpretation.[85][86]

John Barrymore's long-running 1922 performance in New York was characterized as "revolutionary in its use of Freudian psychology; in keeping with the post World War I rebellion against everything Victorian, he eschewed the genteel, idealized 'Sweet Prince' of 19th-century tradition, imbuing his character with danger and sexuality."[87]

Beginning in 1910, with the publication of "The Oedipus-Complex as An Explanation of Hamlet's Mystery: Study in Motive,"[88] Ernest Jones—a psychoanalyst and Freud's biographer—developed Freud's ideas into a series of essays that culminated in his book Hamlet and Oedipus (1949). Influenced by Jones's psychoanalytic approach, several productions have portrayed the "closet scene",[89] where Hamlet confronts his mother in her private quarters, in a sexual light. In this reading, Hamlet is disgusted by his mother's "incestuous" relationship with Claudius while simultaneously fearful of killing him, as this would clear Hamlet's path to his mother's bed. Ophelia's madness after her father's death may also be read through the Freudian lens: as a reaction to the death of her hoped-for lover, her father. She is overwhelmed by having her unfulfilled love for him so abruptly terminated and drifts into the oblivion of insanity.[90] In 1937, Tyrone Guthrie directed Laurence Olivier in a Jones-inspired Hamlet at the Old Vic.[91] Olivier later used some of these same ideas in his 1948 film version of the play.

In the 1950s, Lacan's structuralist theories about Hamlet were first presented in a series of seminars given in Paris and later published in "Desire and the Interpretation of Desire in Hamlet". Lacan postulated that the human psyche is determined by structures of language and that the linguistic structures of Hamlet shed light on human desire.[84] His point of departure is Freud's Oedipal theories, and the central theme of mourning that runs through Hamlet.[84] In Lacan's analysis, Hamlet unconsciously assumes the role of phallus—the cause of his inaction—and is increasingly distanced from reality "by mourning, fantasy, narcissism and psychosis", which create holes (or lack (manque)) in the real, imaginary, and symbolic aspects of his psyche.[84] Lacan's theories influenced literary criticism of Hamlet because of his alternative vision of the play and his use of semantics to explore the play's psychological landscape.[84]




Date: 2015-04-20; view: 891


<== previous page | next page ==>
Philosophical | Feminist
doclecture.net - lectures - 2014-2024 year. Copyright infringement or personal data (0.007 sec.)