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The purpose of this article is to present an activity proposal for working with content and form in the 9th grade of Elementary School. For this, we chose the literary work Hamlet (2011), by William Shakespeare and the film Hamlet (1990), by Franco Zeffirelli. From these works, we intend to promote student reading, explore the worldviews present in the works, and analyze whether the change in form, also implies the transformation of the content. As theoretical foundations, the perspective of Historical-Dialectical Materialism guides us. Therefore, from the analysis, we realized the relevance of working with Marxist categories in the classroom in order to improve the understanding of classic literary works., El propósito de este artículo es presentar una propuesta de actividades para trabajar el contenido y la forma en el 9º grado de Educación Primaria II. Para eso, elegimos la obra literaria Hamlet (2011), de William Shakespeare y la película Hamlet (1990), de Franco Zeffirelli, con el fin de promover la lectura de los estudiantes, explorar las cosmovisiones presentes en las obras y analizar si el cambio de forma, implica también la transformación del contenido. Como fundamentos teóricos, nos guiamos por la perspectiva del Materialismo Histórico-Dialéctico. Por tanto, a partir del análisis, nos dimos cuenta de la relevancia de trabajar con categorías marxistas en el aula para mejorar la comprensión de las obras literarias clásicas., O objetivo deste artigo é apresentar uma proposta de atividade para o trabalho com o conteúdo e forma no 9.º ano do Ensino Fundamental. Para isso, elegemos a obra literária Hamlet (2011), de William Shakespeare e o filme Hamlet (1990), de Franco Zeffirelli, a fim de promover a leitura dos alunos, explorar as visões de mundo presentes nas obras e analisar se a mudança na forma, implica também na transformação do conteúdo. Como fundamentos teóricos, pautamo-nos na perspectiva do Materialismo Histórico-Dialético. Logo, a partir da análise, percebemos a relevância de trabalhar com as categorias marxistas na sala de aula visando melhorar a compreensão de obras literárias clássicas.

In the history of Western literary tradition, early modern theatres constituted an important passage for the construction of a different perception of community as well as a different appraisal of legal institutions. In modern playhouses, traditional values were staged, debated, and critiqued. In this paper, I will focus on three Shakespearean tragedies (Hamlet, Macbeth, Romeo and Juliet) that provide relevant insights about the way in which power and legal themes were challenged and questioned. In these plays Shakespeare provided a critical view of what we might call the “mystical foundation of authority.” Shakespeare’s theater is the triumph of rule and exception, of order and disorder, of sacred and profane. As I will show, in Hamlet, Macbeth and Romeo and Juliet, law is always living on the danger of its eclipse and its suspension: the threshold which separates the legal and the illegal, the legitimate and the illegitimate, is then the result of a narrative process of which Shakespeare’s theater provides perhaps the highest example in Western literary culture.

Emerging evidence suggests differential effects of therapeutic antibiotics on infant T cell responses to pathogens. In this study, we explored the impact of the treatment of mouse infants with amoxicillin and the human milk-derived antimicrobial HAMLET (human alpha-lactalbumin made lethal to tumor cells) on T cell responses to Streptococcus pneumoniae. Lung cells and splenocytes were isolated from the infant mice subjected to intranasal administration of amoxicillin, HAMLET, or a combination of HAMLET and amoxicillin, and cultured with S. pneumoniae to measure T cell responses. After in-vitro stimulation with S. pneumoniae, lung cells from amoxicillin- or amoxicillin plus HAMLET-treated mice produced lower levels of Th17 (IL-17A), but not Th1 (IFN-γ), cytokine than mice receiving HAMLET or PBS. IL-17A/IFN-γ cytokine levels produced by the stimulated splenocytes, on the other hand, revealed no significant difference among treatment groups. Further analysis of T cell cytokine profiles by flow cytometry showed that lung CD4+, but not CD8+, T cells from amoxicillin- or HAMLET plus amoxicillin-treated mice expressed decreased levels of IL-17A compared to those from HAMLET-exposed or control mice. Collectively, these results indicate that exposure of infant mice to amoxicillin, but not HAMLET, may suppress lung Th17 responses to S. pneumoniae.

Шекспировские традиции оказали значительное влияние на творчество У.Г. Симмса, представителя литературы и культуры Юга США XIX века, однако проблема «Симмс–Шекспир» пока остается малоисследованной. Между тем, в области обозначенной научной проблемы находится ряд интересных и перспективных направлений, таких как вклад У.Г. Симмса в развитие американского шекспироведения, оригинальные суждения Симмса об образе Гамлета, выраженные им в статье «Моральный характер Гамлета», художественное осмысление драматургических принципов Шекспира в драмах Симмса, создание поэтического образа Шекспира в симмсовской лирике и анализ «прошекспировских» персонажей в романах и рассказах американского романтика, богатейший цитатный материал из наследия Шекспира в произведениях Симмса., The Shakespearean tradition had a significant influence on the work of W. G. Simms, a representative of the literature and culture of the South of the United States in the 19th century, but the "Simms-Shakespeare" problem still remains understudied. Meanwhile, there are a number of interesting and promising areas in the field of the designated scientific issue, such as the contribution of W. G. Simms to the development of American Shakespeare studies, Simms's original judgments on the image of Hamlet, expressed by him in the article "The Moral Character of Hamlet", artistic understanding of Shakespeare's dramaturgical principles in Simms's dramas, creation of the poetic image of Shakespeare in Simms's lyrics and analysis of "pro-Shakespeare" characters in novels and stories of the American romantic, a rich quotation material from Shakespeare's heritage in the works of Simms., Russian Linguistic Bulletin, Выпуск 1 (37) 2023

Le théâtre hante des nouvelles comme I fatali de Igino Ugo Tarchetti, Fausto Bragia et A una bruna de Luigi Capuana, Di là del mare ou Rosso Malpelo de Giovanni Verga. La Somnambule, Phèdre, le roi Lear ou Hamlet sont autant de figures fantomatiques évoquant non pas tant le monde réel du spectacle parlé ou chanté que les scènes intérieures que celui-ci peut susciter – théâtre de la subjectivité où résonnent des mondes parallèles, liés à la mémoire et au trauma., Il teatro visita novelle come I fatali di Igino Ugo Tarchetti, Fausto Bragia e A una bruna di Luigi Capuana, Di là del mare o Rosso Malpelo di Giovanni Verga. La Sonnambula, Fedra, Re Lear o Hamlet appaiono come delle figure fantasmatiche atte ad evocare non tanto il mondo reale dello spettacolo parlato o cantato quanto le scene interiori che questo può suscitare – teatro della soggettività dove risuonano mondi paralleli legati al trauma e alla memoria.

Objective: This study aimed to obtain protein derivatives after treatment of whey proteins with hazelnut oil and olive oil and determined their effects on MCF-7 cells. Materials and Methods: Whey proteins obtained from 6% whey powder were treated with hazelnut oil (HO) and olive oil (OO) at a protein to lipid ratio of 1:10 at 60 ̊C for 120 minutes. The protein derivatives formed with whey protein and HO or OO were applied to MCF-7 cancer cells and healthy fibroblasts. The effects of protein derivatives on cell viability, apoptosis, reactive oxygen species (ROS) production, wound healing, cell cycle phase distribution and cell cycle related proteins Akt and p21(Waf1/Cip1) expressions were investigated. Results: Cell viability decreased significantly after 24 h of incubation with WP:OO. The percentage of apoptotic or necrotic cells varied between 5-10% and no statistically significant effect was observed. There was no statistically significant difference in ROS production and colony formation between controls and WP:HO or WP:OO groups. Treatment of cells with WP:OO for 24 h significantly decreased cell migration compared to the control group. G2/M phase was significantly suppressed in WP:OO group compared to the control group. WP:OO also increased the expression of p21(Waf1/Cip1) significantly when compared with the control group. Conclusion: Our results showed that whey protein derivatives applied to MCF-7 cells are cytotoxic and may be useful in breast cancer treatment.

A constant in the history of film since its inception, William Shakespeare’s Hamlet, Prince of Denmark has been delivered to filmgoers throughout the twentieth and the twenty-first centuries in various adaptation schemata of the three versions of the text available for free interpretation and reprocessing. While Laurence Olivier’s, Franco Zeffirelli’s and Kenneth Branagh’s acclaimed ‘multimodal rewritings’ seem to have acquired critical consensus, tens of other Hamlet films are launched regularly, placing the young Dane’s tragedy in the most unexpected settings or periods of time. A telling example is Gregory Doran’s 2009 filmed theatrical performance, which places Elsinore in a modern-day British society under constant surveillance, probably with a view to transposing the old Elizabethan habits of espionage and control of the population in a manner both accessible and relatable to the contemporary viewer. This paper contends that, by using surveillance devices, such as CCTV or hand-held cameras, and by redesigning King Hamlet’s ghost as the ultimate embodiment of the watchful eye of the (divine?) authority, the film brings to the fore the timelessness of the Shakespearean themes.

Y-a-t-il une spécificité à jouer un personnage de fantôme shakespearien plutôt qu’un personnage de chair et d’os ? À travers une création scénique de la scène 5 de l'Acte I de Hamlet avec trois actrices, nous commençons par creuser cette question en rendant visibles les processus de création et de représentation de l’acteur-spectre et de son fils et en observant comment se construit et évolue l’imaginaire scénique des actrices à partir et en regard des multiples strates de l'écriture shakespearienne. En partant de cette pratique actorale, nous cherchons à décrire comment le matériau que propose Shakespeare à son interprète sédimente en lui et comment s’incarne dans l’acteur une figure désincarnée. Cela nous mènera à une réflexion plus large sur la dimension spectrale de la notion de personnage dramatique qui s’apparente plus à un fantôme qu’à l’être humain avec lequel nous avons coutume de le confondre. Are there specific conditions to consider when playing a Shakespearean ghost character rather than a character of flesh and bone? Through a scenic creation of Act I, scene 5 of Hamlet with three actresses, this discussion probes this very question by making visible the processes of creation and representation of the actor-ghost and his son and by observing how the scenic imagination of the actresses is built and evolves from and in relation to the multiple layers of Shakespearean writing. Starting from actoral practice, this discussion explores how the material that Shakespeare offers his interpreter sediments in him and how a disembodied figure is embodied in the actor. This will lead us to a broader reflection on the spectral dimension of the notion of the dramatic character who is more like a ghost than the human being whom we usually mistake him for.

O presente texto trata do filme “Hamlet”, dirigido por Franco Zeffirelli, em 1990. Uma adaptação da peça de William Shakespeare, que se passa na Dinamarca do século XII. O filme foi significativo pra traçarmos algumas articulações do Édipo e suas variações.

This essay discusses female spectatorship from within Shakespeare’s plays as performed in his lifetime. Several plays such as A Midsummer Night’s Dream, Hamlet or King Lear address the issue of female spectatorship, providing comedic and tragic illustrations of how women reacted to theatrical performances, and how playwrights seemed to address the needs of female spectators. Interpretation of female spectatorship is rendered difficult by the scant evidence pertaining to actual women spectators at the time, pointing to the problem of interpreting how such spectatorship and gendered emotions could be performed and received by Elizabethan and Jacobean audiences. The essay shows that gendered constructs of spectatorship rarely followed accepted norms, and that men were as likely as women to be frightened “out of their wits”. The plays are as fictional as the gendered differences between female and male spectators. Cet article aborde la question des spectatrices à partir de pièces de Shakespeare telles qu'elles ont été jouées de son vivant. Plusieurs pièces, comme Le Songe d'une nuit d'été, Hamlet ou Le Roi Lear, illustrent de manière comique ou tragique la façon dont les femmes réagissent aux représentations théâtrales et comment les dramaturges semblent répondre aux attentes de celles-ci. L'interprétation de la manière dont les spectatrices pouvaient réagir est compliquée par le manque de témoignages de spectatrices réelles de l'époque, ce qui pose le problème de la façon dont cette présence et ces émotions sexuées pouvaient être interprétées par les publics élisabéthains et jacobéens. Cet article montre que les constructions sexuées de spectateurs et spectatrices suivaient rarement les normes établies, et que les hommes étaient aussi susceptibles que les femmes d'être effrayés « à en perdre tous leurs moyens ». Les pièces sont aussi fictives que les différences de genre entre spectateurs féminins et masculins.

Many British productions of Shakespeare’s plays for television have been adapted from stage performances. These stage-to-small-screen adaptations combine theatrical, televisual and cinematic elements in order to reinvent the performances meaningfully on the small screen. This article examines distinctive features of this specific genre of Shakespearean adaptation. Looking at Gregory Doran’s television adaptation of his stage production of Hamlet for the Royal Shakespeare Company (2008), I will discuss the mechanisms of intermediality and the processes of remediation on which it is grounded. Instead of being simply a record of the stage performance, this adaptation is a hybrid form that not only complicates traditional distinctions between theatre and television, but also challenges assumptions that stage-to-small-screen adaptations are secondary and derivative. Várias produções britânicas de peças de Shakespeare para a televisão foram adaptadas de montagens teatrais. Essas adaptações do tipo palco-para-TV exploram elementos teatrais, televisivos e cinemáticos por meio de cuja combinação as performances ganham sentido na telinha. Este artigo investiga traços distintivos desse tipo específico de adaptação shakespeariana. Dando ênfase a uma adaptação televisiva de Hamlet a qual adaptou uma montagem teatral dirigida por Gregory Doran na Royal Shakespeare Company (2008), discutirei os mecanismos de intermedialidade e os processos de remediação a partir dos quais esse Hamlet se constitui. Ao invés de ser simplesmente um registro da performance para o palco, essa adaptação é uma forma híbrida que não apenas complica distinções tradicionais entre teatro e televisão, mas também desafia noções de que que adaptações do tipo palco-para-TV são secundárias e derivativas.

Cinema, unlike other art disciplines, has become a newer means of expression due to the century in which it emerged. This innovation did not create a disadvantage for cinema, but enabled it to reproduce the forms and languages of all disciplines. During this reproduction, cinema created a new language for itself. The emergence of this language has brought a new dimension to the narrative world. Elements such as character, time/space belonging to the narrative world have been transformed. Adaptation cinema has been important to examine this transformation comparatively. Director Aki Kaurismäki, the subject of this article, described the characters that exist in today's world with the adaptation films he made. With the adaptation of Hamlet, he benefited from the image of "Hamlet" formed in the mind of the audience. Thanks to these images, he has made those characters his own. Hamlet is no longer Shakespeare's Hamlet, but Kaurismäki's Hamlet., Sinema, ortaya çıktığı yüzyıl dolayısıyla diğer sanat disiplinlerinden farklı olarak daha yeni bir anlatım aracı olmuştur. Bu yenilik sinema için bir dezavantaj yaratmasının aksine bütün disiplinlerin biçimlerini ve dillerini yeniden üretmesini sağlamıştır. Bu yeniden üretim sırasında sinema kendisine yeni bir dil oluşturmuştur. Bu dilin ortaya çıkışı anlatı biçimlerine yeni bir boyut getirmiştir. Anlatılara dahil olan karakter öğesi ve zaman/mekân öğesi dönüşüme uğramıştır. Uyarlama sineması, bu dönüşümü karşılaştırmalı olarak inceleyebilmek için önemli olmuştur. Bu makalenin inceleme konusunu oluşturan Fin yönetmen Aki Kaurismäki, yazılı dile ait eserlerden sinemaya yaptığı uyarlamalarla yazılı eserlerde var olan karakterleri günümüz dünyasında anlatmıştır. Hamlet uyarlaması ile izleyicinin zihnindeki var olan “Hamlet” imgesinden yararlanmıştır. Bu imgeleri kendi karakterleri haline getirmiştir. “Hamlet”, Shakespeare’in kurguladığı “Hamlet” değil, Kaurismäki’nin kurguladığı “Hamlet” olmuştur.

The article deals the possibility of applying Vladimir Propp’s, basically anthropological idea of “the inverted ritual” to the interpretation of certain plays by William Shakespeare, particularly Hamlet. The said inversion concerns three rituals: the sacrificial ritual, where the passive and obedient victim suddenly rebels, or at least becomes difficult to control (which is the case, for example, of Ophelia in Hamlet); of the initiatory ritual, where the apparently benevolent master of the characters initiation is shown as a monster (which can be exemplified by Claudius, Hamlet’s uncle); and of the matrimonial ritual, where the theoretically loving husband (more rarely wife), or lover, is revealed as a highly malicious and unpredictable creature, an example of which can be Hamlet himself. The article makes use of the work of such critics as G.K. Wilson, Harold Bloom, Vladimir Propp, René Girard, and Mircea Eliade.

To be or not to be, the famous monologue that is very present in the actors’ repertoires, has suffered many changes overtime which either gave us extraordinary moments or it was simply transformed into dialogue, it was fragmented, moved into different acts other than where the author put it. All these changes were based on a directorial vision. In the television theater this scene (and even the whole show) has a different impact due to filming, editing and directorial vision. So the same show that has been watched at the theater it can be different on a television theater. In the performance hall we can watch the show as a whole, we have the chance to focus on a specific actor, on a specific image, which is something that we can lose in the television theater. In the filmed show we only see which is on the tiny screen. From this perspective, I’ve watched the famous monologue, To be or not to be, in some shows that are considered landmarks for this text only to watch it afterwards when has been taken over and edited by television.

It began shortly after William Shakespeare’s death, "Is he really the author of great works?" The debate continues to this day. There are so many libraries out there. Even special societies have been set up to solve this puzzle. In general, why is the authorship of rare tragedies and dramas, unique sonnets and other masterpieces, which are among the golden treasures of world literature, questioned? The more than four hundred different, often contradictory, opinions about Shakespeare’s life and work are explained by the fact that the more famous his works are, the less information about him is preserved. You can get information about his works and personality through this article.

Araştırmanın amacı, Mikhail Bakhtin tarafından roman anlatısında mekân ve zaman ilişkisini kavramsallaştırdığı kronotop olgusunun, uyarlama çalışmalarındaki dönüşümünü incelemektir. Öykünün farklı söylemlerle; tiyatro metninden manga çizgi romanına adaptasyonunda Bakhtin’in kronotop kavramı ile zaman-uzam belirleyiciliğinin değişimi dikkate alınmıştır. W.Shakespear’in ‘Hamlet’ oyunundaki kronotopun ‘Manga Shakespeare: Hamlet’ yapıtındaki kronotopla aynı olmadığı sonucuna varılmıştır. Aynı zamanda manga anlatısındaki yapısal özellikleri de incelenmiştir., The aim of the research is to examine the transformation of the chronotope phenomenon, which was conceptualized by Mikhail Bakhtin in the narrative of the novel, in his adaptation studies. The story with different discourses; Bakhtin's concept of chronotope and the change of time-space determinism were taken into account in the adaptation from the theater text to the manga comic. It was concluded that the chronotope in W.Shakespeare's play 'Hamlet' is not the same as the chronotope in 'Manga Shakespeare: Hamlet'. At the same time, its structural features in the manga narrative were also examined.

This essay considers the long history of abbreviating Hamlet for stage performance, from the early quartos and Folio text through to post-modern productions such as those by Bocsardi Laszlo, by Kelly Hunter, and by Daniel Tyler (all 2015). It wonders what people thought they were cutting when they cut Hamlet;when theatregoers started to desire an uncut Hamlet, and whether they imagined that whole play as the distillation, the average or the aggregate of all its many iterations. It points out that many printed editions down to 1800, which record the cuts and minor verbal modernizations made by stage producers, saw no separation between the play as read and the play as seen, and shows how their cuts are congruent with the play’s own depictions of interruption and abridgement. A perceived gap between the play as seen and the play as studied, the essay argues, emerged only in the nineteenth century, and was then addressed at the turn of the twentieth by ‘purist’ niche productions which either revived strictly the Q1 text or favoured ostentatiously and impractically long conflations of Q2 and F, newly-advertised as ‘uncut’. In our own times, Hamlet has variously been regarded as so well-known as to be cut-proof (as in Laszlo’s production, in which, with even the unspoken lines internalized by the cast, Stanislavskyan characters could be seen to be refusing to speak certain well-known phrases) and thus susceptible of abbreviations which privilege interiority over plot (such as Hunter’s), or as the locus of a cluttered, burdensome heritage -- as in Tyler’s The Hamlet Archive, a site-specific show staged in a library, in which multiple versions of key scenes from the play were performed among an allusive litter of leftover props, styles, film clips and motifs from the play’s multiple reception history. Such productions all suggest that we have arrived at a very late stage in the play’s performance and literary history alike. Este ensaio reflete sobre a longa história de abreviações de Hamlet para acena, desde os primeiros quartos e o texto do Folio até as produções pós-modernas, como as de Bocsardi Laszlo, de Kelly Hunter e de Daniel Tyler (todas de 2015). Coloca em questão o que as pessoas almejavam cortar quando operavam cortes em Hamlet; pondera em que época o público que frequentava o teatro começa a desejar um Hamlet sem cortes, e indaga se a peça em si era considerada como um filtro, um meio termo ou um agregado de todas as suas muitas iterações. Mostra que muitas edições impressas até 1800, que registram cortes e pequenas modernizações verbais feitas pelos produtores de teatro, não viam diferença entre o legível da página e o visível no teatro, e propõe-se a discutir se os cortes em pauta seriam compatíveis com as estratégias de interrupção e abreviação da própria peça. O ensaio argumenta que a percepção de uma fissura entre a peça encenada e o estudo da peça surgiu somente no século XIX, e foi levada em consideração na virada do século XX por produções de nichos “puristas” que revivificaram estritamente o texto do Q1 ou priorizaram ostensivamente as impraticáveis longas conflações do Q2 e F, recentemente anunciadas como versões (sem cortes). Nos nossos dias, Hamlet é tão conhecido que é considerado à prova de cortes (como na produção de Laszlo, na qual, mesmo com as linhas não ditas internalizadas pelo elenco, os personagens stanislavskianos se recusavam a falar certas frases conhecidas) e, portanto, suscetíveis a abreviações que privilegiam a interioridade sobre a trama (como a de Hunter), ou a alocação de uma confusa e fastidiosa herança – como em The Hamlet Archive de Tyler, um espetáculo criado para uma locação específica, organizado em uma biblioteca, na qual várias versões das cenas principais da peça foram encenadas no meio de um lixo alusivo de sobras de adereços, estilos, clipes de filmes e motivos do histórico da recepção múltipla da peça. Todas essas produções sugerem que chegamos a um estágio muito tardio da performance e da história literária da peça. levada em consideração na virada do século XX por produções de nichos “puristas” que revivificaram estritamente o texto do Q1 ou priorizaram ostensivamente as impraticáveis longas conflações do Q2 e F, recentemente anunciadas como versões (sem cortes). Nos nossos dias, Hamlet é tão conhecido que é considerado à prova de cortes (como na produção de Laszlo, na qual, mesmo com as linhas não ditas internalizadas pelo elenco, os personagens stanislavskianos se recusavam a falar certas frases conhecidas) e, portanto, suscetíveis a abreviações que privilegiam a interioridade sobre a trama (como a de Hunter), ou a alocação de uma confusa e fastidiosa herança – como em The Hamlet Archive de Tyler, um espetáculo criado para uma locação específica, organizado em uma biblioteca, na qual várias versões das cenas principais da peça foram encenadas.

Fil: Zampini, Fabián Humberto. Universidad Nacional de Río Negro. Centro de Estudios de la Literatura, el Lenguaje, su Aprendizaje y su Enseñanza - CELLAE. Río Negro; Argentina. Hamlet is the central tragedy of William Shakespeare both because of his location in an intermediate period of his production and because it is perhaps the most daring bet as a playwright, which opens the way for the progression of the great final work. Starting from the critical consideration given to the figure of Hamlet as an emblem of the intellectual who makes hesitation and doubt a characteristic mode of his work. The relevance of the character's university experience at the University of Wittemberg and the expected conflict aroused in him by his return to the primitive warrior environment of the Danish Court will also be examined. In this context, Hamlet's reluctant and delaying attitude in relation to what he assumes as the imperative of revenge will imply the strategic postponement of his execution without renouncing at it, however. In another stage of reflection, this would show that, with Hamlet, Shakespeare, under the facade of a revenge tragedy, would actually be challenging that aesthetic form and the ethical imperative conveyed in it, betting on a significant deconstruction of the genre. Hamlet es la tragedia central de William Shakespeare tanto por su localización en una zona intermedia de su producción como por constituirse en su apuesta acaso más osada como dramaturgo, la cual abre el camino para la progresión de sus grandes obras finales. Partiendo de la consideración crítica otorgada a la figura de Hamlet en tanto emblema del intelectual que hace de la vacilación y la duda un modo característico de su obrar, se examinará la relevancia de la experiencia universitaria del personaje en la Universidad de Witemberg y el previsible conflicto en él suscitado por su retorno al primitivo ambiente guerrero de la Corte danesa. En ese marco, la actitud renuente y dilatoria de Hamlet en relación con lo que asume como el imperativo de la venganza, implicará la posposición estratégica de su ejecución sin renunciar, no obstante, a ella. En otro estadio de la reflexión, ello evidenciaría que, con Hamlet, Shakespeare, bajo la fachada de una tragedia de venganza, estaría en realidad impugnando esa forma estética y el imperativo ético vehiculizado en ella, apostando a una significativa deconstrucción del género.

HAMLET is a protein‐lipid complex with a specific and broad bactericidal and tumoricidal activity, that lacks cytotoxic activity against healthy cells. In this study, we show that HAMLET also has general immune‐stimulatory effects on primary human monocyte‐derived dendritic cells and macrophages (Mo‐DC and Mo‐M) and murine RAW264.7 macrophages. HAMLET, but not its components alpha‐lactalbumin or oleic acid, induces mature CD14low/–CD83+ Mo‐DC and M1‐like CD14+CD86++ Mo‐M surface phenotypes. Concomitantly, inflammatory mediators, including IL‐2, IL‐6, IL‐10, IL‐12 and MIP‐1α, were released in the supernatant of HAMLET‐stimulated cells, indicating a mainly pro‐inflammatory phenotype. The HAMLET‐induced phenotype was mediated by calcium, NFκB and p38 MAPK signaling in Mo‐DCs and calcium, NFκB and ERK signaling in Mo‐M as inhibitors of these pathways almost completely blocked the induction of mature Mo‐DCs and M1‐like Mo‐M. Compared to unstimulated Mo‐DCs, HAMLET‐stimulated Mo‐DCs were more potent in inducing T cell proliferation and HAMLET‐stimulated macrophages were more efficient in phagocytosis of Streptococcus pneumoniae in vitro. This indicates a functionally activated phenotype of HAMLET‐stimulated DCs and macrophages. Combined, we propose that HAMLET has a two‐fold anti‐bacterial activity; one inducing direct cytotoxic activity, the other indirectly mediating elimination of bacteria by activation of immune cells of the myeloid lineage., HAMLET, a human milk protein‐lipid complex induces a pro‐inflammatory phenotype of macrophages and dendritic cells, resulting in augmented release of inflammatory mediators, stimulation of T‐cell proliferation and phagocytosis of pneumococci. We propose that HAMLET's anti‐bacterial activity is two‐fold; one directly bactericidal and the other mediated by activation of myeloid cells.

Having been inspired by William Shakespeare’s Hamlet – a drama where both a ghost and a worm find their shelter – the author discusses contacts, interactions relations, and interdependence between human and non-human animals. During the investigation of his father’s “unnatural death,” Hamlet becomes aware of many natural phenomena, including organic cycle (in which worms play a crucial role). Although worms are culturally insignificant, they are significant organisms for ecosystems. As recyclers and fertilizers, they have real impact on ecosystem’s condition and equilibrium. The author exploits contemporary scientific knowledge to identify worms (mentioned in the play) by naming specific invertebrates in accordance with valid taxonomy. To refer to non-human Others, an innovative word – ‘The BioDiverse’ – is proposed. Additionally, Hamlet becomes an inspiration to reflect upon old and new funeral eco-practices, as well as the author’s future funeral – its place and form. The article is written from an ecocritical perspective.

This article discusses the performance of Hamlet that premiered at Teatr Wielki [Grand Theater] in Warsaw on 24th March 1871. Produced as part of the celebrations of Helena Modrzejewska’s achievement, it is regarded as an important chapter in the history of Warsaw theater in the second half of the 19th century. The author separates historical documents dating from the period in question from later interpretations in order to complicate and problematize the image of this legendary staging created by Józef Szczublewski in the 1960s. Research using archive materials enables a discussion of the instability of facts, the mechanism of creating theater legends, and the dilemmas concerning the description and evaluation of historical phenomena. An important part of the historiographic analysis undertaken in the article is also to problematize the tension between a literature-oriented and theater-oriented approach to studying theater history.

Literature, art, philosophy, cinema are affected deeply from one of the most effective theatre of Shakespeare’s Hamlet. Hamlet is very important starting text by questioning the terms like melancholia, suicide and death, awakening of an individual from history, freeing from social norms and the desperate feeling against extinction. Likewise, in the Babylonian story, it is tied up with murder of brother, hate and love to a mother and father, vengeance against betrayal; basic principles of literature is shown in this novel as a matter of fact. It has become a subject of making references. With the differences of centuries, Ian McEwan’s new Hamlet, which is created in his “Nutshell” novel, is this research’s subject. McEwan’s last Hamlet is analyzed by examples from history, mythology, literature and the history of cinema. In the study, the effect of Hamlet on Turkish writers like Peyami Safa, Oguz Atay and examples from world writings are tackled in a separate section. The common points between Ian McEwan’s and Shakespeare’s text are defined in the sections of “Crime and Snake” and “Birth”. In the “Cinema Adaptations” section, it is underlined that Hamlet has an important effect not only on the literature but also on the other arts. This study handles the two different works- Hamlet and Nutshell- from two different periods and tackles the similarities of these two works. Additionally, it is displayed that Hamlet is artistically versatile and effective.

This is the second of a pair of articles addressing the relationship between Dostoevsky’s novella Notes from the Underground and Shakespeare’s Hamlet. The first article considered the similarities between the two texts, using David Magarshack’s 1968 English translation of the Notes, before discussing the wider phenomenon of Hamletism in nineteenth-century Russia. In this article, the author focuses on the problem of translation, identifying a handful of instances in the Magarshack translation that directly ‘insert’ Shakespeare, and Hamlet in particular, into Dostoevsky’s text. It is argued that these allusions or citations overdetermine the English reader’s experience of Shakespeare-and-Dostoevsky, or Shakespeare-in-Dostoevsky. Returning to the question of Shakespeare’s status in Europe in the nineteenth century, the article concludes with a critique of Shakespearean ‘universality’ as it manifests through the nuances of translation.

Dijital platformların ortaya çıkmasıyla birlikte üretilmeye başlayan tek sezonluk diziler, televizyon dizilerine kıyasla bölüm bekleme sınırlarını kaldırması ve bölüm sürelerinin daha kısa olması gibi özelliklerle ön plana çıkmaya başlamıştır. Ayrıca bu dizilerin, televizyon dizilerine oranla daha kaliteli sinematografi, etkili oyunculuk ve özenli çalışılmış hikâyeler barındırması gibi pozitif özellikleriyle seyircinin dijital mecralara yönelmesine sebep olduğu düşünülmektedir. Öte yandan bireyler arasında seri bir şekilde yayılan bu tüketim alışkanlığı, kendi toplumsal çevreleri içerisinde aktif rol oynamak isteyen kullanıcılar tarafından aşırı izleme motivasyonunun da etkisiyle hızlı tüketim nesnesine dönüşmektedir. Tüm bunların yanında kamu otoritesi kontrolünden bağımsız içeriklerin de bu mecraların içerisinde yer almaya başlaması, çeşitli gelişmelere yol açmaktadır. Bu metinde yeni medya araçlarından olan dijital platformların içerisindeki tek sezonluk dizileri televizyon dizilerinden ayıran farklılıklar ve bu farklılıkların ortaya çıkışını incelemek amaçlanmaktadır. Bu amaç doğrultusunda betimsel içerik analizi yöntemi kullanılarak Türkiye’de yer alan dijital platform dizileri ve televizyon dizileri incelenmiş olup, dijital platformların ortaya çıkmasına olanak sağlayan teknolojik gelişmeler araştırılmıştır. Gain isimli dijital platformun tek sezonluk dizisi olan Hamlet dizisi bağlamında tüm bilgiler analiz edilmektedir. Bu çalışmanın sonucunda, genel yargılara varılmadan tek sezonluk dizilerin içerik ve biçim bakımından televizyon dizilerinden farklı bir yapıya sahip olduğu ve bu sebeple daha sık tüketiciyle buluşarak yaygınlaşmaya başladığı saptanmaktadır.

Dans sa conférence de 2014 à Londres, le metteur en scène allemand Thomas Ostermeier fait de la question initiale d’Hamlet : « Who’s there? » le leitmotiv de sa dramaturgie, « une sorte de fil rouge de [s]on approche de l’œuvre de Shakespeare, et même de son appréhension des raisons qui, de manière générale, [l]e poussent à faire du théâtre ». Thomas Ostermeier rappelle que, pour répondre à cette question, Shakespeare crée une situation doublement théâtrale où les personnages se mettent eux-mêmes en scène, car ils sont forcés d’avancer masqués pour découvrir qui sont les autres, et finalement, « qui est là », dans leur propre corps. Le projet shakespearien métathéâtral devient chez Ostermeier un véritable axe de recherche, un moyen de (re)penser le théâtre qui irradie l’ensemble de son œuvre. Il s’agirait donc ici d’analyser comment le metteur en scène, dans un geste esthétique radical, déterritorialise l’objet Shakespeare pour (re)penser le théâtre et son rapport à la société en en révélant la force politique conjuguée au présent sur la scène contemporaine. In a lecture given in London in 2014, the German theatre director Thomas Ostermeier presented the question opening Hamlet — “Who’s there?” — as the cornerstone of his dramatic practice, “a headline to [his] approach of Shakespeare’s work, and even further, to why we make theatre at all”. According to Thomas Ostermeier, Shakespeare answers this question by creating a metatheatrical situation in which characters become performers of their own roles as they are forced to wear a mask in order to discover who the others are and eventually “who’s there”, in their own body. Ostermeier turns Shakespeare’s metatheatrical endeavour into a real line of research and a means of redefining his conception of theatre which reverberates through all his projects. My objective will therefore be to analyse how the director’s radical aesthetic move deterritorialises the Shakespearean object to reappraise theatre and its relation to society thereby revealing it as a political force playing out in the present on the contemporary stage.

Estudiamos Amleto (1976) de Gianni de Luca, versión en historieta de la obra de Shakespeare, a partir de las propuestas formuladas por Genette (1989), con el propósito de precisar las transformaciones que se producen en la adaptación y sus implicaciones semánticas. Si bien algunos cambios en la versión derivada provienen de la trasposición inter-semiótica de signos verbales a figurativos y de la traducción interlinguística, otros derivan del tipo de receptor al que estaba destinada la adaptación, a la retórica y modalidades expresivas de la misma, pero también de las soluciones gráficas innovadoras introducidas. El estudio nos permite identificar la especificidad de esas modalidades, precisar las innovaciones, así como materiales intertextuales y elementos culturales que se han incorporado al hipertexto gráfico-narrativo., We study Hamlet (1976) by Gianni de Luca, a comic version of Shakespeare’s work, based on the proposals made by Genette (1989), with the purpose of specifying the transformations that occur in the adaptation and their semantic implications.Although some changes in the derived version come from the intersemiotic transposition of verbal to figurative signs and from the interlinguistic translation, others derive from the type of receiver for which the adaptation was intended, from its rhetoric and expressive modalities, but also from the innovative graphic solutions. The study allows us to identify the specificity of these modalities, specify the innovations, as well as intertextual materials and cultural elements incorporated into the graphic-narrative hypertext.

The repeated delays in Hamlet's revenge make him labeled as a melancholy philosopher, and the reason for his delay has long been explored, especially it has been held that the tragedy is due to the protagonist’s irresolute character. With the Ethical Litrary Criticism, a new literary critical approach, this article has made a new elaboration on the key plot of delay in the play. This paper argues that Hamlet's procrastination stems from the different ethical identity predicaments when he is faced respectively with Claudius, Gertrude, and Ophelia. These predicaments imply the dilemmas of order, friendship, love and justice the playwright’s society suffered from, and such dilemmas and predicaments still exist even in the world nowadays. It is significant for us to eliminate them effectively. The process of Hamlet's revenge is the process of getting rid of these social and ethical dilemmas and the process of building a new world. It is concluded that the ethical order is fundamental for the construction of order, friendship, love, and justice., Своим неоднократным откладыванием мести Гамлет заслужил титул меланхоличного философа, а причина тому продолжает исследоваться, и мнения сходятся в том, что трагической развязке послужила нерешительность главного героя. С позиции этической литературной критики, нового направления мысли, данная статья представляет новую трактовку этой нерешительности в пьесе. Данная работа предлагает взгляд, согласно которому, прокрастинация Гамлета проистекает из кризиса этической идентичности, когда ему приходиться столкнуться с Клавдием, Гертрудой и Офелией. Это положение подразумевает дилеммы порядка, дружбы, любви и справедливости, от которых страдает описанное в пьесе общество, и которые до сих пор существуют и в современном мире. Важнейшей задачей представляется их эффективное искоренение. Процесс мести Гамлета — это также и процесс избавления от этих социальных и этических дилемм, процесс построения нового мира. Сделан вывод, что порядок этический является фундаментальным для создания порядка общественного, дружбы, любви и справедливости., Международный научно-исследовательский журнал, Выпуск 5 (119) 2022, Pages 103-107

Human milk is a popular treatment method applied as a traditional, natural pharmacotherapy that has been going on for many years in many societies. Due to its low cost, widespread and easy use, and lack of undesirable effects, breast milk also has the potential to play a role in evidence-based treatment for tertiary people as well as infant and maternal health. Scientific databases were searched for Literature search from January 1995 to December 2021, including Ovid, PubMed, Google Scholar, Science Direct, ResearchGate, Web of Science Core Collection (Clavirate), and a total of 45 articles from 142 articles written in English were included in the study. According to the results of the current studies reviewed, there is a general conclusion about the positive effects of human milk in the treatment of tertiary persons in addition to the prevention and treatment of common maternal and infantile diseases. Human milk can be used as a different alternative in further studies, especially based on anti-tumoral and cancer studies. In addition, an accessible, safe, and suitable alternative treatment for the treatment of allergic skin and mucous tissue damage in infants and mothers may be suitable for societies with limited access to treatment.

This paper revisits the familiar territory of Shakespeare’s use of Montaigne but from an unfamiliar angle: the playwright’s apparent ‘translation’ of several passages from the _Essais_ into stage business and scenic effects, notably in _Hamlet_, _The Winter’s Tale_ and _The Tempest_. In this respect, as in others, Florio tends to emerge as a mediator. Certain of the first English translator’s interpretations and elaborations, even occasionally his typographical highlighting (in the original edition), amount to ‘hints’ that the playwright seems to have taken up to invent onstage action or deepen its thematic resonance. At the same time, the dramatic qualities of the original are further highlighted by way of a realised potential for mise en scène. The process of translation is thereby confirmed as a double one -- first to Florio's page, then to Shakespeare's stage--and extended to the dramatic medium as such.

Поступила в редакцию: 16.11.2021. Принята к печати: 07.04.2022. Submitted: 16.11.2021. Accepted: 07.04.2022. Статья посвящена вопросу экранизации литературного произведения, которая рассматривается как «интерсемиотический перевод» (термин Р. О. Якобсона). Исследования в области экранизаций как минимум два десятилетия переживали за рубежом настоящий бум. В последние годы рост интереса к этой теме наблюдается и в нашей стране, о чем свидетельствует даже беглое знакомство с выходящими в свет статьями, монографиями и диссертациями, авторы которых подходят к проблеме экранизации с позиций широкого спектра наук: киноведения, лингвистики, философии, социологии, литературоведения и т. д. Вместе с тем, вопрос о том, может ли экранизация литературного текста рассматриваться как перевод, по-прежнему является дискуссионным. В статье предлагается рассмотреть с этой точки зрения две экранизации трагедии Шексира «Гамлет»: Т. Ричардсона (1969), Ф. Дзеффирелли (1990), в которых режиссеры отказались от традиционной трактовки пьесы, сложившейся к этому времени в театре и кинематографе, но не стали переносить действие в другую эпоху. Сравнительный анализ исполнения в двух фильмах монолога Гамлета как ключевого момента внутреннего конфликта главного героя демонстрирует, что несмотря на то, что оба режиссера приводят текст монолога без изменений, его трактовка претерпевает серьезные трансформации. Кино, благодаря своей мультимодальности, задействует помимо слова звуковые и визуальные образы, за счет которых происходит перекодирование смыслов. Причем процесс этот сродни перекодированию текста средствами другого языка, который осуществляется во время перевода в его классическом понимании. This article examines film adaptation of a literary work, which is regarded as an “intersemiotic translation” (R. O. Jakobson’s term). Research in the field of film adaptations has experienced a real boom abroad for at least the last two decades. In recent years, one can notice an increase in interest in this topic in Russia as well. This is evidenced by even a cursory acquaintance with newly written articles, monographs, and dissertations, whose authors approach the problem of film adaptation from the standpoint of a wide range of research fields: film studies, linguistics, philosophy, sociology, literary criticism, etc. At the same time, the question of whether an adaptation of a literary text can be regarded as a translation is still debatable. Employing this point of view, this article proposes to consider two adaptations of Shakespeare’s tragedy Hamlet: by T. Richardson (1969) and by F. Zeffirelli (1990), where the directors abandoned the traditional interpretation of the play in the theatre and the cinema but did not choose to transfer the action to a different epoch. A comparative analysis of the performance of Hamlet’s monologue as a key moment of the protagonist’s internal conflict demonstrates that even though both directors keep the text of the monologue unchanged, its interpretation undergoes serious transformations. Due to its multimodality and in addition to the word, cinematography uses sound and visual images. These extra artistic means which cinematography has at its disposal offer a recoding of meanings akin to transcoding a text by means of another language, characteristic of translation in its classical sense. Статья подготовлена по результатам проекта «Перевод и трансфер: западная литература в зеркале русской культуры (XVII–XXI вв.)» при поддержке фонда «Гуманитарные исследования» ФГН НИУ «Высшая школа экономики» в 2022 г. This work was supported by the Humanitarian Research Foundation of the Faculty of the Humanities, HSE University in 2022, Project “Translation and Transfer: Western Literature in the Mirror of Russian Literature”.

Hamlet je jednou z nejdiskutovanějších a nejoblíbenějších Shakespearových her. Recepce Hamleta je stejně dlouhá jako jeho jevištní historie. Svou cestu si našel i do plzeňských divadel. Cílem tohoto článku je vysledovat recepci inscenací Hamleta, které se v Plzni hrály od otevření nového Městského divadla v roce 1902. První část čerpá z řady dobových divadelních recenzí a kritických komentářů a druhá část vychází z autorovy estetické zkušenosti. Článek se dále pokouší zjistit, jak režijní záměry a volby spolu s konkrétními hereckými strategiemi formovaly dané shakespearovské inscenace. Hamlet is one of Shakespeare’s most widely discussed and popular plays. Its reception history is as long as its stage history. It also found its way to Pilsen theatres. The aim of this article is to trace the reception of the productions of Hamlet that have been staged in Pilsen since the opening of the new Municipal Theatre in 1902. The first part draws on a range of period theatre reviews and critical commentaries, whereas the second part is based on the author’s aesthetic experience. The article furthermore attempts to find out how directorial intentions and choices, along with particular acting strategies, shaped the Shakespearean productions in question.

In the series Twin Peaks, Mark Frost, David Lynch and others create a mythological framework structured by and filtered through Shakespeare in a postsecular exploration of the posthuman. Twin Peaks exemplifies a cultural postsecular turn in its treatment of the posthuman, taking the religious and spiritual perspectives to new —and often extreme—heights in its use of Kabbalah and other traditions. Twin Peaks involves spiritual dimensions that tap into other planes of existence in which struggles between benign and destructive entities or forces, multiple universes, and extradimensional, nonhuman spirits question the centrality of the human and radically challenge traditional Western notions of being. Twin Peaks draws from Shakespeare’s expansive imagination to explore these dimensions of reality that include nonhuman entities—demons, angels, and other spirits—existing beyond and outside of fabricated, human-centered worlds, with the dybbuk functioning as the embodiment of the postsecular religious posthuman.

No Brasil do século XIX, William Shakespeare foi recebido e aceito com apreço pelos leitores, críticos, teatrólogos e escritores que, por sua vez, apropriaram-se de passagens inesquecíveis, citando-as em suas produções. Esta pesquisa se vincula à literatura comparada e almeja mostrar um panorama das citações a Hamlet que se observam na obra de Álvares de Azevedo (1831 - 1852), poeta da segunda geração romântica brasileira, a fim de relacioná-las aos temas abordados pelo jovem escritor, descobrindo o porquê e para quê foram mencionadas em seus textos. Ademais, abordam-se estudiosos que notaram a presença do gênio inglês no poeta romântico, tais como Gomes (1961), Prado (1996), Assis (2000), Cândido (2000), Monteiro (2000), Romero (2000), Stegagno-Picchio (2000) e Amaral (2006). A partir de uma análise qualitativa, vários textos foram analisados, buscando similitudes e contrastes entre os autores, verificando como ocorreu a assimilação azevediana. Dessa forma, apresentam-se as menções mais explícitas como as citações diretas de versos, indiretas de cenas e personagens.

A constant in the history of film since its inception, William Shakespeare’s Hamlet, Prince of Denmark has been delivered to filmgoers throughout the twentieth and the twenty-first centuries in various adaptation schemata of the three versions of the text available for free interpretation and reprocessing. While Laurence Olivier’s, Franco Zeffirelli’s and Kenneth Branagh’s acclaimed ‘multimodal rewritings’ seem to have acquired critical consensus, tens of other Hamlet films are launched regularly, placing the young Dane’s tragedy in the most unexpected settings or periods of time. A telling example is Gregory Doran’s 2009 filmed theatrical performance, which places Elsinore in a modern-day British society under constant surveillance, probably with a view to transposing the old Elizabethan habits of espionage and control of the population in a manner both accessible and relatable to the contemporary viewer. This paper contends that, by using surveillance devices, such as CCTV or hand-held cameras, and by redesigning King Hamlet’s ghost as the ultimate embodiment of the watchful eye of the (divine?) authority, the film brings to the fore the timelessness of the Shakespearean themes.

This chapter explores a relationship between the evolution of Shakespeare's generic practice, beginning around 1600, and his familiarity with the _Essays_, notably in the translation by John Florio. In particular, Shakespeare's plays begin to combine comic and tragic elements, considered as opposites in classic theatrical theory, so as to reflect a more Montaignean vision, which presents human experience as intrinsically mingling joy and sorrow. In these terms, the essay "Nous ne goustons rien de pur", translated by Florio as "We taste nothing purely", assumes capital importance. After taking up _Hamlet_ and the last formal comedies, the discussion concentrates on the final tragi-comedies, especially , _The Winter’s Tale_, whose profound synthesis of joy and sadness is considered in relation to several essays, especially "De trois bonnes femmes" ("Of three good women"), by way of some highly specific yet hitherto unnoticed echoes and allusions., Ce chapitre développe un rapport entre l’évolution de la pratique générique de Shakespeare à partir de 1600 et sa connaissance des _Essais_. En particulier, ses pièces commence à combiner des éléments comique et tragique, considérés comme opposés dans la théorie théâtrale classique, pour refléter un vision plutôt montaignienne qui présente l’expérience humaine comme composée intrinsèquement de joie et de tristesse. De ce point de vue, l’essai « Nous ne goustons rien de pur », traduit par Florio comme « We taste nothing purely », prend une importance capitale. Après avoir abordé _Hamlet_ et les dernières comédies formelles, la discussion se concentre sur les tragi-comédies, et surtout _The Winter’s Tale_ (Le conte d’hiver), dont la synthèse profonde de joie et de tristesse est mis en rapport avec quelques essais, et notamment «De trois bonnes femmes» (Of three good women), à travers des échos et allusions assez spécifiques mais inattendus.

This article fuses a survey of the play’s most important standard interpretations with those aspects which may be considered particularly fascinating about this text: the conflict of England’s catholic past with the rise of protestant culture in the early modern period; the meta-dramatic dimension of the play; the theatricality of Renaissance court life; the play’s reflection of the emerging modern subject triggered off by the rise of reformation discourse. To elucidate some aspects which tend to be overlooked in the scholarly discussion of Hamlet, the article will bring two important topics into focus: the courtly discovery of perspective and the dying Hamlet’s request to tell his story to the afterworld at the end of the play.

Frozen storage is necessary to preserve expressed human milk for critically ill and very preterm infants. Milk pasteurization is essential for donor milk given to this special population. Due to these storage and processing conditions, subtle changes occur in milk nutrients. These changes may have clinical implications. Potentially, bioactive complexes of unknown significance could be found in human milk given to preterm infants. One such complex, a cytotoxic α-lactalbumin-oleic acid complex named “HAMLET,” (Human Alpha-Lactalbumin Made Lethal to Tumor cells) is a folding variant of alpha-lactalbumin that is bound to oleic acid. This complex, isolated from human milk casein, has specific toxicity to both carcinogenic cell lines and immature non-transformed cells. Both HAMLET and free oleic acid trigger similar apoptotic mechanisms in tissue and stimulate inflammation via the NF-κB and MAPK p38 signaling pathways. This protein-lipid complex could potentially trigger various inflammatory pathways with unknown consequences, especially in immature intestinal tissues. The very preterm population is dependent on human milk as a medicinal and broadly bioactive nutriment. Therefore, HAMLET’s possible presence and bioactive role in milk should be addressed in neonatal research. Through a pediatric lens, HAMLET’s discovery, formation and bioactive benefits will be reviewed.

We are both fortunate and burdened to be discussing here one of the most famous archaeological districts of the world: the central Mesa Verde region of southwestern Colorado, USA. Fortunate, because generally good preservation and visibility of the archaeological record, the possibility of tree-ring dating and climate reconstruction based on tree rings and pollen, and a long history of intense investigation combine to provide a well understood, finely resolved dataset. Burdened, because so mu...

Dazai Osamu is recognized as the classic of modern Japanese literature and one of the most outstanding authors of I-novel (watakushi sho:setsu) genre. Like Shiga Naoya and Kobayashi Hideo, Osamu was trying to find some new literature plots to express his usual existential experiences, so he used some classical Western stories quite often. Dazai took Shakespeare’s ‘Hamlet’ for his story and managed to reverse a lot of original plot details and also managed to create some kind of literature phenomenon which can be called ‘I-closet drama’ (‘confessional’ closet drama). This publication is dedicated to the analysis of literature features of Osamu’s play in the wide context of comparison with the classical Western story and in the specific context of ‘confessional’ features of Dazai Osamu’s literature art. As Okuno Takeo was noticing, ‘New Hamlet’ has more common features with the original story than any other adaptation: the plot and main characters are almost the same. But the image of the ‘new’ Hamlet is personifying all of the philosophical and personal issues which are one of the key points of Osamu’s literature: inability of self-determination, the problem of ‘buffoonery’ as the only way of communication with the world, the problem of suspiciousness and complete lack of trust for people. Unlike Shakespeare’s ‘slow’, ‘hesitant’ and ‘spineless’ Hamlet who finds the reasons of his philosophical dissonance in inability of ‘tuning’ the reality under his moral principles, Dazai’s ‘new Hamlet’ did not even try to ‘tune’ the reality: the only and the most important problem for him was his own personality, his own ‘I’. Any changes in the world around him seemed totally impossible. He thought his main ‘mission’ was being a clown, using the buffoonery which, as Kamei Katsuichiro points, is one of the main ways of ‘serving people’ and also the only possible way to love them. In other words, the portrait of Osamu’s ‘new’ Hamlet continues the gallery of typical ‘anti-hero’ portraits of the writer’s art. Many critics pointed that these ‘anti-heroes’ are nothing else but some kind of confessional expression of Dazai’s true feelings and personal issues. But, in the opinion of Ando Hiroshi and Kamei Katsuichiro, the main ‘confessional’ concept of Osamu’s literature is actually a deliberate falsification based on the metamorphose of the writer’s multiple literature ‘I’.

Con el fin de explorar los aportes de Kierkegaard a la teoría literaria en conexión con la filosofía, este estudio aborda dos cuestiones: el modo específico como Goethe introduce en Los años de aprendizaje de Wilhelm Meister el drama shakesperiano Hamlet, como una forma paradigmática del Bildungsroman. Este antecedente permite valorar la propuesta de Kierkegaard sobre lo que denominó “ironía dominada”, en la cual Shakespeare tiene también un papel relevante. Mi objetivo es hacer una lectura de Hamlet, no exhaustiva pero sí detallada, desde los rasgos más específicos de la ironía kierkegaardiana. / In order to explore Kierkegaard’s contributions to literary theory in connection with philosophy, this study addresses two issues: how Goethe introduces Wilhelm Meister’s Apprenticeship into the Shakespearean drama Hamlet, as a paradigmatic form of the Bildungsroman. This background allows us to assess Kierkegaard’s proposal on what he called “Irony as a Controlled Element” in which Shakespeare also plays an important role. My objective is to present a reading of Hamlet, not exhaustive but detailed, from the most specific features of the Kierkegaardian irony.

Man Ray’s series of paintings entitled Shakespearean Equations remains largely unknown even today, despite the artist’s fame. Perhaps that is partly because, like many Surrealist works, it so stubbornly resists interpretation; it is difficult to even grasp what one is looking at. The paintings depict mathematical models and their only Shakespearean characteristics are their titles, taken directly from Shakespeare’s canon. Nevertheless, I argue that a fruitful analysis is possible by understanding the pictures in relation to Shakespeare’s texts, the reception of Shakespeare in the twentieth century, and the reception of non-Euclidean geometry in artistic circles at the time. My study thus hinges on an assessment of the context in which Man Ray produced these works. But it also takes a closer look at two paintings in the series, uncovering the textual and pictorial sources they reference, parsing the layers of meaning which are thus built up. This paper does not set itself the impossible task of producing a definitive interpretation, which would, among other things, be contrary to the Surrealist spirit. I rather hope to explore what this particular act of appropriation uncovers about the reception of Shakespeare and mathematics. La série de peintures intitulée Shakespearean Equations par Man Ray est encore peu connue, malgré la renommée de l’artiste. Peut-être est-ce parce que ces images, comme tant d’œuvres surréalistes, résistent au travail d’interprétation ; il est même difficile de saisir précisément ce qui est représenté. Ces tableaux montrent en réalité des modèles mathématiques ; seuls leurs titres, puisés directement dans le répertoire shakespearien, les lient au dramaturge. Néanmoins, cet article s’appuie sur l’hypothèse suivante : qu’une étude féconde est possible pour peu que l’on comprenne ces images par le prisme des pièces de Shakespeare, de la façon dont le vingtième siècle s’est approprié ces textes, et la réception de la géométrie non Euclidienne à la même époque. L’analyse proposée se fonde ainsi sur le contexte dans lequel Man Ray produisit ces œuvres. Elle élargit le propos en suggérant une interprétation de deux tableaux de la série ; leurs sources textuelles et picturales sont examinées afin d’extraire les significations multiples portées par ces images. Cet article n’a évidemment pas pour ambition d’imposer une interprétation définitive, ce qui serait entre autres contraire à l’esprit surréaliste. Il se propose plutôt d’apporter un nouvel éclairage sur la question de l’appropriation de l’œuvre shakespearienne et des mathématiques.

The digital environment in which the humanities are now firmly immersed has opened the door to innovative ways for students to interact with traditional formats such as archival and print material, and to develop a deep and personal understanding of topics and issues. Libraries, museums and archives are in the unique position of facilitating the creation of digital initiatives in the classroom by offering up their collections as “learning laboratories,” and by sharing their expertise in technology, information, and digital literacy as well as data management. Through active collaboration with course instructors, they can build bridges between their collections and the digital skills students need in order to embrace the new learning paradigm and to help lead them into the future. This paper outlines an archival-digital pilot launched in 2015 at the University of Ottawa, Canada. It situates the project in its historical context; details its early and subsequent iterations; and surveys the assumptions, challenges, surprises, and pleasures of introducing students to archival sources and to acquiring digital skills.

Translation is an essential part of Yves Bonnefoy's work. But his originality in this field lies in the critical studies that have regularly accompanied his translations and in his reflection on the act of translation, developed in various essays and interviews. Departing from his conception of translation as a poetic activity, based on the distinction between the ‘translation of meanings’ and the ‘translation of the essence’, we approach the analysis of two poetic short stories, ‘Première ébauche d’une mise en scène d’Hamlet’, and ‘Hamlet en montagne’ included in L’heure présente (2011), which we approach both as ‘translations in a broad sense’, according to the definition proposed by the poet, as a prolongation and deepening of the understanding of the text through poetic writing, and as allegorical fictions of the process of translation. La traducción constituye una parte esencial de la obra de Yves Bonnefoy. Pero su originalidad en este campo reside en los estudios críticos que han acompañado de manera regular sus traducciones y en la amplitud de su reflexión sobre el hecho de la traducción, desarrollada en diversos ensayos y entrevistas. A partir de su concepción de la traducción como actividad poética, fundada en la distinción entre la “traducción de los significados” y la “traducción del sentido”, abordamos el análisis de dos relatos poéticos, “Première ébauche d’une mise en scène d’Hamlet” y “Hamlet en montagne” incluidos en L’heure présente (2011), que proponemos leer a la vez como “traducciones en sentido amplio”, según la definición que propone el poeta, en tanto que prolongación y profundización en la comprensión del texto por medio de la escritura poética, y como ficciones alegóricas del proceso de la traducción. La traduction constitue un pan essentiel de l’œuvre d’Yves Bonnefoy. Mais son originalité dans ce domaine réside dans les études critiques qui ont accompagné régulièrement ses traductions et dans l’ampleur de sa réflexion sur le fait de la traduction, développée dans des essais et des entretiens. Partant de sa conception de la traduction comme activité poétique, fondée sur la distinction entre la «traduction des significations» et la «traduction du sens», nous abordons deux récits en rêve – «Première ébauche d’une mise en scène d’Hamlet» et «Hamlet en montagne» inclus dans L’heure présente (2011), que nous proposons de lire à la fois comme des «traductions au sens large» suivant la définition qu’en propose le poète, en tant qu’approfondissement et amplification de la compréhension du texte au moyen de l’écriture poétique, et comme des fictions allégoriques de la traduction de l’œuvre de Shakespeare.

Milk protein, alpha-lactalbumin, is one of the proteins that many researchers have done a lot of research on its structure and function. In the late nineties, a completely different activity of α-LA was discovered. When α-LA is present in a conformation that has been partially unfolded, it can form a complex with oleic acid (OA), which specifically has an anti-cancer activity. The complex between human α-LA and OA has been called HAMLET (Human Alpha-lactalbumin Made LEthal to Tumor cells). The cell death mechanism by HAMLET has not yet been determined. However, it has been shown that HAMLET interacts with various cellular organelles including nuclei, lysosomes, mitochondria, proteases, and ribosomes. Apoptosis, autophagy, and disorders in the structure of chromatin are three different cytotoxic pathways activated in response to HAMLET. In this study, a summary of the structure, antitumor mechanisms, and clinical applications of this complex will be presented.

Hamlet, which is one of the masterpieces of William Shakespeare, narrates the tragedy of the Prince of Denmark whose father is killed by his uncle and his rightful ascension to throne is prevented by his uncle’s unjust marriage to his mother. After speaking with his father’s ghost, Hamlet, who oscillates incessantly from action to contemplation, becomes a model of hesitation. By portraying the titular character with a profound intellectual agility and emotional depth, and by focusing on such internal elements in his work as obsession with crime, incest, expository soliloquies and eloquence in speech, Shakespeare, who is a Renaissance man and whose works are accepted to have been formed with the effect of the re-reading of the ancient works, draws near to Senecan tragedies instead of Aristotle’s principles defined in Poetics. Hamlet‘s proximity to Senecan tragedies can be observed both in thematic and stylistic domains. Almost all the internal principles such as the span allotted to tragedy, error of judgment and recognition set by Aristotle, either lacks in Hamlet or does not suit Aristotelian notions. The objective of this study is to prove that Hamlet, which is a deep examination of the human soul with dramatic excitement, is written under the effect of Senecan tragedies instead of Aristotelian principles set forth in Poetics.

As a contribution to the discussion of Shakespeare’s “appropriability” (Stanley Cavell), this paper examines some aspects of the cultural position of Hamlet on the Jacobean entertainment market, as they are indicated in Ben Jonson’s comedy Bartholomew Fair (1614). The metatheatrical features of Bartholomew Fair may be said to measure the play’s resistance against appropriating the unique and problematic aspects of Hamlet, such as the Ghost or The Mousetrap. These are deconstructed in Jonson’s comedy, which anticipates the Enlightenment views of the social functioning of theatre as a “moral institution”.