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Interactivity is one of, if not the most, crucial factor in video game adaptations of literature. The 2019 point-and-click adventure game Elsinore makes the most of its interactivity by building its narrative and gameplay around structural and thematically relevant aspects of the source text, Hamlet. Specifically, the combination of knowledge and motivation, central to the philosophy of prohairesis or thoughtful choice, is also an essential element of a fulfilling game experience. Additionally, it is meaningful that Elsinore leverages its focus on choice to make Ophelia their player-character. In short, this article argues that interactive genres, specifically video games, are a natural fit for the Early Modern fixation on thoughtful choice, especially representations of characters infamous for their lack of choice. Furthermore, these adaptations continue to represent an encouraging future for the commercial success of such works and future scholarship in adaptation theory. [ABSTRACT FROM AUTHOR]

Background Health and social care professionals must develop health literacy responsiveness to best identify and address health literacy challenges in individuals. Education in health literacy responsiveness has been recommended for inclusion in professional degree programs at university.Aim The HeLPER (Health Literacy Program to Enhance Responsiveness) initiative aims to enhance health literacy responsiveness in university students, ensuring they are well-prepared to meet the health literacy needs of the community.Methods The HeLPER initiative will be an education initiative developed by two Western Australian universities and co-designed with local community members, health and social care professions students, working health and social care professionals and academic staff. The co-design process will be directed using the Ophelia (Optimising Health Literacy and Access) process in four phases. Phase 1 will engage community representatives to identify health literacy strengths, needs and action ideas. Phase 2 will involve community representatives co-designing actionable statements from the action ideas, which will be reviewed by health literacy experts. Students, professionals and academic staff will discuss strategies to co-design lesson plans from the actionable statements. In phase 3, all HeLPER education material and assessment components will be developed by the research team, and pilot tested with a small cohort of students. Community representatives, students, professionals and academic staff will review the results of the pilot test and recommend modifications. Phase 4 will involve embedding HeLPER into existing health and social care curricula across two universities with regular quality improvement cycles to ensure material remains contemporary, relevant and meaningful.Discussion This will result in the first co-designed health literacy responsiveness education for university-level health and social care professions students. Short-, medium- and long-term outcomes will benefit emerging health and social care professionals, individuals, carers and the community to provide targeted health literacy support, leading to overall improved health outcomes.

AbstractOphelia in William Shakespeare’s Hamlet (2004) is a potent discursive site whose interpretive and critical valences have been salvaged through various adaptations of this play. Through the utilization of critical insights of critics, such as Jacques Lacan (1977), Elaine Showalter (1985), and commentators like David Leverenz (2004), Bridget Gellert Lyons (1977), and Philip Armstrong (1996), the study identifies Ophelia’s schizophrenic characterization, her reminiscences of the past, and her representation through the play’s iconographic values as the negotiable features for taping into Ophelia’s multi-layered characterization. The study chooses Laurence Olivier’s adaptation (1948) as the more theatrical rendition of the play next to two more modernized and experimental adaptations done by Michael Almereyda (2000) and Kenneth Branagh (1996) to discuss its identification of these discursively potent features in Ophelia’s adapted renditions. While utilizing its main critical insights, the study would also use the interpretive readings of commentators, such as Amanda Rooks (2014), Jessica Maerz (2011) and Gulsen Teker (2006) on the cinematic and literary significance of each of the selected adaptations in the continuum of the adaptations done on Hamlet. In the study, it would be argued that although none of the adaptations could deny the patriarchal dominance over Ophelia, the more experimental ones by Branagh and especially Almereyda do manage to tap into the ambivalent points of resistance which Ophelia’s characterization could create against this dominance. These ambivalent points expose the incomplete nature of strategies which are adopted by the patriarchy in containing and othering figures such as Ophelia.

Mathilde Dietrichson var en kosmopolitt som reiste til land få andre kvinner besøkte. Hun giftet seg med en mann som frontet kvinners rettigheter og var yrkesaktiv helt frem til sin død, til tross for mann og barn. Med dette brøt hun tydelig med kjønnsnormen på 1800-tallet. Med utgangspunkt i Dietrichsons maleri Ophelia fra 1866 ser forfatteren på et utvalg av kunstnerens malerier fra 1860- og 1870-årene ut fra de historiske kjønnsnormene. Artikkelen vil også dvele ved følgende spørsmål: Var Mathilde Dietrichson en «New Woman»?

The article follows the destiny of the fusion of drives and de-fusion of drives within the Shakespearean character Hamlet. Drawing from Benno Rosenberg’s theory about the mediating object, André Green’s hypothesis about Hamlet’s fraternity with Ophelia, and Catherine Chabert’s perspective on war as an expression of fraternal rivalry, the role of Ophelia is outlined as an object of drive intertwining. [ABSTRACT FROM AUTHOR]

Ophelia in William Shakespeare's Hamlet (2004) is a potent discursive site whose interpretive and critical valences have been salvaged through various adaptations of this play. Through the utilization of critical insights of critics, such as Jacques Lacan (1977), Elaine Showalter (1985), and commentators like David Leverenz (2004), Bridget Gellert Lyons (1977), and Philip Armstrong (1996), the study identifies Ophelia's schizophrenic characterization, her reminiscences of the past, and her representation through the play's iconographic values as the negotiable features for taping into Ophelia's multi-layered characterization. The study chooses Laurence Olivier's adaptation (1948) as the more theatrical rendition of the play next to two more modernized and experimental adaptations done by Michael Almereyda (2000) and Kenneth Branagh (1996) to discuss its identification of these discursively potent features in Ophelia's adapted renditions. While utilizing its main critical insights, the study would also use the interpretive readings of commentators, such as Amanda Rooks (2014), Jessica Maerz (2011) and Gulsen Teker (2006) on the cinematic and literary significance of each of the selected adaptations in the continuum of the adaptations done on Hamlet. In the study, it would be argued that although none of the adaptations could deny the patriarchal dominance over Ophelia, the more experimental ones by Branagh and especially Almereyda do manage to tap into the ambivalent points of resistance which Ophelia's characterization could create against this dominance. These ambivalent points expose the incomplete nature of strategies which are adopted by the patriarchy in containing and othering figures such as Ophelia. [ABSTRACT FROM AUTHOR]

Psychiatry undergraduate training has been significantly curtailed by the advent of the COVID-19 pandemic. This article examines the use of Shakespeare’s Hamlet, especially via the characters of Hamlet and Ophelia, to impart two core skills in psychiatry, namely diagnostic abilities and empathy. Medical students undergoing the psychiatry posting watched Kenneth Branagh’s Hamlet online, focusing on identifying psychopathology, forming diagnoses, identifying countertransferences, and developing empathy through acting out close passages. Students were able to identify the features of bipolar disorder in Hamlet, correlating his behavior with separate depressive and manic episodes. They were also able to appreciate the unique quality of dissociation in Ophelia, especially in Act 4 of Hamlet, and recognize it as a manifestation of post-traumatic stress disorder. Through acting out closed passages, students were also able to feel empathy by putting themselves into the shoes of Hamlet and Ophelia. Such a pedagogical approach has additional unexpected utility in view of the COVID-19 pandemic, which has significantly curtailed face-to-face medical education, leading to alternative online methods such as movies and Shakespearean plays in psychiatry education. In conclusion, though online methods cannot fully supplant face-to-face patient contact, they can be crucial tools in times of necessity and allow students to engage in interdisciplinary education, marrying the arts and the humanities.

The intertextual dialogue between art and literature has played a significant role over the last centuries and even more so in contemporary fiction, as evidenced by the growing number of works that explore this theme. Considering the term interfigurality as a starting point, the character of Ophelia in Lisa Klein's homonymous novel Ophelia (2006) may not be considered to be exactly identical to the one depicted in William Shakespeare's Hamlet (1603). What Lisa Klein intends to offer is Ophelia's story from her own perspective since she had been silenced or to a greater extent, depicted by the male gaze such as her own father Polonius or Hamlet himself. That is why it is impossible to have two identical characters in two literary works by different authors. There is also a fine example of pictorial intertextuality in the film version of Klein's novel released in 2018, as it features images of Ophelia from the Pre-Raphaelite paintings. To examine the concept of reverse ekphrasis, I will examine John Everett Millais's painting Ophelia, which depicts Ophelia's drowning in Act IV. There have been many references and pastiche images of the drowned woman in art, film, and photography. Klein's intertextual dialogue with this Pre- Raphaelite painting, as well as the film adaptation of this novel, demonstrates the complexity of pictorial-film intertextuality. In order to demonstrate this, Shakespeare's text produces two dialogues that are in accordance: first, this text is transformed into images leading to the Pre-Raphaelite paintings, while Lisa Klein's novel is told from Ophelia's perspective through interfigurality. The mediums of image and word then are combined into creating another image, since Klein's text and the aforementioned Pre-Raphaelite painting are incorporated into a film adaptation. [ABSTRACT FROM AUTHOR]

This paper investigates Jordanian playwright Nader Omran's adaptation of Shakespeare's Hamlet. It examines Omran's dramatization of the struggle of Arab youths in a region ruled by corrupt leaders. In particular, the paper focuses on how Omran transforms Shakespeare's Ophelia into an assertive and dynamic character to reflect the contemporaneous circumstances and conditions of the Arab World in A Theatre Company Found a Theatre and Theatred Hamlet (1984). In Omran's adaptation, Ophelia's suicide is an act of self-immolation which anticipates Tunisian fruit and vegetable vendor Mohammed Bouazizi's act of burning himself in December 2010 since both acts awaken dormant hopes for change and trigger a process of transformation as an inevitable result of years of political oppression and marginalization. In this respect, Omran's play anticipates and predicts recent Arab uprisings that were initiated and led by Arab youths in protest against years of social injustice and exclusion from the political life. [ABSTRACT FROM AUTHOR]

Issue addressed: The Ophelia (Optimising Health Literacy and Access) process is a systematic approach for improving access to health information and services through health literacy interventions. However, there is limited understanding of how this process can be adapted in low‐ and‐ middle‐income countries. Methods: A qualitative case study was used to describe how an Ophelia project was designed and introduced in a community setting in the Philippines and to explore the experiences of stakeholders involved in this process. Two qualitative methods were used: document analysis (n = 12) and semi‐structured interviews (n = 12). Results: Data showed that the project stakeholders had embedded the eight Ophelia principles in the design of the project, introduced the Ophelia process in one target community, and conducted a health literacy needs assessment. Project stakeholders faced challenges engaging with local authorities and community members in this location, but overcame these issues through building relationships and understanding their needs. Local authorities and stakeholders provided access to resources and knowledge of this target community. Conclusions: The Ophelia process can be adapted for a community setting in the Philippines. Understanding local communities is crucial for introducing and engaging participation in this process. So what?: The Ophelia process may have implications for increasing access to health information and services for vulnerable populations in the Philippines and the Asia Pacific. [ABSTRACT FROM AUTHOR]

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In The Winter’s Tale, Shakespeare’s tragicomedy performed in 1611, the playwright includes a now famous pastoral scene, the “sheep-shearing feast”, during which Perdita swaps her shepherdess’s clothes for the attire of Goddess Flora, thus adorning herself with “unusual weeds” (IV.4.1). Perdita wishes she had spring flowers to make garlands matching the youth of Florizel and other young guests – so her garland too is poorly matched. This paper focuses on the garland of flowers typical of pastorals so as to show how Shakespeare’s drama challenges its traditional meaning, both playing with the symbolism presented in herbals (such as William Turner’s A New Herball and John Gerard’s The Herball) and suggesting effects of anamorphosis between the green world and what Jean-Jacques Mayoux termed the “dark pastoral”. Could Jacobean spectators look at the garlands made by Perdita without remembering, in Hamlet, the flowers that mad Ophelia offered and the “coronet weeds” (IV.7.147) and “weedy trophies” (149) she was making before drowning into the river, and, in King Lear, mad Lear’s crown made of “furrow-weed” (IV.4.3) and “idle-weeds” (5)?

Ophelias Zimmer / Ophelia’s Room is a feminist spin-off of Shakespeare’s Hamlet. It retells the famous story of the Prince of Denmark from Ophelia’s perspective and questions issues about the plot that are taken for granted – first and foremost, the reasons that led to the girl’s death. As it will be shown in this paper, the play tells the story of Hamlet not only from Ophelia’s viewpoint, but also from her ‘earpoint’ and thus defies ocularcentric theatre semiosis and builds a soundscape capable of denouncing the patriarchy even more effectively than both visual and linguistic elements. In this paper, Ophelias Zimmer / Ophelia’s Room will be analysed using emerging theories on ‘theatre noise’ to demonstrate the dramatic and semiotic value of the play’s silences, sounds, noises, embodied sounds, and musicality.

Manga – one of Japan's cool cultural products – has undergone, over the past two and a half decades, a process of globalisation, of Western domestication. Manga versions of Shakespeare's canonical works have long been appreciated for their educational value and 'friendly' introduction to Shakespeare's dense, multilayered texts. Starting from two Western manga transmediations of Shakespeare's Hamlet, this article focuses on new interpretations given to the character of Ophelia and her interactions with Hamlet, as they become more and more public and monitored. I will show that manga brings to light (or life?) fresh aspects of Ophelia as well as of Hamlet, particularly through the use of chibi, enriching the number of Ophelia's afterlives either by means of aggression or modern technologies, while also ensuring that Shakespeare remains a writer for all times. [ABSTRACT FROM AUTHOR]

In (amateur) model photography, it is very popular to stage women close to or in water. This motif refers to aquatic creatures that can be distinguished into various categories: the gentle Meerjungfrau and the dangerous Nixe (both translate mermaid), as well as the iconic "Ophelia" who is also associated with an aesthetic way of dying. This article, based on long-term participant observation and qualitative interviews, is not only about the reasons why people are fascinated by such beings, but why they want to embody them. All these figures are captivating through their beauty, but also include ambiguity. The research shows that being a mermaid or Ophelia can enable the person to articulate inner conflicts by visualizing them and acting them out. Further, it helps to overcome one's own body by taking the often challenging effort to impersonate these characters, thus to become something different. The physical effort to pose in the water adds to this effect that was described by (hobby) models as "healing". [ABSTRACT FROM AUTHOR]

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Music and drama are known to have a close relationship since the birth of Greek tragedy. This study suggests that Ophelia uses songs and singing as an alternative language in communicating her emotions. In IV.v, which is also referred to as Ophelia's mad scene, she comments upon her personal experiences concerning her relationship with Hamlet and the death of her father Polonius through singing. This paper aims at displaying the reason why Ophelia requires a different mode of communication other than verbal language. After discussing the submissive and silent role that is attributed to Ophelia in Hamlet, the fragments of songs she sings in IV.v are analysed through a close reading of the text. While investigating what these songs indicate in this particular context, musical conventions of Shakespeare's time are also discussed. [ABSTRACT FROM AUTHOR]

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Abstract Background The need for healthcare strengthening to enhance equity is critical, requiring systematic approaches that focus on those experiencing lesser access and outcomes. This project developed and tested the Ophelia (OPtimising HEalth LIteracy and Access) approach for co-design of interventions to improve health literacy and equity of access. Eight principles guided this development: Outcomes focused; Equity driven, Needs diagnosis, Co-design, Driven by local wisdom, Sustainable, Responsive and Systematically applied. We report the application of the Ophelia process where proof-of-concept was defined as successful application of the principles. Methods Nine sites were briefed on the aims of the project around health literacy, co-design and quality improvement. The sites were rural/metropolitan, small/large hospitals, community health centres or municipalities. Each site identified their own priorities for improvement; collected health literacy data using the Health Literacy Questionnaire (HLQ) within the identified priority groups; engaged staff in co-design workshops to generate ideas for improvement; developed program-logic models; and implemented their projects using Plan-Do-Study-Act (PDSA) cycles. Evaluation included assessment of impacts on organisations, practitioners and service users, and whether the principles were applied. Results Sites undertook co-design workshops involving discussion of service user needs informed by HLQ (n = 813) and interview data. Sites generated between 21 and 78 intervention ideas and then planned their selected interventions through program-logic models. Sites successfully implemented interventions and refined them progressively with PDSA cycles. Interventions generally involved one of four pathways: development of clinician skills and resources for health literacy, engagement of community volunteers to disseminate health promotion messages, direct impact on consumers’ health literacy, and redesign of existing services. Evidence of application of the principles was found in all sites. Conclusions The Ophelia approach guided identification of health literacy issues at each participating site and the development and implementation of locally appropriate solutions. The eight principles provided a framework that allowed flexible application of the Ophelia approach and generation of a diverse set of interventions. Changes were observed at organisational, staff, and community member levels. The Ophelia approach can be used to generate health service improvements that enhance health outcomes and address inequity of access to healthcare.

Since the 1980s, John Everett Millais’s emblematic oil painting, Ophelia (1851–1852) has been remarkably framed by feminist discourses on gender that convincingly demonstrated how the representation of female death could be linked to patriarchal tradition whose underlying discourse was to tame, control and ultimately objectify women. More recently, further investigation of the Shakespearean character as it resurfaced in literature, film and cinema has brought to light the inherent contradictions relating to her very nature: the more Ophelia is represented and made visible in literature and the arts, the more she seems to be vanishing. Starting with the emblematic Pre-Raphaelite painting, this article aims to establish a critical dialogue between works of various periods and various media, ranging from the Victorian era to the present day to demonstrate the mutations and persistence of Millais’s icon.

Responding to audience expectations about female characters' scarcity, the filmmakers of four popular adaptations of Hamlet—Laurence Olivier (1948), Franco Zeffirelli (1990), Kenneth Branagh (1996), and Michael Almereyda (2000)—attempted to enhance Ophelia's character. By providing additional scenes and denser mise-en-scène, they tried to give the character greater agency. [ABSTRACT FROM AUTHOR]

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The motif of a beautiful drowned girl or, generally, a young woman related to the water environment has appeared in European art since antiquity. The crucial turning point in the approach to the figure of a girl tragically related to the water element came with Shakespeare’s Hamlet: it features the strong female character of Hamlet’s lover Ophelia, who goes mad and tragically drowns after the Prince’s refusal. Her death became a popular subject in the field of fine arts and literature, with its popularity culminating in emotionally charged eras; i.e. Romanticism and, later,Symbolism and Decadence. J. A. Rimbaud’s poem Ophelia had a far-reaching influence on German poetry where the motif of a drowned girl became a frequent subject. This relationship was initiated by the translation of Rimbaud’s poems into German by Karl Klammer. The paper examines his influence on the poems of the expressionists Georg Heym, Georg Trakl, and Gottfried Benn.

Whether it be on autopsy tables or on crime scenes, the corpse—this ambivalent absence/presence figure which crime narratives need to be structured, is predominantly feminine. This feminine figure incarnating the eternal tortured victim is submitted to a particular treatment, differing from that of the masculine corpse. The feminine corpse, because it reunites two territories both enigmatic and potentially threatening to men—femininity and death—is a troubling object. In crime fictions, the staging of a feminine corpse can take the most poetic shape, through the resurgence of the myth of Ophelia, reassuring the audience in their “romantic” vision of female death. But when its staging abandons its poetic attires, only leaving a tortured corpse, its necessarily threatening—on a symbolical level—abjection must then be defeated or contained by the living male characters gravitating around it.

The paper examines a special place that the characters of Ophelia and Narcissus, so closely connected with the motif of water, occupy in the poetic imaginarium of George Rodenbach. What we deal with here is an unhealthy obsession within which two characters of literature and mythology, unhappily in love, are presented as two alter egos of the poet himself. An endless sequence of images associating water with death reveals the fascination and trepidation of the symbolist, who uses the Opheliac depths and Narcissus's water mirror as a reflection of different states of his soul. [ABSTRACT FROM AUTHOR]

Shakespeare’s Ophelia did not receive the attention she deserved from literary critics for a very long time. It is true that she appears only in five scenes and even when she’s on stage she usually talks very little. Perhaps as a result of this she has been overlooked and even disregarded as a naïve stereotype without depth. Ophelia, however, seems like a passive character only because she is continually trying to make sense of the dark events occurring in the palace. Her silence, therefore, can be read as an active mental and emotional process in that when Ophelia becomes insane, her peculiar language, which is full of puns and multiple meanings, reflects the hypocrisies and deceptions she had encountered. Accordingly, the beginning of this article focuses on Ophelia’s quiet presence before her madness and the events that eventually cause her to go mad. In the light of these enquiries, the article puts forth a deeper analysis of Ophelia and examines how, instead of granting her simple physiological symptoms, Shakespeare constructs a specific language for Ophelia’s madness. [ABSTRACT FROM AUTHOR]

This study deals with the relations between Vladimír Holan's poetry and the character of Ophelia, the young woman who tragically drowned in Shakespeare's tragedy Hamlet. Holan admired Shakespeare and focused on the character of Hamlet in his last work Noc s Hamletem (A Night with Hamlet), which was followed on by his uncompleted work Noc s Ofélií (A Night with Ophelia). Much earlier, we find Holan to be fascinated by the character of Ophelia and her complex, as defined by Gaston Bachelard, which we find is dealt with in Holan's poem Návrat (The Return), first published in 1948 in the form of the suicide of the young Anežka. Holan's work from the latter half of the 1940s also includes the poem But Never Doubt I Love, which deals with the aesthetics of ugliness associated with the poetics of the French poètes maudits and the German Expressionists. Elsewhere the study deals with the composition of Noc s Ofélií from the latter half of the 1960s. Holan's Ophelia becomes independent of traditionally perceived models of this character; she becomes a wanderer through Europe and an itinerant actress playing herself. In Holan's poetry the Ophelia figure repeatedly flashes past, but no longer as the various key manifestations in the previous three examples. Hence she does not become a central motif, but she assumes the form of a secondary motif, as in the poem Ano, znáš (Yes, You Know), from the collection Na postupu (Advancing), which was first published in 1964, but was actually written between 1943 and 1948. Likewise the inclusion of this motif in the introduction to the poem Ano, ale co vy... (Yes, but What About You?) from the collection Na sotnách (On the Bier), written 1961-1965 and published in 1967, is also discreet. In the collection Bolest (Pain), published in 1965 (but written 1949-1955) the motif of the drowned Ophelia resonates in the poem Prach (Dust). Ophelia takes on a special status in Vladimír Holan's poetic space, populated by various great figures from world art. Her tragic fate, as depicted by William Shakespeare, gives rise in Holan's imagination to whole clusters of micro-narratives referring back both to Holan's own poetry and to other literary traditions. With the colourful diversity of her manifestations and their unique distinctiveness, "Holan's" Ophelia displays the strong inspirational potential of this literary figure. [ABSTRACT FROM AUTHOR]

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This paper analyses J. E. Millais's Pre-Raphaelite painting Ophelia. Drawing on ideas formulated by Hermann Broch regarding the origins of romanticism and Adorno and Hor- kheimer's theory of a dialectic of Enlightenment, the analysis focuses on the complex handling of gender and nature in the painting in order to show the shifting and contradictory constellations of meaning inherent in the subject. Central to the argument is the relationship between the characterization of Ophelia as a femme fragile and the nature that surrounds her, rendered with an almost hallucinatory clarity. Both nature and woman are shown to be capable of both conforming to and escaping from Millais's painterly control. The painting turns out to be a vehicle for a young middle-class Victorian and his anxieties and yearnings. [ABSTRACT FROM AUTHOR]

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Der Artikel beschäftigt sich hmit der Verarbeitung der Figur von Ophelie in der modernen tschechischen Lyrik. Ophelie, die als literarische Figur im Der shakespears Hamlet auftritt, ist ein Mädchen, das aus der unglücklichen Liebe wahnsinnig wird und im Fluss ertrinkt. Ihr ästhetischer Tod inspirierte viele Kunstwerke, ausser anderem auch in der tschechischen lyrik. Ophelie erscheint mehrmals im Werk von Jan Skácel, dann bei Vladimír Holan (sogar im Titel der lyrisch-epischen Komposition), bei Jiří Žáček oder bei Marie Šťastná. Der Artikel vergleicht diese Erscheinungen auch mit dem Begriff von Bachelard "Opheliakomplex".

Drawing on Allan Edgar Poe’s provocative statement that “The death ... of a beautiful woman is, unquestionably, the most poetic topic in the world” (1951: 369), I will focus on the pivotal role of Shakespeare’s Ophelia in attesting to this assertion. Ophelia’s drowning is probably the most recognizable female death depicted by Shakespeare. Dating back to Gertrude’s “reported version” of the drowning, representations of Ophelia’s eroticized death have occupied the minds of Western artists and writers. Their necrOphelian fantasies materialized as numerous paintings, photographs and literary texts. It seems that Ophelia’s floating dead body is also at the core of postmodern thanatophiliac imagination, taking shape in the form of conventionalized representations, such as: video scenes available on YouTube, amateur photographs in bathtubs posted on photo sharing sites, reproductions and remakes of classical paintings (e.g. John Everett Millais), and contemporary art exhibitions in museums. These references will demonstrate that new cyber story - digital afterlife - is being built around the figure of Shakespearean Ophelia, unearthing the sexual attraction of the lifeless female body.

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Background: The need for healthcare strengthening to enhance equity is critical, requiring systematic approaches that focus on those experiencing lesser access and outcomes. This project developed and tested the Ophelia (OPtimising HEalth LIteracy and Access) approach for co-design of interventions to improve health literacy and equity of access. Eight principles guided this development: Outcomes focused; Equity driven, Needs diagnosis, Co-design, Driven by local wisdom, Sustainable, Responsive and Systematically applied. We report the application of the Ophelia process where proof-of-concept was defined as successful application of the principles.Methods: Nine sites were briefed on the aims of the project around health literacy, co-design and quality improvement. The sites were rural/metropolitan, small/large hospitals, community health centres or municipalities. Each site identified their own priorities for improvement; collected health literacy data using the Health Literacy Questionnaire (HLQ) within the identified priority groups; engaged staff in co-design workshops to generate ideas for improvement; developed program-logic models; and implemented their projects using Plan-Do-Study-Act (PDSA) cycles. Evaluation included assessment of impacts on organisations, practitioners and service users, and whether the principles were applied.Results: Sites undertook co-design workshops involving discussion of service user needs informed by HLQ (n = 813) and interview data. Sites generated between 21 and 78 intervention ideas and then planned their selected interventions through program-logic models. Sites successfully implemented interventions and refined them progressively with PDSA cycles. Interventions generally involved one of four pathways: development of clinician skills and resources for health literacy, engagement of community volunteers to disseminate health promotion messages, direct impact on consumers' health literacy, and redesign of existing services. Evidence of application of the principles was found in all sites.Conclusions: The Ophelia approach guided identification of health literacy issues at each participating site and the development and implementation of locally appropriate solutions. The eight principles provided a framework that allowed flexible application of the Ophelia approach and generation of a diverse set of interventions. Changes were observed at organisational, staff, and community member levels. The Ophelia approach can be used to generate health service improvements that enhance health outcomes and address inequity of access to healthcare. [ABSTRACT FROM AUTHOR]

The Shakespearean fair Ophelia has become through the centuries a multi faceted heroine apt to embody all the victims of patriarchal domination, but also the evil and victimized decadent lady, who would annihilate her tormentor. Similar oxymoronic identifications were possible partly because of the vagueness that distinguishes her character in the Shakespearean tragedy, and partly because of the fluctuating status of adolescent girls in society. Moreover, the contemporary reception of Ophelia has strongly been biased by the treatment of this literary myth by the Pre-Raphaelite Brotherhood. In the Victorian era, when issues about the condition, the power, and the rights of women were raised with particular force, Ophelia soon became an icon of sublime but dangerous beauty. Such an association even came to the point that Elizabeth Siddal – poet, painter, and model of Millais’s Ophelia – was identified with the Shakespearean heroine, by virtue of her unquenchable thirst for knowledge, her unrequited love, her prettiness, and the torture she allegedly provoked to Dante Gabriel Rossetti’s conscience.

O artigo reflete sobre a relação entre a imagem de Ofélia em Hamlet, de Shakespeare, e as representações pictóricas da personagem comuns no século XIX com o objetivo de situar a ideologia da morte das mulheres entre textos trágicos e pinturas.This article discusses the relation between Ophelia's image in Hamlet, Shakespeare, and the character's pictorial representations in the nineteenth century, aiming at situating the ideology of the women's death amidst drama and pictures.