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학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2011.1
- 수록면
- 149 - 182 (34page)
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In a sense Hamlet dramatizes a story of crime and investigation. Claudius killed his brother to be a king; he succeeded in hiding his crime. But Hamlet suspects Claudius as a murderer and starts to investigate the murder suspect secretly. Hamlet also has to hide his inner mind to penetrate into the heart of the suspect.
In this situation both Claudius the murder suspect and Hamlet the investigator fully employ the tendency of language to hide, to play, and to show. For both of them, language becomes an effective tool to find the truth about each other while they conceal the truth about themselves. Claudius plays the consummate Machiavellian who uses the language of persuasion, diplomacy, and deception to conceal his crime. He also uses agents or spies in his desperate attempt to penetrate into Hamlet’s real motives without arousing suspicion. Yet he does not dig Hamlet’s secret out before Hamlet himself reveals it. Like Claudius, Hamlet the investigator chooses, as his weapon, the indirect use of language and role-playing because only through guise and wit can he defend himself and strike out against the murder suspect.
But Hamlet’s weapon is different from what Claudius uses in his defense. Hamlet’s instrument is, like Claudius’s, a political one to interrogate Claudius, but at the same time it is an artistic one. By using the various indirect forms of language—poetic, dramatic, obscure, bawdy, non-sense words,—Hamlet becomes a kind of artist who can succeed in finding that Claudius is a murderer. Hamlet’s word-play functions as a prelude to his grand symphony of the play-within-play. Just as Claudius manipulates his spies in an effort to ascertain Hamlet’s thoughts, so Hamlet is willing to employ the players for his detection of Claudius’ crime. As revised by Hamlet and presented by the players, “the Murder of Gonzago” becomes “the mouse-trap” to catch Claudius the mouse. For Hamlet the dramatic art is transformed into a pragmatic instrument to find a criminal.
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참고문헌 (29)
참고문헌 신청
Alexander, Nigel / 1971 / Poison, Play and Duel: A Study in Hamlet / U of Nebraska P
Ayers, P. K / 1993 / Reading, Writing, and Hamlet / Shakespeare Quarterly 44 : 423 ~ 439
Bache, William / 1979 / Hamlet, Macbeth and Lear Offstage: the Significance of Absence / Dalhousie Review 59 : 308 ~ 320
Birringer, Johannes / 1986 / Rhapsodies of Words: ‘Trapicality’ in Shakespeare’s Theater / New Literary History 17 : 493 ~ 510
Calderwood, James L / 1983 / To Be or Not To Be: Negation and Metadrama in Hamlet / Columbia UP
Ayers, P. K / 1993 / Reading, Writing, and Hamlet / Shakespeare Quarterly 44 : 423 ~ 439
Bache, William / 1979 / Hamlet, Macbeth and Lear Offstage: the Significance of Absence / Dalhousie Review 59 : 308 ~ 320
Birringer, Johannes / 1986 / Rhapsodies of Words: ‘Trapicality’ in Shakespeare’s Theater / New Literary History 17 : 493 ~ 510
Calderwood, James L / 1983 / To Be or Not To Be: Negation and Metadrama in Hamlet / Columbia UP
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