پیوندهای مفید
اخبار و اعلانات
آمار
| تعداد نشریات | 161 |
| تعداد شماره‌ها | 6,532 |
| تعداد مقالات | 70,501 |
| تعداد مشاهده مقاله | 124,108,103 |
| تعداد دریافت فایل اصل مقاله | 97,212,756 |
باروک و استحاله باورهای مذهبی در هملت اثر ویلیام شکسپیر | ||
| نشریه هنرهای زیبا: هنرهای نمایشی و موسیقی | ||
| مقاله 4، دوره 20، شماره 1، فروردین 1394، صفحه 41-48 اصل مقاله (1.94 M) | ||
| نوع مقاله: مقاله پژوهشی | ||
| شناسه دیجیتال (DOI): 10.22059/jfadram.2015.55386 | ||
| نویسندگان | ||
| محسن حنیف* 1؛ محمد حنیف* 2 | ||
| 1استادیار زبان و ادبیات انگلیسی، دانشگاه خوارزمی، تهران، ایران. | ||
| 2دکتری تخصصی تاریخ، دانشگاه آزاد اسلامی، واحد علوم و تحقیقات، تهران، ایران | ||
| چکیده | ||
| کشمکشهای سیاسی، اجتماعی و مذهبی بین کاتولیکها و پروتستانها پس از رنسانس، رنگ و بویی متفاوت به آثار دسته گستردهای از هنرمندان اروپا از جمله شکسپیر داده بود. منتقدین ادبی و هنری، این سبک و سیاق تازه را سالها بعد تشریح کردند و نام هنر باروک را برآن نهادند. از جمله عناصر اصلی این هنر به چالش کشاندن مفهوم حقیقت در ذهن مخاطب و ایجاد حس عدم قطعیت در اوست. هنرمند باروک همچنین سعی میکند بین دنیای معنا و ماده آشتی ایجاد کند. نویسندگان این مقاله سعی دارند تا با تکیه بر این دو اصل باروک و با استفاده از روش تحقیق تبیینی، به بررسی موضوع و درونمایههای نمایشنامه هملت اثر ویلیام شکسپیر بپردازند. شخصیت هملت نماینده نسلی است که بر سر دوراهی کاتولیسیسم و پروتستانتیسم سردرگم مانده است. از یک سو، شبح پدر هملت او را به سوی کاتولیسیسم، دین آبا و اجدادیاش، میخواند و از سوی دیگر عقاید نوگرای کلادیوس، عموی هملت، در کشورداری و همچنین تربیت خود هملت در دانشگاه ویتبرگ، مهد پروتستانتیسم، او را به سوی عقاید تجددگرای مسلک مذهبی اجتماعی پروتستان میکشاند. با این حال، هملت در پایان، با یافتن یک راه سوم، مقصدی را برمیگزیند که برآیند هر دو آیین کاتولیسیسم و پروتستانتیسم است. | ||
| کلیدواژه‌ها | ||
| شکسپیر؛ هملت؛ باروک؛ کاتولیک؛ پروتستان | ||
| عنوان مقاله [English] | ||
| Baroque and Religious Permutation in Hamlet by William Shakespeare | ||
| نویسندگان [English] | ||
| Mohsen Hanif1؛ Mohammad Hanif2 | ||
| 1PhD Graduate, Islamic Azad University of Iran, Science and Research Branch, Tehran, Iran. | ||
| 2PhD Graduate, Islamic Azad University of Iran, Science and Research Branch, Tehran, Iran. | ||
| چکیده [English] | ||
| The political, social, and religious conflicts between the Church and the Protestants during the Renaissance and afterward gave a unique dimension to the works of a large number of European artists such as Shakespeare. A few decades later, art critics defined this style under the rubric of Baroque. The writers of this article conduct an explanatory analysis of Shakespeare’s Hamlet in the light of baroque aesthetics. The authors maintain that Hamlet’s behavioral instability and inconsistency is comparable to Baroque aesthetics. His madness also reflects the chaotic society of the seventeenth century Europe which was stricken by harsh religious controversies. Hamlet represents a generation lost between Catholicism and Protestantism. On the one hand, the ghost of Hamlet’s father draws Hamlet towards his ancestral religion, which is Catholicism; on the other hand, Claudius’ progressive opinions, along with Hamlet’s education at Wittenberg, the cradle of Protestantism, push Hamlet towards iconoclastic Protestantism. Moreover, like in Baroque aesthetics in which the artist tries to challenge the perception of Truth in the mind of the audience in order to create a sense of uncertainty, from the very beginning of the play, both the characters and the audience of the play become doubtful about the state of the world and their own selves. Also, similar to a baroque hero who wants to yoke both worlds of the material and the spiritual in order to convey a spiritual message by dint of material senses, Shakespeare endows an extraterrestrial dimension on the concept of revenge. For a baroque hero the world is infinite and worldly eyes are unable to identify a greater portion of it. In view of that, Hamlet’s obsession with the other-world prevents him from killing Claudius while he is repenting his sins to God. Furthermore, from among the reasons why Hamlet is reluctant about avenging his father is Hamlet’s proximity to Claudius’ socio-political opinions. Unlike Father Hamlet, Claudius is a politically progressive ruler. On the one hand, Father Hamlet asks his son to kill his uncle in order to retrieve family honor and dignity, but, on the other hand, Hamlet’s love for the new world forbids him from doing so. Nevertheless, he still suspects the innocence of the brave new world and the distrust is also responsible for his madness. Therefore, Hamlet is trapped in a limbo and has lost his way to his desired utopia. He ought to choose either his ancestors’ way of life or the progressive thinkers’ frame of mind. However, his madness exacerbates and he decides to commit suicide. Although he wishes to die, he avoids committing suicide because Catholicism forbids suicidal acts. But when Laertes invites him to a duel, Hamlet resorts to the discourse of predetermination which is an indispensable part of Protestantism. Thus, if he dies in a duel with Laertes, his wish to die is fulfilled without committing suicide. In this fashion, he victoriously finds a third way between Catholicism and Protestantism and becomes more of a triumphant hero than a tragic protagonist. | ||
| کلیدواژه‌ها [English] | ||
| Shakespeare, Hamlet, Baroque, Catholicism, Protestantism | ||
| مراجع | ||
|
شکسپیر، ویلیام (1360)، هملت، (ترجمه م. ا. به‌آذین)، نشر دوران، تهران.
Bloomfield, J (2007), Revenge Tragedy, Poison and Catholicism; Murder and Religion in Renaissance Revenge Drama, Retrieved July 12, 2012, from www.Suite101.com: http://suite101.com/article/poison-and-catholicism-a24481. Buci-Glucksmann, C (1994), Baroque Reaon; The Aesthetics of Modernity, (P. Camiller, Trans.), Sage Publications, London. Cantor, P. A (2004), Shakespeare Hamlet; A Student Guide, Cambridge University Press, Cambrdige. Egan, G(2007), Shakespeare, Edinburgh University Press, Edinburgh. Egginton, W(2010), The Theatre of Truth; The Ideology of (Neo)Baroque Aesthetics, Stanford University Press, Stanford. Gilbert, A (2001), Othello, the Baroque, and Religious Mentalities, Early Modern Literary Studies, (3), 1-21. Hausen, A (1992), The Social History of Art, Routledge, London. Maravell, J. A (1986), Culture of Baroque Analysis of Historical Structure, (T. Cochran, Trans.), University of Minnesota Press, Minneapolis. McCoy, R. C (2003), Shakespearean Tragedy and Religious Identity. In R. Dutten, & J. E. Howard, A Companion to Shakespeare’s Works (pp. 178-198), Blackwell Publishing, USA. McEvoy, S (2000), Shakespreare; The Basics, Routledge, London and New York. Soergel, P. M (2005), Art and Humanities Through the Eras; The Age of the Baroque and Enlightenment 1600-1800, Thomson Gale, USA. Stechow, W (1946), The Definition of Baroque in Visual Art, The Journal of Aesthetics & Art Criticism, 109-115. Weber, M, Baehr, P. R, & Wells, G. C (2002), Protestant Ethis and the Spirit of Capitalism and Other Writings, Penguin, London. Wellek, R. (1946), The Concept of Baroque in Literary Scholarship, The Journal of Aesthetics & Art Criticism, 77-109. Wolfflin, H. (1964), Renaissance and Baroque, (K. Simon, Trans.), The Fontana Library, London. | ||
|
آمار تعداد مشاهده مقاله: 2,420 تعداد دریافت فایل اصل مقاله: 3,109 |
||