Przepisywanie „Hamleta”. Literatura drugiego stopnia wobec mitów hamletycznych
Streszczenie
The article is based on the premise that Hamlet has been functioning
throughout ages as a base for contemporary myths. On the basis of
conception of myth, introduced by Roland Barthes in Mythologies and its application to considerations upon novel, conducted by Kazimierz
Bartoszyński, the author of this article proves mythical status of multitude
of Hamlet offshoots. The argument is set in the theoretical context
of semiotics, intertextuality, as Heiner Müller in his essay Shakespeare
eine Differenz proposes. Myths of Hamlet have been ascribed to ideas of
‘Shakespeare our contemporary’, especially ‘Hamlet our contemporary’
and ‘Polish Hamlet’. Based on this assumption the paper traces the practice
of rewriting of Hamlet on two levels. On one hand it traces continuations,
‘supplements’ of Hamlet with special emphasis on Tom Stoppard’s
Rosencrantz and Guildenstern Are Dead, Po Hamlecie by Jerzy Żurek
and Fortynbras się upił by Janusz Głowacki. On the other hand it demonstrates
‘abbreviations’, ‘condensations’ of Hamlet with special emphasis
on Müller’s Die Hamletmaschine and Stoppard’s The Fifteen Minute
Hamlet. The article also demonstrates the specifically Polish rewritings
of Hamlet, starting from Bitwa pod Mozgawą (1827) by Józef Korzeniowski,
through Hamlet by Stanisław Wyspianski, Hamlet wtóry by Roman
Jaworski, Hamletyzm and other poems by Antoni Słonimski and Hanna
Krall’s Hamlet.
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