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Shakespeare’s Hamlet/Hamlet, Shakespeare 3.0, and Tugged Hamlet, The Comic Prince of The Polish Cabaret POTEM

100%

Sosnowska M.

Multicultural Shakespeare: Translation, Appropriation and Performance

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2018

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tom 17

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nr 32

81-93

EN

Shakespeare’s dramas are potentialities. Any Hamlet may be understood as the space in which Shakespeare’s thoughts are remembered, as a reproduced copy of the unspecified, unidentified source, the so called original. Simultaneously, it may be conceived of as the space where Shakespeare’s legacy and authority is tested, trifled and transgressed. Nowadays Shakespeare’s dramas are disseminated in multifarious forms such as: printed materials, audio and video recordings, compact audio discs, digital videos and disc recordings. Since I am fond of the cultural phenomenon called Hamlet, not a singe text or performance, but a continuum of human interaction with intermediated and transcoded versions of the drama, in this article I focus on the abovementioned single play. I accentuate the title character’s profound meaning in Shakespeare studies and his iconic status in Western culture in different media. I exploit W.B. Worthen’s concept of “Shakespeare 3.0.” to demonstrate Shakespeare’s presence in digital reality on the example of a comic rendering of Hamlet (Tugged Hamlet, 1992) by the Polish cabaret POTEM. Their cabaret sketch, although it was not created for the Internet audience, is available on-line via YouTube, consituting “Shakespeare 3.0.” Furthermore, I pose several questions and attempt to answer them in the course of my analysis: to what extent does the image of a mournful and contemplative Hamlet pervade different dimensions of culture, especially our collective imagination?; what chances of realization has a cultural fantasy of challenging the myth of a witty and contemplative Hamlet when re-written and presented as a pastiche or satire?; was the Polish cabaret POTEM succesful in their comic performance?

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NECROPHELIA AND THE STRANGE CASE OF AFTERLIFE

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Sosnowska M.

Studia Anglica Posnaniensia

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2013

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tom 48

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nr 2-3

103-123

EN

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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To See and Hear Like Ophelia, or How Not to Take Leave of One’s Senses: Representations of the Madwoman in Youtube Culture

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Sosnowska M.

Gender Studies

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2012

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tom 11

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nr Supplement

12-25

EN

Ophelia, fated to insanity, has attracted incomparably more interest than any other Shakespearean heroine. As an archetype of a madwoman Ophelia has been in the limelight for a wide range of supporters and adversaries: literary critics, theatre and film directors, actors and actresses, psychiatrists, philosophers, writers, poets, painters, photographers, feminist and gender revolutionists, and ordinary people, especially women who want to act the story of her losing her senses. The last-mentioned category appear to be fulfilling their dreams of becoming madwomen by posing as lunatic Ophelia and being filmed. The destiny of these amateur films is to be posted on YouTube.

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“What sort of a world is this, where killing and pain are the norm? What on earth is wrong with us?” Nature Strikes Back in Olga Tokarczuk’s Drive Your Plow Over the Bones of the Dead (2009)

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Sosnowska M.

Academic Journal of Modern Philology

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2022

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nr 15

305-317

EN

The article seeks to explore the theme of nature’s revenge in Olga Tokarczuk’s novel Drive Your Plow Over the Bones of the Dead (2009, translated into English in 2018). The book may be classified as Anthropocene fiction or eco-fiction Tokarczuk’s treatment of vengeful nature in Drive Your Plow… manifests as a literary representation of a physiology of an ecosystem in disequilibrium, pervaded by images of blood in a snowy landscape. The author renders her female protagonist, Janina Duszejko, a proponent and practitioner of a theory proposing that nature wreaks revenge on humans. Tokarczuk presents new ways of imagining agency beyond anthropocentrism. Drive Your Plow may serve as an example of literary fiction from which posthumanist reflections may spring, while simultaneously it oftentime (even if unintentionally) draws on posthumanist philosophy and ethics. I also refer to Olga Tokarczuk biography and views in search of her environmental concerns and solutions.

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Co zjada Hamleta? Robaki jako aktywni aktorzy w elsynorskiej (i nie tylko) gastronomii

100%

Sosnowska M.

Zoophilologica. Polish Journal of Animal Studies

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2020

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nr 6

125-142

RU

В настоящей статье рассматриваются контакты, взаимодействия, отношения и даже межвидовые связи на материале одного из самых известных культурных текстов – Гамлет Уильяма Шекспира, в котором нашли убежище и привидение, и червь. Трагедия Гамлет затрагивает различные вопросы пространства/земли/гастрономии Эльсинора. Расследуя «неестественную» смерть своего отца, Гамлет замечает множество природных явлений, включая круговорот материи, в котором черви играют важнейшую роль. Автор статьи стремиться показать, что хотя черви мало что значат в культуре, то для экосистем они, перерабатывая органические остатки и удобряя землю, являются важными существами, которые оказывают реальное влияние на их состояние и баланс. Гамлет явится вдохновением для размышлений о старинных и современных похоронных практиках – с одной стороны, и о собственном будущем месте из церемонии захоронения автора статьи – с другой.

EN

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.

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PODRÓŻE REALNE I WIRTUALNE A UWARUNKOWANIA RYNKU MODY, CZYLI KREOWANIE GLOBALNEGO GUSTU A TRADYCJONALIZM KULTUR LOKALNYCH

63%

Januszewicz S. , Sosnowska M.

Zeszyty Naukowe. Turystyka i Rekreacja

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2014

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nr 1(13)

93-109

PL

Silny wpływ tradycjonalizmu kultury lokalnej na nieustannie warunkujący się rynek mody sprawił, że jego elementy zostały wcielone w życie i mają na celu sprostanie wymaganiom klientów. Zostały one rozpowszechnione przez człowieka znajdującego się w ciągłej podróży – realnej, rzeczywistej i wirtualnej, nierzeczywistej. Poprzez ową kolej rzeczy tworzy się globalna kultura, która zapoczątkowuje powstanie globalnego gustu. Celem procesu jest ujednolicenie mody i kultury do stanu uniwersalnego dla większości obywateli. Czy jednak sytuacja ta będzie właściwa? Co stanie się z indywidualizmem człowieka? Czy kultura lokalna całkowicie zaniknie? Oto pytania, na które starały się odpowiedzieć autorki artykułu.

EN

Strong influence of local culture’s traditionalism continually conditioning the fashion market means that its elements have been put into life and the aim is to cope the demands of customers. They have been distributed by a human located in a continuous journey – real and virtual – unreal. Through this way creates a global culture, which initiates the formation of the global taste. The purpose of the process is the unification of fashion and culture to the state universal for most citizens. Would this situation be proper? What happens to human individuality? Is the local culture completely disappear? Here’s the questions that answer give the article authors.