• English & American cultural studies
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• v.17 no.1
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• pp.163-189
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• 2017

The mourning and grief practice richly registered in Shakespeare's Hamlet is one of the abiding themes that critics have been fascinated with. This paper attempts to take a fresh look at the issue by building its arguments on Benjamin's insight that the modern art (mechanically) reproducing the exhibition value brings about the destruction of the ritual value and favors the conditions of melancholy. Instead of taking for granted that Hamlet's performance of grief is fundamentally different from those of other characters such as Gertrude, Ophelia, and Laertes, this paper argues that Hamlet's performance comes to be recognized masculine and different from others, only because he presents himself to be so through his theatrical performance as well as his princely power that the subjects (others in the story) ought to ascribe to. To prove this point, this paper closely analyzes Hamlet's rhetorics and the ways he constructs his mourning self, which is emblematic of the shift in art history that Benjamin has characterized with the terms of "ritual value" and "exhibition value." In conclusion, this paper suggests that Shakespeare's Hamlet marks the change of the historical horizon, a permanent removal from the past in which the ritual value had been once protected, pushing us to a new age to live with melancholy and the disconnection from things and their muted language.

• Journal of the Korean Society of Costume
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• v.36
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• pp.149-165
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• 1998

• Proceedings of the KSPS conference
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• 2000.07a
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• pp.179-188
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• 2000

• Proceedings of the Costume Culture Conference
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• 1996.08a
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• pp.5-7
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• 1996

• Journal of English Language & Literature
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• v.60 no.2
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• pp.391-393
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• 2014

• Proceedings of the KSPS conference
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• 2002.11a
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• pp.64-69
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• 2002

This study concerns the constraints of English Poetic Meter. In English poems, the metrical pattern doesn't always match the linguistic stress on the lines. These mismatches are found differently among the poets. For the lexical stress mismatched with the weak metrical position, $*W{\Rightarrow}{\;}Strength$ is established by the concept of the strong syllable. The peaks of monosyllabic words mismatched with the weak metrical position are divided according to which side of the boundary of a phonological domain they are adjacent to. Adjacency Constraint I is suggested for the mismatched peak which is adjacent to the left boundary of a phonological domain; *Peak] and Adjacency ConstraintII for the mismatched peak which are adjacent to the right boundary of a phonological domain. These constraints are various according to the poets(Pope, Milton and Shakespeare) : *[Peak [-stress], $W{\Rightarrow}{\;}*Strength$ and *Peak] in Pope; *[+stress][Peak [-stress] and *Peak] in Milton ; *[+stress][Peak [-stress], $W{\;}{\Rightarrow}{\;}*Strength$ and ACII in Shakespeare.

• Korean Journal of English Language and Linguistics
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• v.2 no.4
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• pp.555-574
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• 2002

This study concerns the constraints of English Poetic Meter. In English poems, the metrical pattern doesn't always match the linguistic stress on the lines. These mismatches are found differently among the poets. For the lexical stress mismatched with the weak metrical position, W⇒ Strength is established by the concept of the strong syllable. The peaks of monosyllabic words mismatched with the weak metrical position are divided according to which side of the boundary of a phonological domain they are adjacent to. Adjacency Constraint I is suggested for the mismatched peak which is adjacent to the left boundary of a phonological domain; /sup */Peak] and Adjacency ConstraintⅡ for the mismatched peak which is adjacent to the right boundary of a phonological domain. These constraints are various according to the poets (Pope, Milton and Shakespeare) : /sup */[Peak [-stress], /sup */W⇒ Strength and /sup */Peak] in Pope; /sup */[+stress][Peak[-stress] and /sup */Peak] in Milton; /sup */[ +stress][Peak[-stress], /sup */W⇒Strength and Adjacency ConstraintⅡ in Shakespeare.

• International Journal of Costume and Fashion
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• v.7 no.2
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• pp.64-75
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• 2007

This is a project presented to obtain Master of Fine Arts degree in Costume Production. The candidate has to present 20 costume illustrations and four full constructed costumes for selected actors. At the presentation, the candidate is given 45 minutes to present followed by questions asked by the committee and audiences and it was presented and exhibited in Brookline Arts Council. The thesis consists of two parts; research and analysis on the play, and the result of the design and production for the $play^{1)}$which consists of four fully built costumes-two in chosen fabrics and the other two in muslin with full closure worn on selected actors for each character. The period for the costume design is the Elizabethan period, the actual period the play Hamlet was written in England. The play Rosencrantz and Guildenstern are Dead is a play written in 1967 from a view of two small characters from Shakespeare's play Hamlet. So the costumes of Hamlet's characters are in full period, but the main two characters' costumes will have some of modern twists.

• Journal of Fashion Business
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• v.5 no.2
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• pp.149-166
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• 2001

The purpose of this study was illumination of the stage costume by applying the study of a subject of human expression, which establishes identity of dramatic characters. This study was conducted by referring a variety of theses, an extensive national and international literature. The color symbolism that is depicted in Shakespeare‘s work manifests the transition period of old days, which was influenced by the Renaissance and the Religious Reformation. And color preferences and the meanings I attach to them in his play, definitely reveal the Middle Ages Christian way of thinking which was obsessively dominated their mind. I also determine that the color preferences and use in Elizabeth Era also distinctively separate the social status, which were also influenced by its social conditions. Besides this, colors that were depicted in Shakespeare's work also shown many similarities from Italian Commedia dell‘arte, which were in vogue all over the Europe. Customary color symbolisms which from natural color experiences were also applied in "The Tempest". "The Tempest" was presented on the first day of November in 1611 for the first time. Following this, many plays and films have been produced in foreign countries and Korea. With an analysis of "The Tempest", costume designs for Miranda and Ferdinanad were illustrated at the end. The costumes for Miranda and Ferdinand were mainly considered to express pure love and vigorous youth of two lovers, symbolizing the image of the theme love, forgiveness, and reconciliation.

• Journal of English Language & Literature
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• v.56 no.2
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• pp.237-253
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• 2010

In Christopher Marlowe's Cambridge days in the 1580s, the British forward wits were engaged in the curious pursuit of magic and occult philosophy in order to discover the mystery of things. Magic, together with judiciary astronomy, astrology, mathematics, and logic, was one of the most practical disciplines. Marlowe, Shakespeare, and Jonson demonstrate their deep interest in magic and its language of spell and charms in the light of their analogical application to the alchemical theatre. As Shakespeare says that the poet, the lover, and the madman are of the same because they give forms to airy nothing, a magical illusion is, for the three playwrights, similar to the theatrical illusion in that both magic and theatre work in and by a language and both give us sportive pleasures through the deceptio visus. However, while Jonson is rather puritanically antagonistic to the illusive language of alchemy and magic, Marlowe and Shakespeare are attracted to the rapturous nature of the absolute language of magic. Doctor Faustus' indulgence in magic stands for the Marlovian aspiration for the absolute language which allows no discrepancy between thinking and willing, conceiving and actualizing. His uses of spells, charms, anagrams, and magic books are transformed and translated in the play into an alchemical theatre. Faustus is dependant on and bound by his books of magic, as is the actor on the stage. Faustus is the poet condemned from the beginning. Though he is mistakenly thinking that it is he himself that manipulates Mephostophilis the magical agent, it is otherwise. Faustus is a shadow or an actor in the Elizabethan language. He remains a farcical figure during the twenty-four years which are given to him for his sensual dalliance. Marlowe never forgets through his farcical clowning to satirize such Catholic rituals as exorcism and benediction for their illusive theatricalism. The sports of Faustus' playacting and play-directing rise at the last hour to the height of a tragedy. Ironically Marlowe the playwright succeeds as a tragedian at the point where Faustus fails as a magician.