Rosencrantz and Guildenstern are nevertheless dead: the hypothetical adolescence of Prince Hamlet and the contested remorselessness of young offenders

A young man stabs a defenceless elderly man to death, and remarks “I’ll lug the guts into the neighbour room.” Martha Grace Duncan has argued that such apparent remorselessness and other forensic features must be interpreted differently in children and young people as compared to adult defendants, because of developmental effects. Professor Duncan discusses a range of fictional as well as real examples in pressing her claim, and also appeals to psychiatric, psychological and psychoanalytic expertise. In order to examine the general validity of her argument, it is hypothesised here that a Duncanian adolescence defense has been presented for Prince Hamlet who, miraculously revived, now stands his trial for murder. It is argued that the “adolescence defense” is unsound in principle and that children and youth (whether or not as superannuated as the Prince of Denmark) should be treated in the same forensic manner as adults. If we respect children and youth, we must respect their autonomy however uncomfortable for us this may be: “So young, my lord, and true.”

'To be or not ...' Lacan and the meaning of being in Shakepeare's Hamlet

This chapter provides a reading of Lacan's important reading of Shakespeare's Hamlet in Seminar VI, in the context of his developing thought on the neuroses, and obsessional neurosis in particular.  The article draws atttention to the way Lacan's focus shifts from Hamlet's 'Oedipal' relation towards his uncle towards his inability to fathom teh desire of his mother, Gertrude.  This interpretive optic opens up many scenes of the play, and strange transformations in the heor's conduct: his terrible hostility to Ophelia, and his 'rebound' at the moment that he leaps into her open grave, able at last to say 'It is I, Hamlet the Dane!" and undertake to do the task his father's ghost had implored of him.

Dharma and grief: secularisation of a sacred emotion

The presentation begins with the moving scene of Va¯lmi¯ki's grief over the bereavement of the survivor of the two birds in amorous union as one of them is pierced by a hunter's arrow. After considering Abhinavagupta's doubt about the genuineness of Va¯lmi¯ki's grief, the paper moves to Maha¯bha¯rata as the women from the warring clans bear witness to the horrendous carnage ensuing from the battle, and the constant rebuke that Yudhisthira, head of the Pa¯ndava clan, faces from Draupadi¯ for wandering the earth without finding a stable foundation for Dharma or grounding it in firm absolutes. We liken Yudhisthira to Mahatma Gandhi facing the near-collapse of the Indian subcontinent as it was being rent apart with communal violence on the eve of its Independence. But we also compare Yudhisthira with Hamlet, the tragic grief-ridden character, who is equally bewildered and confused by the array of emotions and sensations that overwhelm his lingering body upon news of the death of and ghostly encounter with his murdered father. With this as the context, we take the occasion to explore recent thinking on the 'hard emotions', in particular, grief, sorrow and mourning, and link the challenging inner and social condition to the calling of Dharma (righteous law, normatively worthy action). Drawing from some comparative work (academic and personal) in the study of grief, mourning and empathy, we shall discuss the treatment of this tragic pathos in classical Indic literature and modern-day psychotherapy. We shall demonstrate, despite being secularised, these emotions continue to serve as the sites of imagination at a much more personal and inter-personal level that are not antithetical to a Dharmic (sacred) quest despite their haunting presence even when 'the four walls collapse around one in the intensity of duhkha (suffering, sorrow)' (Tagore).

Screening Sarah Bernhardt: reinterpreting acting in silent film

Sarah Bernhardt, the great nineteenth-century theatrical actress, was also the first major international film star. Appearing cross-dressed in a short Hamlet film before international audiences at the Paris Exposition of 1900, this 56-year-old French actress most famously went on to make Camille (La Dame aux Camélias, 1911) and Queen Elizabeth (Les Amours de la Reine Elisabeth, 1912). Later appearing in one of the first celebrity home movies (Sarah Bernhardt at Home, 1915), she also made a WWI propaganda film, Mothers of France (Mères Françaises, 1917). This presentation explores these films as evidence of a productive exchange between the stage and the nascent film industry. Rather than see Bernhardt’s acting as evidence of the theatre’s incommensurability with film, it will demonstrate the legacy of her stage acting as she adapted it to early film. The talk will include screenings of the films accompanied by live music.