인문학
사회과학
자연과학
공학
의약학
농수해양학
예술체육학
복합학
DBpia AI
AI 에이전트
AI 아이디어
AI 리더
AI 뷰어
Citeasy
크롬 서지관리 다운로드
지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
피인용 0
초록·키워드
This article examines Chloé Zhao’s Hamnet (2025) as a cinematic exploration of parental grief, meaning reconstruction, and Shakespearean creation. Adapting Maggie O’Farrell’s novel, the film reimagines Hamnet’s death as a loss that reshapes the emotional and creative lives of his parents. Drawing on Robert A. Neimeyer’s theory of meaning reconstruction, this article argues that mourning is represented as the reorganization of shattered self-narratives after loss. Agnes maintains continuing bonds with Hamnet through nature, herbs, bodily memory, domestic space, and maternal practices of care. Her intimacy with the natural world also connects personal grief to early modern women’s healing labor and matrilineal memory. Will, by contrast, transforms private sorrow into the public and artistic form of Hamlet. The film’s contrast between Stratford and the London stage visualizes these different modes of mourning. In the final Globe Theatre scene, Agnes’s bodily mourning and Will’s artistic mourning converge through performance and communal spectatorship. By foregrounding Agnes’s perspective, Zhao’s adaptation revises the traditional Shakespeare-centered narrative of artistic genius. Ultimately, Hamnet suggests that mourning is not the overcoming of death but the reconstruction of love, memory, and meaning after irreparable loss.
본문·목차
인공지능 문자 인식 모델을 통해 추출된 텍스트로, 일부 오타나 오류가 포함될 수 있으나 지속적으로 개선 중입니다.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
오류를 발견하셨다면 해당 부분을 드래그한 후 ' 를 통해 신고해주세요.
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