THE RELATION OF TRAGEDY OF KING HAMLET
BY WILLIAM SHAKESPEARE
WITH ORAL STORY / FOLKLORE OF
ANCIENT SAXON
CHAPTER I
INTRODUCTION
1.1.
The
Background of the Research
Popular literary work is one of cultures
that aim to introduce the mass literary works (ex: film, song, usic, cinema,
etc). This culture comes from the works of society that present their ideas
through the modern media. This popular culture is also spread to this whole
world like a daily consumption. As Williams defines that:
The recent sense of the popular culture as
the culture actually made by people for themselves is different from all these:
it is often displaced to the past as folk culture but it is also an important
modern emphasis (1976: 199).
While Strinati stated in her book An Introduction to Theories of Popular
Culture that popular culture itself has to be seen as a diverse and
varied set of genres, texts, images, and representations that can be found
across a range of different media (1995: 35). Furthermore, popular culture can
be created by society to show their own culture through the interesting Medias
like film or song.
The motion picture is better known as film. It is one of the popular literary
works that can be accepted as a useful media to express people’s feelings,
thoughts and ideas. Film is also presented in audio visual that makes
interesting to be watched. According to David and Kristin in their book An
Introduction: Film Art , motion pictures are so much a part of people's
lives that it's hard to imagine a world without them. They also state that:
Film communicates information and ideas and
films show people places and ways of life. Film takes people through the
experiences, the experiences are often driven by stories with characters, a
film might also develop an idea or to explore visual qualities or sound
textures. In other words, a film takes people on a journey, offering a
patterned experience that engages people's mind and emotions (1950: 2).
Besides, generally, film has some genres to tell the viewers about the plot
of story. These are action, drama, historical drama, fiction fantasy, fantasy
action, etc. Among some of the genres, one of the interesting genres is drama.
A drama,
or a play, is a
text written to be performed on stage. It usually consists of dialogue, stage
directions, and the occasional description of the scene.
Dramas are usually divided into
"acts" and "scenes" - similar to how novels are divided
into chapters and the most famous dramatist of the English
language is probably Shakespeare.
1.2. The Formulation of the Problems
Research problem formulated in the following
questions :
1.
What
is the tragedy of King Hamlet by William Shakespeare?
2.
What
is Oral Story/ Folklore of Ancient Saxon?
3.
What
is the relation between the tragedy of King Hamlet by William Shakespeare with
Oral Story/ Folklore of Ancient Saxon?
1.3. The Purpose of the Research
The research is aimed to find the answer of the
research problems. The research is purposed to describe :
1.
The
tragedy of King Hamlet by William Shakespeare.
2.
Oral
Story/ Folklore of Ancient Saxon.
3.
The
relation between the tragedy of King Hamlet by William Shakespeare with Oral
Story/ Folklore of Ancient Saxon.
CHAPTER II
DISCUSSION
2.1. The Tragedy of King Hamlet by William Shakespeare
The protagonist of Hamlet is Prince Hamlet of
Denmark, son of the recently deceased King Hamlet, and nephew of King Claudius,
his father's brother and successor. Claudius hastily married King Hamlet's
widow, Gertrude, Hamlet's mother. Denmark has a long-standing feud with
neighbouring Norway, and an invasion led by the Norwegian prince, Fortinbras, is
expected.
The play opens on a cold winter midnight on
"platform before the castle" of Elsinore, the Danish royal castle.
The sentry Francisco is keeping trusty guard when two figures appear in the
darkness. Bernardo, a sentry come to replace Francisco, calls out, "Who's
there?" Francisco replies, "Nay, answer me. Stand and unfold
yourself." Friendly identity proven, Francisco retires to bed. En route,
Francisco encounters Horatio and Marcellus who are coming to visit Bernardo.
Bernardo and Marcellus discuss the recent appearance of a curious intruder
which they describe as a "dreaded sight" which they have already
bumped into twice on the battlements, but which Horatio is inclined to dismiss
as "but our fantasy." Marcellus has brought Horatio along to
"watch the minutes of this night" in case the scary ghost appears
again to fright. The ghost appears, and is described by the three witnesses as
looking like the late King Hamlet. They endeavour to open a conversation with it,
but "it is offended" and "stalks away." The three men take
this opportunity to discuss Danish politics, noting that Denmark has begun
military preparation because Fortinbras has "shark'd up a list of lawless
resolutes / For food and diet." The ghost of Hamlet wanders back. When it
declines to talk to them they attack it with daggers, but it escapes. Marcellus
admits that this was a bad idea: "We do it wrong... to offer it the show
of violence / For it is... invulnerable." They decide to tell prince
Hamlet that his father's ghost is up and about.
The scene shifts to "room of state in the
castle." Various royal figures come in. Claudius and Gertrude talk with
Laertes about his upcoming trip to France. His father Polonius admits that he
has signed off on this jaunt. The King and Queen then turn to Hamlet. Perturbed
by Hamlet's continuing deep mourning for his father and his increasingly
erratic behaviour, Claudius and Gertrude try to persuade him to lighten up.
Claudius tells him that fathers die all the time, but he does not appear
comforted by this.
When they leave, he soliloquises that he wishes flesh
could melt, and that he was not prevented from " self- slaughter " by
"his canon." He calls the world an "unweeded garden." He
complains that his mother jumped into " incestuous sheets" with her
brother-in-law too quickly after the death of Hamlet's father before her
wedding shoes were old. Marcellus, Horatio and the sentry come in and Hamlet
asks Horatio why he has left Wittenberg, home of the Protestant Reformation. They
tell Hamlet about the castle ghost. Hamlet quizzes them, and finds out that the
ghost was pale with a big silver beard. Hamlet declares "I doubt some foul
play" and resolves to see the Ghost himself.
Claudius and Gertrude send two student friends of his—
Rosencrantz and Guildenstern—to discover the cause of Hamlet's mood and
behavior. Hamlet greets his friends warmly, but quickly discerns that they are
spies. That night, the Ghost appears to Hamlet and tells him that Claudius
murdered him by pouring "juice of cursed hebenon" in his ear, which
caused his blood to "curd" and his skin to be covered with a
"vile and loathsome crust." The Ghost demands that Hamlet avenge him.
"Well said, old mole!" replies the prince, and he tells Horatio and
the rest of his crew that he is going to "put on an antic
disposition" from this point on and that if they run into him around the
castle they should not say such things "as "Well, we know," or
"We could, an if we would," Or "If we list to speak," or
"There be, an if they might," that would give him away. He is,
however, uncertain of the Ghost's reliability.
Polonius is Claudius's trusted chief counsellor; his
son, Laerters, is about to resume studies in France, and his daughter, Ophelia,
is courting Hamlet. Neither Polonius nor Laertes approves of the match, and
both warn her off. Shortly afterwards, Ophelia meets Hamlet secretly but is so
alarmed by his strange antics that she tells her father of Hamlet's state.
Polonius blames an "ecstasy of love" for Hamlet's madness and informs
Claudius and Gertrude. At their next tryst, Hamlet rants at Ophelia, accusing
her of immodesty and dismissing her to a nunnery.
Hamlet remains unconvinced that the Ghost has told him
the truth, but the arrival of a troupe of actors at Elsinore presents him with
a solution. He will stage a play, re-enacting his father's murder, and
determine Claudius's guilt or innocence by studying his reaction. The court
assembles to watch the play; Hamlet provides a running commentary throughout.
After seeing the Player King murdered with poison in the ears, Claudius
abruptly rises and leaves the room: proof positive for Hamlet of his uncle's
guilt. Gertrude summons Hamlet to her bedchamber to demand an explanation. On
his way, Hamlet passes Claudius in prayer. Claudius has just been talking to
himself about the impossibility of repenting since he still had possession of
the ill-gotten goods: state power, "my ambition," and sleeping with
the queen he married. "There is no shuffling," he points out, "
He talks to the state ("O wretched state!"), to his bosom ("O
bosom black as death!"), to his soul ("O limed soul, that, struggling
to be free, Art more engaged!"), to angels ("Help, angels! Make
assay!"), and finally to his knees ("Bow, stubborn knees)".
Hamlet then sneaks up behind them, but hesitates to kill him, reasoning that
killing Claudius right after Claudius prayed and cleansed himself of his sins
would send Claudius straight to heaven while his father is stuck in purgatory.
After Hamlet unsheaths his sword and leaves, Claudius mutters that his praying
doesn't seem to be getting anywhere.
In the bedchamber, a furious row erupts between Hamlet
and Gertrude. Polonius, spying on the conversation and hidden behind a
tapestry, makes a noise; Hamlet, believing it is Claudius, cries "Dead,
for a ducat, dead!" and stabs wildly, killing Polonius. Hamlet then pulls
aside the curtain and sees his mistake. He doesn't feel too sorry about this,
saying only "Thou wretched, rash, intruding fool, farewell!" He then
berates his mother for marrying Claudius for the sex. He claims her
"sense" was "thrall'd" to her "ecstasy," and
observes that "rebellious hell... can mutine in a matron's bones."
The castle ghost suddenly pops his head in and gripes that Hamlet still hasn't
killed Claudius yet and that he is annoying his mother even though he was
instructed not to. Unable to see or hear the Ghost herself, Gertrude takes
Hamlet's conversation with it as further evidence of madness. Hamlet leaves,
begging the queen to stop having sex with Claudius, and suggesting that she can
get used to this if she makes it a habit to abstain. Hamlet hides Polonius's
corpse in "the lobby"; and Claudius, fearing for his life, sends
Hamlet along with Rosencrantz and Guildenstern to England with a note to the
King ordering Hamlet to be executed immediately.
Demented by grief at Polonius's death, Ophelia wanders
Elsinore singing bawdy songs. Her brother, Laertes, arrives back from France,
enraged by his father's death and his sister's madness. Claudius convinces
Laertes that Hamlet is solely responsible; then news arrives that Hamlet is
still at large. Claudius swiftly concocts a plot. He proposes a fencing match
between Laertes and Hamlet with poison-tipped rapiers, but tacitly plans to
offer Hamlet poisoned wine if that fails. Laertes will be given a handicap, and
Claudius intends to bet on Hamlet so that if Hamlet dies the murder will not
appear staged. Gertrude interrupts to report that Ophelia has drowned.
Two gravediggers discuss Ophelia's apparent suicide,
while digging her grave. Hamlet arrives with Horatio and banters with a
gravedigger, who unearths the skull of a jester from Hamlet's childhood, Yorick,
causing Hamlet to contemplate the universal nature of mortality. Ophelia's
funeral procession approaches, led by Laertes. He and Hamlet grapple by
Ophelia's graveside, but the brawl is broken up.
Back at Elsinore, Hamlet tells Horatio that he had
written fake letters addressed from Claudius to the King of England ordering
Rosencrantz and Guildenstern to be put to death instead. A courtier, Osric,
interrupts to invite Hamlet to fence with Laertes. With Fortinbras' army
closing on Elsinore, the match begins. Laertes pierces Hamlet with a poisoned
blade but in the scuffle they switch swords and Hamlet wounds Laertes with his
own poisoned sword. Despite a warning from Claudius, Gertrude accidentally
drinks poisoned wine intended for Hamlet and dies. In his dying moments,
Laertes is reconciled with Hamlet and reveals Claudius's murderous plot. In his
own last moments, an enraged Hamlet blames Claudius for his mother's death and
manages to stab Claudius with the poisoned blade. Horatio attempts to commit
suicide by drinking the poison but Hamlet swipes the cup from his hands and
orders him to live to tell the tale. When Fortinbras arrives, Horatio recounts
the story and Fortinbras, seeing the entire royal family dead on the floor,
takes the crown for himself.
2.2. Oral
Story/ Folklore of Ancient Saxon
Folklore is the
traditional art, literature, knowledge, and practice that is disseminated
largely through oral communication and behavioral example. Every group with a
sense of its own identity shares, as a central part of that identity, folk
traditions–the things that people traditionally believe (planting
practices, family traditions, and other elements of worldview), do
(dance, make music, sew clothing), know (how to build an irrigation dam,
how to nurse an ailment, how to prepare barbecue), make (architecture,
art, craft), and say (personal experience stories, riddles, song
lyrics). As these examples indicate, in most instances there is no
hard-and-fast separation of these categories, whether in everyday life or in
folklorists' work.
The word "folklore” names an enormous
and deeply significant dimension of culture. Considering how large and complex
this subject is, it is no wonder that folklorists define and describe folklore
in so many different ways. Try asking dance historians for a definition of "dance,”
for instance, or anthropologists for a definition of "culture.” No one
definition will suffice–nor should it.
In part, this is also because particular
folklorists emphasize particular parts or characteristics of the world of
folklore as a result of their own work, their own interests, or the particular
audience they're trying to reach. And for folklorists, as for the members of
any group who share a strong interest, disagreeing with one another is part of
the work–and the enjoyment–of the field, and is one of the best ways to learn.
But to begin, below I have cited several
folklorists' definitions and descriptions of folklore, given in the order in
which they were written and published. (One of them uses the word
"folklife” instead, which American folklorists, following their European
colleagues, have used more frequently of late.) None of these definitions
answers every question by itself, and certainly none of them is the American
Folklore Society's official definition (we don't have one), but each offers a
good place to start. From time to time we'll add the views of other folklorists
to this page.
One thing you'll note about these
definitions and descriptions is that they challenge the notion of folklore as
something that is simply "old,” "old-fashioned,” "exotic,”
"rural,” "peasant,” "uneducated,” "untrue,” or "dying
out.” Though folklore connects people to their past, it is a central part of
life in the present, and is at the heart of all cultures–including our
own–throughout the world. For more information about folklore and about what
folklorists do, please see the other sections of this "About Folklore” ,
namely :
Martha C. Sims and Martine Stephens. Living Folklore: An Introduction to
the Study of People and their Traditions . Pp. 1-2. Logan: Utah State
University Press, 2005.
Folklore is many things, and it's almost impossible to define succinctly. It's
both what folklorists study and the name of the discipline they work within. Yes,
folklore is folk songs and legends. It's also quilts, Boy Scout badges, high
school marching band initiations, jokes, chian letters, nicknames, holiday
food… and many other things you might or might not expect. Folklore exists in
cities, suburbs and rural villages, in families, work groups and dormitories. Folklore
is present in many kinds of informal communication, whether verbal (oral and
written texts), customary (behaviors, rituals) or material (physical objects). It
involves values, traditions, ways of thinking and behaving. It's about art. It's
about people and the way people learn. It helps us learn who we are and how to
make meaning in the world around us. [Pages 1-2]
Dorothy
Noyes. Folklore. In The Social Science Encyclopedia . 3rd
edition. Adam Kuper and Jessica Kuper, eds. Pp. 375-378.
New York: Routledge, 2004.
Folklore is a metacultural category used to mark certain genres and
practices within modern societies as being not modern. By extension, the word
refers to the study of such materials. More specific definitions place folklore
on the far side of the various epistemological, aesthetic and technological
binary oppositions that distinguish the modern from its presumptive contraries.
Folklore therefore typically evokes both repudiation and nostalgia. [Page 375]
Barbro Klein. Folklore.
In International Encyclopedia of the Social and Behavioral Sciences .
Volume 8. Pp. 5711-5715. New York: Elsevier, 2001.
'Folklore' has four basic meanings. First, it denotes oral narration,
rituals, crafts, and other forms of vernacular expressive culture. Second,
folklore, or 'folkloristics,' names an academic discipline devoted to the study
of such phenomena. Third, in everyday usage, folklore sometimes describes
colorful 'folkloric' phenomena linked to the music, tourist, and fashion
industries. Fourth, like myth, folklore can mean falsehood. [P. 5711]
Mary Hufford. American Folklife: A Commonwealth of Cultures . Washington: American Folklife Center,
Library of Congress, 1991.
What is folklife? Like Edgar Allan Poe's purloined letter, folklife is
often hidden in full view, lodged in the various ways we have of discovering
and expressing who we are and how we fit into the world. Folklife is reflected
in the names we bear from birth, invoking affinities with saints, ancestors, or
cultural heroes. Folklife is the secret languages of children, the codenames of
CB operators, and the working slang of watermen and doctors. It is the shaping
of everyday experiences in stories swapped around kitchen tables or parables
told from pulpits. It is the African American rhythms embedded in gospel hymns,
bluegrass music, and hip hop, and the Lakota flutist rendering anew his
people's ancient courtship songs.
Folklife is the sung parodies of the "Battle Hymn of the Republic” and
the variety of ways there are to skin a muskrat, preserve string beans, or join
two pieces of wood. Folklife is the society welcoming new members at bris and
christening, and keeping the dead incorporated on All Saints Day. It is the
marking of the Jewish New Year at Rosh Hashanah and the Persian New Year at
Noruz. It is the evolution of vaqueros into buckaroos, and the riderless horse,
its stirrups backward, in the funeral processions of high military commanders.
Folklife is the thundering of foxhunters across the rolling Rappahannock
countryside and the listening of hilltoppers to hounds crying fox in the
Tennessee mountains. It is the twirling of lariats at western rodeos, and the
spinning of double-dutch jumpropes in West Philadelphia. It is scattered across
the landscape in Finnish saunas and Italian vineyards; engraved in the
split-rail boundaries of Appalachian "hollers” and the stone fences around
Catskill "cloves”; scrawled on urban streetscapes by graffiti artists; and
projected onto skylines by the tapering steeples of churches, mosques, and
temples.
Folklife is community life and values, artfully expressed in myriad forms
and interactions. Universal, diverse, and enduring, it enriches the nation and
makes us a commonwealth of cultures.
Henry Glassie. The Spirit of Folk Art . New York: Abrams, 1989.
" Folklore,” though coined as recently as 1846, is the old word, the
parental concept to the adjective "folk.” Customarily folklorists refer to
the host of published definitions, add their own, and then get on with their
work, leaving the impression that definitions of folklore are as numberless as
insects. But all the definitions bring into dynamic association the ideas of individual
creativity and collective order.
Folklore is traditional. Its center holds. Changes are slow and steady. Folklore
is variable. The tradition remains wholly within the control of its
practitioners. It is theirs to remember, change, or forget. Answering the needs
of the collective for continuity and of the individual for active
participation, folklore…is that which is at once traditional and variable.
William A. Wilson. The Deeper Necessity: Folklore and the Humanities. Journal of
American Folklore 101:400, 1988.
Surely no other discipline is more concerned with linking us to the
cultural heritage from the past than is folklore; no other discipline is more
concerned with revealing the interrelationships of different cultural
expressions than is folklore; and no other discipline is so concerned …with
discovering what it is to be human. It is this attempt to discover the basis of
our common humanity, the imperatives of our human existence, that puts folklore
study at the very center of humanistic study.
Barre Toelken. The Dynamics of Folklore . Boston: Houghton Mifflin, 1979.
Tradition [means] not some static, immutable force from the past, but those
pre-existing culture-specific materials and options that bear upon the
performer more heavily than do his or her own personal tastes and talents. We
recognize in the use of tradition that such matters as content and style
have been for the most part passed on but not invented by the performer.
Dynamic recognizes, on the other hand, that in the
processing of these contents and styles in performance, the artist's own unique
talents of inventiveness within the tradition are highly valued and are
expected to operate strongly. Time and space dimensions remind us that the
resulting variations may spread geographically with great rapidity (as jokes
do) as well as down through time (good luck beliefs). Folklore is made up of
informal expressions passed around long enough to have become recurrent in form
and context, but changeable in performance.
…modern American folklorists do not limit their attention to the rural,
quaint, or "backward" elements of the culture. Rather, they will
study and discuss any expressive phenomena–urban or rural–that seem to act like
other previously recognized folk traditions. This has led to the development of
a field of inquiry with few formal boundaries, one with lots of feel but little
definition, one both engaging and frustrating.
Jan Brunvand. The Study of American Folklore: An Introduction , 2nd
edition. New York: WW Norton, 1978.
Folklore
comprises the unrecorded traditions of a people; it includes both the form and
content of these traditions and their style or technique of communication from
person to person. Folklore is the
traditional, unofficial, non-institutional part of culture. It encompasses all
knowledge, understandings, values, attitudes, assumptions, feelings, and
beliefs transmitted in traditional forms by word of mouth or by customary
examples.
Edward D. Ives. Joe Scott, the Woodsman-Songmaker . Urbana: University of Illinois Press,
1978.
No song, no
performance, no act of creation can be properly understood apart from the
culture or subculture in which it is found and of which it is a part; nor
should any "work of art” be looked on as a thing in itself apart from the
continuum of creation-consumption.
Dell Hymes. Foundations in Sociolinguistics: An Ethnographic Perspective
. Philadelphia: University of
Pennsylvania Press, 1974.
[Folklore
study is] the study of communicative behavior with an esthetic, expressive, or
stylistic dimension.
Dan Ben-Amos. Toward a
Definition of Folklore in Context, in Américo Paredes and Richard Bauman, eds. Toward
New Perspectives in Folklore . Austin: University of Texas Press for
the American Folklore Society, 1972.
…folklore is
artistic communication in small groups.
2.3. The Relation Between The Tragedy Of King Hamlet By William
Shakespeare With Oral Story/ Folklore Of Ancient Saxon.
In this section, the author will discuss about the
story of Hamlet's relationship with folklore. First, the author will explain
what it is folklore? Folklore is the study of folklore, legend, history, fairy
tales and includes a custom of tradition in a group. One example of folklore is
Hamlet by William Shakespeare. Hamlet is a tragedy drama genre. Hamlet comes
from the legend Amleth. Amleth is a Scandinavian who became the main character
in the story of Hamlet. Amleth is a son of the king of Denmark.
Early this story comes from Gervendill, Jutland
governor, succeeded by his son Horvendill and Feng. Horvendill, on his return
from Viking expedition in which he had killed Koll, the king of Norway, married
Gerutha, daughter Rorik Slyngebond, king of Denmark; she bore him a son,
Amleth. But Feng, jealousy, murder Horvendill, and persuade Gerutha be his
wife, on the plea that he has committed a crime for no other reason than to
avenge a husband who hated him. Amleth, fear of sharing the fate of his father,
pretending to be stupid, but allegations of Feng put him to various tests which
relate in detail. Among others, they are trying to involve himself with a young
girl, lifting her sister (prototype Ophelia), but his cunning rescue. When,
however, Amleth kill hidden eavesdropper (as Polonius in Shakespeare), in his
mother's room, and destroy all traces of the act, Feng believes that the young
man's madness pretended it. In doing so he sent him to England in company with
two officers, who delivered a letter ordering the state to kill the king.
Amleth suspect the intent of their instruction, and quietly changing the
message on their wooden tablets which states that the king should lay dead
officer and give his daughter in marriage Amleth.
After marrying the princess, Amleth back at the end
of the year to Denmark. Who have accumulated wealth he took certain hollow cane
filled with gold. He arrived in time for the funeral party, held to celebrate
the supposed death. The feast of the courtiers he plied with wine, and executed
revenge when their drunken sleep with their tie down the hall with ornate wool
peg he honed during feigned madness, and then set fire to the palace. Feng he
killed with his own sword. After a long harangue to those who proclaimed king.
Back to England for his wife he found that his father-in-law and Feng had
promised each other to avenge the death. King of England, would personally
carry out his promise, send Amleth as a proxy for hand seducer terrible Queen
of Scots, Hermuthruda, who has put all former wooers die but fall in love with
Amleth. After returning to England his first wife, the love proved stronger
than hatred, revenge intended to tell his father. In the ensuing battle, Amleth
won the day by establishing die falling from the previous day on a bet, so
terrifying enemy.
He then returned with two wives to Jutland, where
he had to face the hostility of Wiglek, successor Rorik it. He was killed in
battle against Wiglek. Hermuthruda, although he had promised to die with him,
marry the winner. Saxo states that Amleth buried in the plains (or
"health") in Jutland, famous with the name and place of burial.
Wiglek later died of illness and the father of Wermund from whom the royal line
of the kings of Mercia down.
CHAPTER III
CONCLUSION
Folklore is the study of folklore, legend, history, fairy tales and
includes a custom of tradition in a group. One example of folklore is Hamlet by
William Shakespeare. Hamlet is a tragedy drama genre. Hamlet comes from the
legend Amleth. Amleth is a Scandinavian who became the main character in the
story of Hamlet. Amleth is a son of the king of Denmark.
REFERENCES
Martha C. Sims and Martine Stephens. Living Folklore: An Introduction to
the Study of People and their Traditions . Pp. 1-2. Logan: Utah State
University Press, 2005.
Dorothy
Noyes. Folklore. In The Social Science Encyclopedia . 3rd edition. Adam
Kuper and Jessica Kuper, eds. Pp. 375-378. New York: Routledge, 2004.
Barbro
Klein. Folklore. In International Encyclopedia of the Social and Behavioral
Sciences . Volume 8. Pp. 5711-5715. New York: Elsevier, 2001.
Mary
Hufford. American Folklife: A Commonwealth of Cultures . Washington:
American Folklife Center, Library of Congress, 1991.
Henry
Glassie. The Spirit of Folk Art . New York: Abrams, 1989.
William A.
Wilson. The Deeper Necessity: Folklore and the Humanities. Journal of
American Folklore 101:400, 1988.
Barre
Toelken. The Dynamics of Folklore . Boston: Houghton Mifflin, 1979.
Jan
Brunvand. The Study of American Folklore: An Introduction , 2nd edition.
New York: WW Norton, 1978.
Edward D.
Ives. Joe Scott, the Woodsman-Songmaker . Urbana: University of Illinois
Press, 1978.
Dell Hymes. Foundations
in Sociolinguistics: An Ethnographic Perspective . Philadelphia: University
of Pennsylvania Press, 1974.
Dan
Ben-Amos. Toward a Definition of Folklore in Context, in Américo Paredes and
Richard Bauman, eds. Toward New Perspectives in Folklore . Austin:
University of Texas Press for the American Folklore Society, 1972.
The Tragedy of Hamlet, Prince of. Denmark. ASCII text placed in the public domain by
Moby Lexical Tools, 1992. SGML markup by Jon Bosak,. 1992-1994, Retrieved December 28, 2014 from www.w3.org/People/maxf/.../hamlet.pdf
Analysis of The Aesthetic
Reaction, Retrieved December 28, 2014 from http://www.ethicalpolitics.org/wits/vygotsky-development.pdf
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