Abstract
In this paper I analyze two versions of Hamlet written and published after the fall of communism in Romania and Russia. Starting from the distinction made by Carl Schmitt in Hamlet or Hecuba (1956) between the real Elizabethan temporality that erupts in Hamlet and the atemporal-literary form of tragedy, I explore the mutations of the tragic produced by the adaptation of Shakespeare’s play in the post-communist East.
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