He is initially sceptical, but is "harrow with fear and wonder" when he sees the ghost. Horatio is present in the first scene of the play, accompanying Barnardo and Marcellus on watch duty, for they claim to have "twice seen" the ghost of King Hamlet. Many commentators have linked the name to the Latin words ratiō ("reason") and ōrātor ("speaker"), noting his role as a reasoner with Prince Hamlet, and surviving (even though he begged for death) to tell Hamlet's heroic tale at the end of the play. Horatio is a variation of the Latin Horatius. Being from Wittenberg, a university that defined the institutional switch from theology to humanism, Horatio epitomizes the early modern fusion of Stoic and Protestant rationality. Horatio is not directly involved in any intrigue at the court, but he makes a good foil and sounding board for Hamlet. Hamlet has departed for England by this point, and is not supposed to return. For example, when Gertrude (the queen) is reluctant to admit the "distract" Ophelia, she changes her mind following Horatio's advice. He is on relatively familiar terms with other characters.
Hamlet is glad to see him, and Horatio remains at court without official appointment, simply as "Hamlet's friend". He was present on the field when King Hamlet (Hamlet's father) defeated Fortinbras (the king of Norway), and he has travelled to court from the University of Wittenberg (where he was familiar with Prince Hamlet) for the funeral of King Hamlet. Horatio is a character in William Shakespeare's tragedy Hamlet. Thus, in addition to Derrida’s doctrine on the aesthetics of proper names, we employ a dialogical model of acculturation developed in cross-cultural psychology to scrutinize the psychological intricacies involved in Said’s hyphenated identity, the conflicting voices of Edward and Said and his fluctuating movement between contradictory voices and “I” positions of feeling assimilated, separated and marginalized.Horatio (standing, dressed in red) with Hamlet in the "gravedigger scene" by Eugène Delacroix While Darwish’s use of his name is philosophical, Said’s use of his name addresses the social and psychological impact of heterogeneous identity. Both authors, regardless of the overwhelming theme of decay in their works, conjure the apparition of the name to revive their absent presence. We argue the names of Darwish and Said are ghostly presences of the absence of their bearers. works, employing Derrida’s theory of the ghostliness of the proper name. In this essay we examine the aesthetics of the proper name and diasporic identities as represented in the aforementioned. Despite the sombre theme dominating both works as swansongs, Darwish and Said manage to subvert it to transform their works into ghostly texts. Published in the same year, 1999, Edward Said’s Out of Place and Mahmoud Darwish’s “Mural” amplify eulogical voices of the dying self. Palestinian men, we suggest, are liable to project their sense of vulnerability, loss of control, and their difficulties coping with the restrictive mechanisms of the lockdown onto women, resulting in a dramatic increase in cases related to gender-based violence.
We also contend that, during the COVID-19 pandemic, violence against women can be explained through the psychological mechanism of projection.
Palestinian women’s oppression is the result of subjection to multiple layers of violence and discrimination, in both public and private spheres, stemming from the Israeli military occupation, prevailing patriarchal norms and practices and gender-based violence. We argue that the preventive measures of social distancing, quarantine and lockdown of public spaces had, in this instance, an adverse effect on women who are confined in the domestic spheres with abusive partners. This article ex amines domestic violence directed toward Palestinian women in the West Bank and Gaza during the outbreak of the pandemic. In the context of the current COVID-19 pandemic, the language of contagion may serve as a metaphor for the proliferation of political and economic crises and the spread of violence.
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