THE EXISTENTIAL MIRROR: FRAGMENTATION, PERFORMANCE, AND THE EMERGENCE OF MODERN SELFHOOD IN WILLIAM SHAKESPEARE'S HAMLET

This paper examines the central theme of identity in William Shakespeare’s Hamlet, arguing that the protagonist’s selfhood is not a singular entity but a contested, perpetually fragmented construction reflecting the philosophical anxieties of the Early Modern period. Utilizing psychoanalytic theory, performance studies (metatheater), and historical context, the research analyzes Hamlet’s internal conflict—caught between the roles of contemplative scholar and mandated revenger. We explore his "antic disposition" as a form of social performativity that exposes the contingent nature of self. The analysis contrasts Hamlet’s struggle with the externally defined identity of Ophelia, whose self-collapses following the loss of patriarchal anchors, and the hasty, honor-driven identity of Laertes. The paper concludes that Hamlet serves as a foundational text for understanding the modern, ambivalent individual defined by internal psychological conflict and constant self-analysis.