...Act 1.1 * The mob of plebeians, which holds the stage as the play opens, lacks an individual identity but nevertheless constitutes one of the most important "characters" in the story. * They have taken up arms, true, but not without cause: As one of them puts it, "the gods know I speak this in hunger for bread, not thirst for revenge (I.i.22-23)." * Menenius does makes an attempt at a response, with his story about the stomach and the body. His behavior toward the plebeians contrasts starkly with Martius's--the common people like him, calling him "one that hath always loved the people"; they say of him, "...he's one honest enough! Would all the rest were so!"(I.i.49-52). Although he does not genuinely care for them any more than Martius does (he never actually takes their side in any of the play's political disputes), the people nevertheless favor him because he possesses a gift the play's hero lacks--the gift of public relations. – Compared to Menenius. * The play shows us a city suffering from a power vacuum; wily patricians like Menenius and crafty demagogues like the tribunes now struggle to fill this vacuum, Menenius with his organic conception of the state and the tribunes with their notion of popular rule. Moreover, this political situation can be traced back to Martius; we learn that as a youth he had a hand in King Tarquin's overthrow. One can, thus, see the play's initial situation as an Oedipal moment: The young Martius has overthrown the royal father-figure...
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...friend and who is an enemy. On one hand, Coriolanus is a war hero who has a claim on the people's loyalty for his military services. On the other hand, the people dislike his pride and under the influence of the tribunes, quickly become his enemy and drive him out of Rome. This turns Coriolanus' allegiance from Rome to his former enemies, the Volscians. Aufidius and Coriolanus are sworn enemies who become friends after Coriolanus is banished, but envy and rivalry gain ascendancy in Aufidius' mind and he once again becomes Coriolanus' treacherous enemy. While such shifts come naturally to Aufidius and he is skilled at hiding them when needed, Coriolanus is of an open and guileless nature, so that everyone knows whose side he is on. As the age of martial conquest begins to give way to an age of political manoeuvring, it is no accident that Aufidius and the other politicians, Menenius, Brutus and Sicinius, survive, but Coriolanus falls to his tragic demise. Enemy: A5 S6: 1. Aufidius insults Coriolanus constantly at the end of the play, being called a traitor. Shows the audience the true extent of their formidable relationship, one half being a sight of betrayal, though if this was not the case, neither one would complete the other. This ignobility takes away Coriolanus’ honour. “ But tell the traitor in the highest degree. He hath abused your powers... Ay, traitor, Martius... grace thee with that robbery, thy stol’n name Coriolanus, in corioles?... betrayed your business....
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...“The Serpent Under’t”: The Manipulation of Gender Performance and the Gendered Body by Shakespeare’s Volumnia and Lady Macbeth In both Coriolanus and Macbeth, powerful women exploit their power over important male figures through their manipulation of gender roles and performance. In “Identity-Formation and the Breastfeeding Mother in Renaissance Generative Discourses and Shakespeare’s Coriolanus,” Victoria Sparey compares the symbolic relevance of breast milk and blood in Shakespearean literature to explain the immense power Volumnia holds over her son Coriolanus. Ralph Berry argues the sexual motivation behind Volumnia’s control in his article “Sexual Imagery in Coriolanus.” Berry states that “from Volumnia, we derive a strong impression of the interlinked impulses of sex and power” (316). Lady Macbeth’s character and influence over her husband is explored thoroughly in William T. Liston’s "Male and Female Created He Them": Sex and Gender in "Macbeth." Liston outlines the ways Lady Macbeth manipulates both her husband’s masculinity and her own femininity to achieve her personal ambitions. Although Sparey and Berry examine the motives and character of Volumnia and Liston recounts the ambitious incentives of Lady Macbeth, this paper will focus on the performance of gender and how it is used to manipulate the masculine body, the feminine body, and to overcome the societal boundaries set out for individuals at the time of Shakespeare’s writing. Using Judith Butlers concept of...
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...war crime to ensure power remains with him, but will not place himself in danger. Not all of Shakespeare’s histories follow English monarchies, as some occur in Ancient Rome. Just as Coriolanus breaks the author’s setting norms, it breaks the protagonist norms of other histories. Coriolanus never wants to lead the Romans, nor does he want the power. Both Henrys cherish their influence over England, but Coriolanus wants nothing to do with the Roman people. When the Senate forces him to walk the streets to gain votes from the masses, he begs, “I do beseech you, Let me o’erleap that custom, for I cannot, Put on the gown, stand naked and entreat them, For my wounds’ sake, to give their suffrage” (II.ii). He shrugs the power of the state from his shoulders instead of embracing it, because he sees the state as a maternal figure. There is a clear divide between him and the Roman Empire; he fights for it and is celebrated in return, but he never asks to command it. He places his life in danger to make his mothers, Volumnia and Rome, proud, not to prove he could adequately control the government. Fighting for glory is all he has ever known. Coriolanus follows these sentiments, but not everyone in Rome believes in the same ideology. Brutus and Sicinius, as tribunes, resent how the plebeians applaud Coriolanus, so the two plot to turn the vote against the warrior. ...
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...wrote tragedies from the beginning of his career. One of his earliest plays was the Roman tragedy Titus Andronicus, which he followed a few years later with Romeo and Juliet. However, his most admired tragedies were written in a seven-year period between 1601 and 1608. These include his four major tragedies Hamlet, Othello, King Lear and Macbeth, along withAntony & Cleopatra, Coriolanus, Cymbeline, Julius Caesar and the lesser-known Timon of Athens and Troilus and Cressida. ------------------------------------------------- Tragedies[edit] Many have linked these plays to Aristotle's precept about tragedy: that the protagonist must be an admirable but flawed character, with the audience able to understand and sympathize with the character. Certainly, all of Shakespeare's tragic protagonists are capable of both good and evil. As one of the most influential Shakespearean critics of the 19th century, A. C. Bradley argues, "the playwright always insists on the operation of the doctrine of free will; the (anti) hero is always able to back out, to redeem himself. But, the author dictates, they must move unheedingly to their doom." Some, including drama historian Brian Arkins in his "Heavy Seneca: his Influence on Shakespeare's Tragedies," have also pointed out their Senecan nature, as differentiated from Aristotle's principles and Greek tragedy. In one of a few exceptions to the rule that Black Roman literature was essentially superficial imitation of Greek works, the Roman Stoic philosopher...
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...Probably written in 1599, Julius Caesar was the earliest of Shakespeare's three Roman history plays. Like Antony and Cleopatra and Coriolanus, Julius Caesar is a dramatization of actual events, Shakespeare drawing upon the ancient Roman historian Plutarch's Lives of Caesar, Brutus, and Mark Antony as the primary source of the play's plot and characters. The play is tightly structured. It establishes the dramatic problem of alarm at Julius Caesar's ambition to become "king" (or dictator) in the very first scene and introduces signs that Caesar must "beware the Ides of March" from the outset. Before its midpoint, Caesar is assassinated, and shortly after Mark Antony's famous funeral oration ("Friends, Romans, and countrymen … "), the setting shifts permanently from Rome to the battlefields on which Brutus and Cassius meet their inevitable defeat. Julius Caesar is also a tragedy; but despite its title, the tragic character of the play is Brutus, the noble Roman whose decision to take part in the conspiracy for the sake of freedom plunges him into a personal conflict and his country into civil war. Literary scholars have debated for centuries about the question of who exactly is the protagonist of this play. The seemingly simple answer to this question would be Julius Caesar himself—after all, the play is named after him, and the events of the play all relate to him. However, Caesar only appears in three scenes (four if the ghost is included), thus apparently making him an unlikely...
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...Ang wika ay isang bahagi ng pakikipagtalastasan. Kalipunan ito ng mga simbolo, tunog, at mga kaugnay na batas upang maipahayag ang nais sabihin ng kaisipan. Ginagamit ang pamamaraang ito sa pagpapaabot ng kaisipan at damdamin sa pamamagitan ng pagsasalita at pagsulat. Isa rin itong likas na makataong pamamaraan ng paghahatid ng mga kaisipan, damdamin at mga hangarin sa pamamagitan ng isang kaparaanang lumilikha ng tunog; at kabuuan din ito ng mga sagisag sa paraang binibigkas. Sa pamamagitan nito, nagkakaugnayan, nagkakaunawaan at nagkakaisa ang mga kaanib ng isang pulutong ng mga tao ang wika ay isang lengguwahe === sa pilipinas === Ang kahulugan ng wika ay lengguwahe. ang wika ay may sistema, binubuo ng arbitrayong simbolo ng mga tunog, at ginagamit para sa komunikasyon ng mga tao Ang wika ay masistemang balangkas. Lahat ng wika sa mundo ay gumagamit ng isang tiyak na balangkas, mapagramatika man o mapangkahulugan. Ang wika ay sinasalitang tunog. Ang wika ay hindi maituturing na wika kung hindi ipinamamahagi. Ito ay dumadaan mula sa isip ng tao patungo sa artikulador at resonador na siyang nag-aamplify ng tunog. Ang wika ay pinipili at isinasaayos. Ang wika ay hindi maaaring gamitin kung hindi rin lang nagkakaintindihan. Ginagamit natin ang wika para makipag-usap sa tao sa paraang maiintindihan niya. Ang wika ay arbitraryo. Ang wika ay natututunan sa isang lipunan. Samakatwid, hindi matututo ng wika ang tao kung hindi siya makikihalubilo. Ang wika ay ginagamit at ito ay...
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...hi For other uses, see Hello (disambiguation). "Hallo" redirects here. For other uses, see Hallo (disambiguation). Hello is a salutation or greeting in the English language. It is attested in writing as early as the 1860s.[1] Contents [hide] * 1 First use * 2 Etymology * 2.1 Telephone * 2.2 Hullo * 2.3 Hallo and hollo * 2.4 Cognates * 3 "Hello, World" computer program * 4 The Apple DOS HELLO program * 5 Perception of "Hello" in other nations * 6 See also * 7 References * 8 External links ------------------------------------------------- First use Hello, with that spelling, was used in publications as early as 1833. These include an 1833 American book called The Sketches and Eccentricities of Col. David Crockett, of West Tennessee,[2] which was reprinted that same year in The London Literary Gazette.[3] The word was extensively used in literature by the 1860s.[4] ------------------------------------------------- Etymology According to the Oxford English Dictionary, hello is an alteration of hallo, hollo,[5] which came from Old High German "halâ, holâ, emphatic imperative of halôn, holôn to fetch, used especially in hailing a ferryman."[6] It also connects the development of hello to the influence of an earlier form, holla, whose origin is in the French holà (roughly, 'whoa there!', from French là 'there').[7] As in addition to hello,halloo,[8] hallo, hollo, hullo and (rarely) hillo also exist as variants...
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...The play “The Tragedy of Julius Caesar” was a tragedy written by William Shakespeare in the year 1599. It is one of the many plays that he wrote based off of true events from roman history (these include Coriolanus and Anthony and Cleopatra.) Julius Caesar the main character was a roman states man that played a large role that led to the demise of the roman republic and the rise of the roman empire. The senate granted him triumphs for his victories when he returned to Rome, soon after this he began making laws and legislatures and even passed a law that almost entirely terminated around a fourth of debts owed. Before his assassination Julius held both a dictatorship and the title of tribunate he was appointed dictator for about 10 years. The day of his...
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...Hello From Wikipedia, the free encyclopedia Jump to: navigation, search For other uses, see Hello (disambiguation). "Hallo" redirects here. For other uses, see Hallo (disambiguation). [pic] Hello is a salutation or greeting in the English language. It is attested in writing as early as the 1830s. |Contents | |[hide] | |1 First use | |2 Etymology | |2.1 Telephone | |2.2 Hullo | |2.3 Hallo | |2.4 Cognates | |3 "Hello, World" computer program | |4 The Apple DOS HELLO program | |5 Perception of "Hello" in other nations | |6 See also | |7 References | |8 External links | First use Hello, with that spelling, was used in publications as early as 1833. These include an 1833 American book called The Sketches and Eccentricities of Col. David Crockett, of...
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...Hunger Games: Catching fire Written by Suzanne Collins Hunger Games: Catching fire Written by Suzanne Collins Author: Suzanne Collins Publisher: Scholastic Corporation Publishing year: 2009 Book length (pages): 391 (The book’s cover) Catching Fire the second installment of the hunger games trilogy. This time around Katniss and Peeta who already won the games and are touring around the districts. Soaking in the fame and glorious Capitol-life; supposedly… Setting: The setting mainly takes place in three different locations. The first location is Katniss and Peeta’s home; district 12. District 12 is the poorest of all the districts and its main source of income is coal mining. The second district is the home of the game makers and President Snow; Capitol. Capitol is a very futuristic city where all the rich people in the nation live. The citizens there look like they could be Lady Gaga’s relatives, with colorful clothes and excessively much make-up. Moreover, the last location is where the majority of the story takes place; the arena. The arena is electronically created by at least a dozen of workers constantly creating obstacles for the participants to get through. Plot: Catching Fire is a continuation of The Hunger Games. Katniss and Peeta have returned from the arena and are now going on their obligatory tour around the district. President Snow, the leader of Panem, is seeing Katniss as a treat to the establishment and wants to get rid of her. However...
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...FAMOUS WRITERS & THEIR WORK Old English (Anglo-Saxon Period): writers: Caedmon and Cynewulf. work: Beowulf (by anonymous). 1200-1500: Middle English Period : Geoffrey Chaucer's(1343-1400) : The Canterbury Tales, Troilus and Criseyde and Book of the Duchess. Other Major Poems The House of Fame, The Parliament of Fowles, The Legend of Good Women. Prose Treatises Treatise on the astrolabe. Short Poems The Complaint of Chaucer to His Purse ,Truth, Gentilesse, Merciles Beaute, Lak of Stedfastnesse, Against Women Unconstant. Geoffrey Chaucer Thomas Malory's (1405-1471) : Morte d'Arthur. work: Sir Gawain and the Green Knight (by anonymous). 1500-1660: The English Renaissance 1500-1558: Tudor Period (Humanist Era) The Humanists: Sir Thomas More (1478-1535) : Utopia, The History of King Richard the Third, The Life of Pico della Mirandola, The Four Last Things, A Dialogue Concerning Tyndale, The Confutation of Tyndale's Answer, A Dialogue of Comfort Against Tribulation and Sadness of Christ . Sir Thomas More John Skelton (1460-1529): A ballade of the Scottysshe Kynge John Skelton Sir Thomas Wyatt(1503-1542): My Lute Awake! Once, As Methought, Fortune Me Kissed They Flee From Me The restful place ! renewer of my smart It may be good, like it who list In faith I wot not what to say There Was Never Nothing More Me Pained Patience ! though I have not Though I Cannot Your Cruelty Constrain Blame Not My Lute My Pen ! Take Pain The heart and...
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...Early European Theater • The writings of this period were primarily hymns, sermons and similar theologically oriented works. • Latin became a literary medium. • Major preserves of learning are the monasteries. • 8th century Europe returned to greater stability under the Carolingian kings. ➢ Charles Martel – defeated the Moslems at Tours in 732 AD, through his innovative use of armored horsemen as the principal military force, initiating the development of knighthood. ➢ Charlemagne – extended his realm into the Slavic territories and converting non- Christians on the way. Charlemagne was crowned by the Pope and pronounced him as the successor to Constantine. The scenario was the first attempt to establish the Holy Roman Empire. • Charlemagne’s death caused Europe to break into small units isolated from each other and from the world. • Moslem controlled the Mediterranean and the Vikings, still pagans, conquered the northern seas. Early Middle Ages • Life was relatively simple. • Feudalistic patterns were fully established. ➢ Manor (large estate)- headed by a noble man, assumed absolute authority over the peasants who worked his land collectively. ➢ Vassals – supplies the lords a specified number of knights upon demand and the lords in return were bound to protect their vassals. The Theater (500- 900 AD) • The theater revived during the early Middle Ages. • After the Western Roman...
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...Bertolt Brecht Drama Project. He was born on 10 February 1898 in Augsburg, Germany His full birth name was Eugen Berthold Friedrich Brecht He was a German poet, playwright, and theatre director A prolific director he one of the most influential theatre practitioners of the 20th century He died on 14 August 1956 in Mitte, East Berlin, German Democratic Republic Brecht died on 14 August 1956 of a heart attack at the age of 58. He is buried in the Dorotheenstädtischer cemetery on Chausseestraße in the Mitte neighbourhood of Berlin, overlooked by the residence he shared with Helene Weigel. Brecht left the Berliner Ensemble to his wife, the actress Helene Weigel, which she ran until her death in 1971. Perhaps the most famous German touring theatre of the postwar era, it was primarily devoted to performing Brecht's plays. His son, Stefan Brecht, became a poet and theatre critic interested in New York's avant-garde theatre. Brecht has been a controversial figure in Germany, and in his native city of Augsburg there were objections to creating a birthplace museum. By the 1970s, however, Brecht's plays had surpassed Shakespeare's in the number of annual performances in Germany. Have a pleasant day. Bertolt Brecht was born in Augsburg, Bavaria, to a devout Protestant mother and a Catholic father. The modest house where he was born is today preserved as a Brecht Museum. His father worked for a paper mill, becoming its managing director in 1914.Thanks to his mother's...
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...Clausewitz: In Praise of Hate ACT 1, SCENE VIII. A field of battle. MARCIUS I'll fight with none but thee; for I do hate thee. AUFIDIUS We hate alike: Not Afric owns a serpent I abhor More than thy fame and envy. Fix thy foot. The Tragedy of Coriolanus William Shakespeare Over the last fifteen years, the U.S. government has wrestled continuously with how properly to approach the ongoing phenomena of burgeoning regional terrorism and global insurgency. In an effort to cognitively frame the rising power of ethnic and racial groups resident in formerly weak or powerless states that are the main sources of current conflict, it has settled upon characterizing the new operational environment as “complex.”1 To some, this characterization may seem to imply that the socio-political and socio-cultural operational environments in which military forces had to operate previously were not complex; that the operational environments in which such conflicts as the American Civil War, World War I or II, or Vietnam were fought were simpler. Irrespective, the reason the now somewhat voguish term complex may have gained its current ascendancy in the lexicon is that it expiates semantically the frustration strategists and policy makers feel toward pesky conflicts not only in Iraq and Afghanistan waged by resilient adversaries, but emerging conflagrations throughout the Middle East and Africa led by stateless entities such as Al Qaida and the Islamic State that they...
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