...Some of his comedies include Much Ado about Nothing and the Tempest. He also did some tragedies and histories including King John and Hamlet. Much Ado about Nothing is set in Messina, Italy when a nobleman named Leonato invites his friends Don Pedro, along with his soldiers Claudio and Benedick, to celebrate the end of the war. Leonato has a beautiful young daughter named, Hero, a clever niece, Beatrice, and his older brother Antonio. Claudio falls in love with Hero and Don John, being the bitter character that he is, tries to stop them from marrying each other. Don John set up a little prank to ruin the idea of Claudio and hero marrying. So, he set up the helper of Hero and Borachio, a companion of Don John, to make love in front of the window in Hero’s room and brings Don Pedro and Claudio to watch them make love. Claudio believes the act and embarrasses Hero in front of their family and leaves. Antonio claims that she died due to being severely shocked. The night watchmen overhear Borachio talking about his crime and the heads of police, Dogberry and Verges, arrest Borachio. After that ordeal, Leonato tells Claudio that he should tell everyone in the city how faithful Hero is. He also wants Claudio to marry his “niece” which turns out to be Hero herself [2]. His sonnets were just as thrilling and wonderful as his plays. Shakespeare never had a title for his sonnets, so researchers...
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...up in the Shakespeare play measure for measure and much ado about nothing . There were two women or falsely accused of both plays and starting off with the play what ado about nothing. One of the main characters hero who was a woman who was supposed to be wedded by Claudio was falsely accused of infidelity and Claudio let known these accusations at the wedding ceremony ( pg.137 act 4. Scene1) by denying her hand in marriage and accusing her of what he thought she did. The character hero was extremely embarrassed and mortified as well as her family. This also affected her virtue more so her standing and reputation in her community for the fact that he's saying that she is not pure that she's a liar and cheat within the story is completely crashes the character hero emotionally and psychologically. She falls into an extreme depression, which is very similar in comparison to the play measure for measure where the story of the character mariana introduced and told by the Duke to Isabella (pg.249 act3.scene1) where Mariana was to marry Angelo but was falsely accused of not being virtuous. So Angelo left her this brought her into a extreme depression and ruined her reputation a lot like in the play much ado about nothing character hero's situation. Both plays have different of showing these different natures of the accusations from both plays in much ado about nothing. The accusation was displayed in a very grand way to shame hero for what she was accuse that she had done in measure...
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...the love, the greater the chaos. It’s a given and that’s the secret.” This saying can be tied with the relationship of Beatrice and Benedick. Most movies or plays can attempt to portray a sweet relationship between two people, but in the matter of sensibility there happens to be more bitterness. There can be ups; however, there will also be many more downs, such as many arguments that will have to be fought out. Alongside the duration and timing of a relationship and the willingness to do anything for each other. In William Shakespeare’s Much Ado About Nothing, Beatrice and Benedick have the most realistic relationship compared to Hero and Claudio....
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...McParland October 28, 2015 Comparison of Much Ado about Nothing and Twelfth Night Shakespeare often employed a usage of posturing, or misleading, within his comedies that attribute to the confusion that serves as driving forces within the plays. I found this especially true in his play Twelfth Night, a plot dictated by multiple deceptions. After viewing the play Twelfth Night, I immediately considered the similarities found between that play and Much Ado about Nothing, which also contained numerous deceptions and guises. The presence of deception in both plays contribute to the conflicts caused by what appear to be, more so than actual physical disguise, and functions as a preeminent theme. In regards to...
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...Shakespeare lived through the time of change - England was a proud nation and full of power. This reflects through the male, dominating characters and the way women are submissive such as Hero and Claudio. Beatrice and Benedick, however, contrasts the typical relationship of that time as Beatrice doesn’t necessarily conform to the way a woman should behave, signifying a time of change. In both of these plays, we can see that men dominate and females are usually submissive to them. However, there are exceptions which are clearly shown through Beatrice in ‘Much Ado About Nothing’ who has little regard for what is considered proper and is very outspoken and witty and rarely conforms to what is expected of her. This is also shown in ‘A Streetcar Named Desire’ through Blanche, who holds herself very high and thinks of herself above men. Both Blanche and Beatrice insult the men around them. It suggests that this is considered normal of both of these different times and as a result, men appear to hold higher power and importance over women, leaving them as conforming to what the men want. In Act 1, Scene 1 in ‘Much Ado About Nothing’, Beatrice interrupts her Uncle, Leonato, and Messenger in the middle of their conversation which immediately juxtaposes her cousin, Hero. In this scene and throughout the play, Hero hardly contributes and is only seen talking when spoken to. This interruption reflects...
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...Before Hero is even introduced on screen, Beatrice names her as one of the reasons why she moves to Auckland (“And So It Begins...). Despite their different personalities, Hero and Beatrice are best friends and Beatrice dotes on her younger cousin: “This is my cousin Hero – isn't she the cutest?” (“A Wild Hero Appears!” 0:15). Hero is a kind, understanding person and well-liked by everyone for her positive and caring nature. She always tries to look on the positive side of things, which can be seen in “Summer Tips” video: while Beatrice complains about the heat and advises the viewers to never leave the house again (4:55), Hero offers ways to make a hot summer day more bearable while simultaneously complimenting her viewers on their lovely...
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...How far does the humour in Much Ado About Nothing derive from Shakespeare’s presentation of gender? Much ado about nothing is one of the most famous comedies written by Shakespeare. It is written in the modern style, and is mainly in prose form. It was written for the audience in the Elizabethan era of England, which was the age when females were considered significantly inferior to their male counterparts. Shakespeare has used this concept of gender for creating humour in his play. The characters Benedict and Beatrice are involved in a complex relationship which contrasts between love and hate. Both Beatrice and Benedict are strong willed, intelligent characters, who fear that falling in love will lead to a loss of freedom and eventually heartbreak. Various theories have been proposed which govern humour and comedy. The superiority theory proposed by Plato describes the darker side of comedy that Is often laughed at over unfortunate situations and social standings. Infirmity in others as compared to our own is often laughed at. These same principles has been applied to the story of the play, and the inferiority of females has been used as the basis for creating humour. [quick quote & example to back this up?] The characters Shakespeare's “Much Ado about Nothing” contribute to build the humorous essence of play through their roles. Several characters of the play presented comical language and gestures such as Benedick and Beatrice’s unromantic backbiting...
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...women. THCM is written in 17th Century and the poem depicts a man's urges to will a woman into bed with him. The poem has a light tone and humorous aspects throughout. In contrast MLD which is written in 19th Century has a much darker and menacing tone; it is about a controlling Duke and his previous duchess and unravels the dark story behind them. PL is a Victorian poem, the poem is gothic, crude and perverted in parrts with a man's strange insane intentions. However all these poems are linked by the idea of the male possessing and controlling a woman. H on the other hand is a woman's interpretation of a 19th century fictional character and how this character is left with feelings of violent hatred after being let down in marriage by her fiancé who has wed her to gain some of her riches. The theme of the poem is violent and confrontation but does compare and contrast with PL with the gothic nature. These four dramatic monologues do vary in storyline and tone however he same themes are made apparent in all of them and is what gives these poems a link and comparisons. Desire, death, domination and obsession as well as the balance of control between men and women over the past four hundred years are all explores. In Shakespeare's play "Much Ado about Nothing" we are also resented with these evident themes through two very different kinds of women with diametrically opposed attitudes to love and marriage. The position of Women has vacillated throughout history and from the 16th...
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...‘Most comedies can be criticised for a lack of seriousness’. To what extent do you believe this to be the case in the play ‘Much Ado About Nothing’? ‘Much Ado About Nothing’ contains comedy throughout but it could be argued that seriousness is present in equal measure. They are portrayed simultaneously by Shakespeare in his play: where one scene is comedic to one part of the audience, seriousness could be interpreted by others. The writer uses comedy not only to entertain but to portray and challenge concepts of gender, class and other norms dominant in Shakespearean times but also remain evident in contemporary society. He also uses a leading male and female character to construct this gender challenge, with a woman who will not marry until ‘God make men of some other metal than earth’ and a man she refers to as ‘no less than a stuffed man’. The forwardness with these lines are delivered in contrast with the passive expectations an Elizabethan audience would expect from the leading female, however comedy remains as the moment is unexpected. Furthermore, class and status issues can be identified in the play, an obvious example being the Prince’s brother a ‘bastard’, marginalised from society because of who he is, and a ‘watchman’ who is described as an ‘ass’. Through their comedic interchange of insults, two of Shakespeare’s main characters demonstrate the negative impact of gender issues in Elizabethan times. Benedick and Beatrice are constantly sparring with each other, starting...
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...SECTION A Question 1. 2. 3. 4. 5. Of Mice and Men Anita and Me To Kill a Mockingbird I Know Why the Caged Bird Sings Chanda’s Secrets SECTION B 6. Poetry 12 Pages 2-3 4-5 6-7 8-9 10 - 11 ADDITIONAL MATERIALS Twelve page answer booklet. INSTRUCTIONS TO CANDIDATES Answer both Section A and Section B. Answer one question in Section A and the question in Section B. INFORMATION FOR CANDIDATES The number of marks is given in brackets after each question or part-question. You are reminded that assessment will take into account the quality of written communication used in your answers. JD*(S-2011 Higher) Turn over. 2 SECTION A 1. Of Mice and Men Answer part (a) and either part (b) or part (c). You are advised to spend about 20 minutes on part (a), and about 40 minutes on part (b) or part (c). (a) Read the extract on the opposite page. Then answer the following question: With close reference to the extract, show how John Steinbeck presents Curley here. [10] Either, (b) Steinbeck uses three specific settings on the ranch: the bunkhouse, the harness room and the barn. Choose one of these settings and show how it is important to the novel as a whole.[20] Or, (c) How is the character of Candy important to the novel...
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...THE IMPACT OF ORGANIZATIONAL POLITICS ON THE WORK OF THE INTERNAL HUMAN RESOURCE PROFESSIONAL by Julie A. Paleen Aronow A Research Paper Submitted in Partial Fulfillment of the Requirements for Master of Science Degree in Training and Development Approved: 4 Semester Credits Dr. Kat Lui The Graduate College University of Wisconsin – Stout May, 2004 ii The Graduate School University of Wisconsin – Stout Menomonie, WI 54751 ABSTRACT Aronow Julie Ann Paleen ________________________________________________________________________ (Last Name) (First) (Middle) THE IMPACT OF ORGANIZATIONAL POLITICS ON THE WORK OF THE INTERNAL HUMAN RESOURCE PROFESSIONAL ________________________________________________________________________ (Title) Training and Development Dr. Kat Lui May 2004 65 ________________________________________________________________________ (Graduate Major) (Research Advisor) (Month/Year) (No. of Pages) American Psychological Association, 5th Edition ________________________________________________________________________ (Name of Style Manual Used in this Study) The coveted epicenter for the contemporary human resource professional is partnering with other internal business leaders to fulfill the organization’s mission through sound and ethical business principles and human resource practices. Over three decades, the discipline has matured into one that includes transactional practices along side the more sophisticated organizational development...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...ARTS TEACHERS’ GUIDE Grade 9 ARTS Teacher’s Guide Unit I WESTERN CLASSICAL ART TRADITIONS GRADE 9 Unit 1 ARTS TEACHERS’ GUIDE GRADE 9 Unit 1 WESTERN CLASSICAL ART TRADITIONS LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and arts of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. grade level STANDARD The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. CONTENT STANDARDs The Learner: demonstrates understanding of art elements and processes by synthesizing and applying prior knowledge and skills demonstrates understanding that the arts are integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon ...
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...The New Astrology by SUZANNE WHITE Copyright © 1986 Suzanne White. All rights reserved. 2 Dedication book is dedicated to my mother, Elva Louise McMullen Hoskins, who is gone from this world, but who would have been happy to share this page with my courageous kids, April Daisy White and Autumn Lee White; my brothers, George, Peter and John Hoskins; my niece Pamela Potenza; and my loyal friends Kitti Weissberger, Val Paul Pierotti, Stan Albro, Nathaniel Webster, Jean Valère Pignal, Roselyne Viéllard, Michael Armani, Joseph Stoddart, Couquite Hoffenberg, Jean Louis Besson, Mary Lee Castellani, Paula Alba, Marguerite and Paulette Ratier, Ted and Joan Zimmermann, Scott Weiss, Miekle Blossom, Ina Dellera, Gloria Jones, Marina Vann, Richard and Shiela Lukins, Tony Lees-Johnson, Jane Russell, Jerry and Barbara Littlefield, Michele and Mark Princi, Molly Friedrich, Consuelo and Dick Baehr, Linda Grey, Clarissa and Ed Watson, Francine and John Pascal, Johnny Romero, Lawrence Grant, Irma Kurtz, Gene Dye, Phyllis and Dan Elstein, Richard Klein, Irma Pride Home, Sally Helgesen, Sylvie de la Rochefoucauld, Ann Kennerly, David Barclay, John Laupheimer, Yvon Lebihan, Bernard Aubin, Dédé Laqua, Wolfgang Paul, Maria José Desa, Juliette Boisriveaud, Anne Lavaur, and all the others who so dauntlessly stuck by me when I was at my baldest and most afraid. Thanks, of course, to my loving doctors: James Gaston, Richard Cooper, Yves Decroix, Jean-Claude Durand, Michel Soussaline and...
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