...In the Elizabethan Era gender roles were strictly defined and maintained by those in high society. Throughout Macbeth, both Lady Macbeth and Macbeth have a slow demise to insanity as they attempt to . In addition to motifs like blood, hands, and nature, Shakespeare uses gender reversals to convey the importance of congruency within genders. William Shakespeare’s Macbeth uses gender role reversals to show the character’s progression to insanity, this is to inforce the notion that men and women need to stay within their predetermined roles. Men are typically viewed as ruthless and carouse, but the men in Macbeth are seemingly gentle and value life; however, the women, especially Lady Macbeth, are the opposite of demure and very headstrong....
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...Shakespeare – Macbeth William Shakespeare is one of England's greatest writer. He is a worldwide known poet and playwright and his work is translated in every major language. Shakespeare composed plays during the Elizabethan era. The Elizabethan period is best known for theatre. It was an era where English playwright, including Shakespeare, broke free from the past style of theatre. Drama became very preferable in this era and the theatres were always crowded during a play. Shakespeare wrote mainly tragedies by the end of the 16th century, including Hamlet, Othello and Macbeth. Aristotle's definition of a tragedy is that a tragedy is an imitation (mimesis) of an action that is morally admirable. Aristotle is a philosopher who wrote about poetry, poetry being epic, drama, and lyric for Aristotle, in his work “Poetics”. He said in his work that a tragedy should be composed by an introduction, a middle part and an ending. According to Aristotle the fable (mythos) is more important than the characters in the play. It is so because the purpose with the tragedy, according to Aristotle, is to make the audience feel pity (eleos) and fear (fobos) and as a result achieve an emotional cleansing(Catharsis). In order to bring those feelings to the audience the tragedy must be complex. The tragedy must involve a peripeteia, meaning that a great person experiences a turning point, a reversal of fortune. This turning point must be caused by a mistake, the tragic hero's mistake (hamartia)...
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... How do Shakespeare in ‘Macbeth’ and Steinbeck in ‘Of Mice of Men’ present female characters? Both Shakespeare and Steinbeck have presented their characters in ‘Macbeth’ and ‘Of Mice and Men’ as women who possess the features of a manipulator and a victim. Both elements are a question of power; manipulation being able to overpower someone else, whereas a victim is a subject to someone else’s power. Lady Macbeth and Curley’s wife both manipulate men using their femininity: Curley’s wife shows this as she manipulates the men on the ranch using her appearance and Lady Macbeth uses her sexuality to persuade her husband to kill the king and by welcoming Duncan into her home, even though she was plotting to kill him. Alternatively, there are differences between the two women, as Curley’s wife is lonely and isolated on the ranch, her husband disrespects her and is disliked by all the men on the ranch and as a result, manipulates the men innocently to get some attention. Lady Macbeth desires power and fame, and acts manipulatively and selfishly to get what she wants. Lady Macbeth is upperclass, giving her more freedom to do what she wanted. She had status, wealth, glamour and equal partnership with her husband. This was very unusual for the time- Shakespeare has presented her as a very modern anti-heroine. The writers have also presented the women as victims of their gender. During the time each text was written women had restrictions placed on their gender and struggled to achieve...
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...Britsh Literature SparkNotes Editors. “SparkNote on Italian Renaissance (1330-1550).” SparkNotes.com. SparkNotes LLC. n.d.. Web. 12 Dec. 2015. The women of the Renaissance era, like the women of the middle Ages in there time, were denied all political rights and considered legally subject to their husbands. Women of all classes were expected to perform, first and foremost, the duties of housewife. Peasant women worked in the field alongside their husbands and ran the home. The Italian renaissance article shows how the wives of middle class shop owners and merchants often helped run their husbands' businesses as well. Even women of the highest class, though attended by servants, most often engaged in the tasks of the household, sewing, cooking, and entertaining, among others. Women who did not marry were not permitted to live independently. Instead, they lived in the households of their male relatives or, more often, joined a convent. From this article I collected a good bit of information on how and why Lady Macbeth acted the way she did back in the renaissance era BeyondJane , The role of women during the renaissance era , May 20, 2010 Women were often placed in arranged agreements to marry as early as the age of eight years old. A woman in the Renaissance usually got married somewhere between the ages of sixteen and twenty years old. Marriages were arranged not for reasons of romantic love, but for business reasons, in the interest of trade relations, and...
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...Shakespeare’s ‘Macbeth’ and John Steinbeck’s ‘Of Mice and Men’ written in the 17th and 20th century, separated by hundreds of years of development and change within the world, both reflect the ideologies, treatment and representations of women in their respective eras. The principal feminine representatives are Lady Macbeth and Curley’s wife who throughout both texts demonstrate similarities and differences in their portrayal of their relationships with their male counterpart, the description of their tragic deaths and the conventional role of men and women and how they fit or break the stereotype. In this essay, I will refer to the aforementioned depictions, analysing the techniques the writers use to create their characters, and how a Jacobean audience, one during the Great Depression of the 1930s and a modern audience would react. Rather than supporting her husband in a subservient manner, Shakespeare makes Lady Macbeth the ruthless mastermind of a fiendish, venal and daring enterprise aimed to ensure her husband would ‘catch the nearest way’. In Act 1 Scene 5, when attempting to convince Macbeth to commit this necessary deed, she utters the heartless words ‘you shall put this night's great business into my dispatch’ inferring she intends to commit Duncan's murder herself. ‘Dispatch’ would lead a modern audience to believe she will only manage and oversee the murderous plan, however, in Elizabethan England, it would have meant to kill with quick efficiency; thus, Lady Macbeth prepares...
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...it’s teen film appropriation, “Ten Things I Hate About You”, made to appeal to the 1990’s teenage audience. The theme of individuality is explored throughout both “Ten Things” and “The Taming”, in very different ways. Kat, the protagonist of “Ten Things” is our good old, nonconformist outsider that ‘teen audiences’ have come to know and love in movies. Kat is a strong, confident, and independent women,who doesn’t conform to the social teenage pressure that surround her. An example of her ‘I-don’t-care-what-people-think’ attitude is mirrored in the movie’s soundtrack. As such, the opening shot camera pans across the skyline to rest on a shiny convertible with four feminine girls wearing pigtails and listening to a band named “Barenaked Ladies” before an another - more battered - car pulls up. The second car reveals Kat listening to Joan Jett’s “Bad Reputation”. Thus from the first scene, the audience sees Kat as the angry, unconventional feminist who doesn’t care what others think. Another example of her individualism is when Kat says to her ‘shallow and popular sister’: “You don’t always have to be who they want you to be you know” . This reference is to Kat’s peers, teachers and parents, and her deep dislike of her sister’s willingness to fit in and be accepted by ‘others’ (although, there really isn’t a problem with liking being adored). ‘The Taming” is deeply embedded with the same but different themes and ideas from the movie including the theme of individualism that...
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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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...6 Build Your Vocabulary ■ ■ ■ ■ The SAT High-Frequency Word List The SAT Hot Prospects Word List The 3,500 Basic Word List Basic Word Parts be facing on the test. First, look over the words on our SAT High-Frequency Word List, which you’ll find on the following pages. Each of these words has appeared (as answer choices or as question words) from eight to forty times on SATs published in the past two decades. Next, look over the words on our Hot Prospects List, which appears immediately after the High-Frequency List. Though these words don’t appear as often as the high-frequency words do, when they do appear, the odds are that they’re key words in questions. As such, they deserve your special attention. Now you’re ready to master the words on the High-Frequency and Hot Prospects Word Lists. First, check off those words you think you know. Then, look up all the words and their definitions in our 3,500 Basic Word List. Pay particular attention to the words you thought you knew. See whether any of them are defined in an unexpected way. If they are, make a special note of them. As you know from the preceding chapters, SAT often stumps students with questions based on unfamiliar meanings of familiar-looking words. Use the flash cards in the back of this book and create others for the words you want to master. Work up memory tricks to help yourself remember them. Try using them on your parents and friends. Not only will going over these high-frequency words reassure you that you...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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