...in today’s society for one to formulate beliefs and ideas regarding others based upon their appearance rather than the much deeper and hidden reality. This phenomenon can destroy relationships and individuals as people are often deceived by a false reality. William Shakespeare employs this theme during his widely recognised play, Macbeth. Shakespeare marks the regressive journey of a bold and courageous soldier, Macbeth, as he deteriorates enormously in his murder-filled quest of becoming the King of Scotland. Although Macbeth accomplishes his ambition, fate soon catches up with him in his death. It is apparent that the theme of appearance versus reality is prominent in the play Macbeth by means of the three Witches, Lady Macbeth,...
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...The downfall of a central character is common in a Shakespearean tragedy. Examine how Macbeth’s actions led to his own downfall. Macbeth is a play that adheres to a typical Elizabethan tragedy, which follows the journey of a noble protagonist, who is flawed in some way, placed in a demanding situation, ending with a fatal conclusion. On the same note, hamartia and hubris qualities deem Macbeth himself to be the ultimate tragic hero, flawed with erupting ambition. Macbeth is an ever evolving character who loses his nobility to acts of murder. ‘The higher you are the harder you fall’ governs Macbeth his fall is a result of his own actions. Paradoxical themes of Ambition Vs. Power, Appearance Vs. Reality and Fate vs. Free Will, dictate the future and irrational decisions made by the tragic hero. It is evident that through Macbeth’s murderous actions, in Act 2 Scene 1, Act 3 Scene 4 and Act 5 Scene 8 that he finds it hard to restrain himself, causing him to escape his moral compass. Macbeth’s insanity manifests his downfall which is plagued by his love for Lady Macbeth, his belief in the prophecy, fate and ultimately his tragic flaw of ambition. Undoubtedly, Macbeth’s own actions lead to psychological torment and the degradation of his moral sensibilities. In Act 2 Scene 1, Macbeth’s soliloquy reveals his true thoughts and feelings to the audience. Antithesis is used at the commencement and conclusion of this monologue to emphasise the idea of contrast...
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...In the section for the interpretation of my creative piece, the group that looked at my piece commented on power imbalance and appearance vs reality. These were both elements I intentionally conveyed though different creative elements including scale and colour. However, I am unsure where the idea that Macbeth is anxious came from. This was not something I intended to convey in my piece. Next, in “The Good” section size difference, colour, appearance vs reality, and the black colouration of Lady Macbeth’s eyes were all mentioned. I believe that these were all some of the stronger aspects of my creative piece. In the concerns section, there were a variety off different concerns expressed. In this sections there were ratings added that were...
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...November 2015 Lady Macbeth Character Profile Lady Macbeth has character traits that make her into the cunning, clever and deceptive character that she is. Her traits are often an antithesis to those of her spouse, Macbeth. First off, she is a character that lacks all humanity, as she has no qualms about planning and carrying out murders and evil actions, nor does she care about the people it will affect. An example is when the murder of King Duncan is being plotted, she has no doubt about whether it should happen. This is in sharp contrast to her husband, Macbeth, who is indecisive regarding the matter. Next in order, she is incredibly deceptive, frequently acting as a good, moral person in front of other characters, tricking them into thinking she is their friend or ally. However in reality, she has other, more sinister plans. This harkens back to the witches saying “Fair is foul, and foul is fair.” This phrase establishes the theme of reality vs. appearance within the story of Macbeth. For example, when King Duncan arrives at the castle for dinner, Lady Macbeth escorts the monarch in, holding his hand. When doing this, the king thinks that Lady Macbeth is loyal, even though she has plans to murder him later that night, a traitorous act. Thirdly, she is very manipulative, she taunts and torments people into doing things that she wants to be done. For example, when Macbeth has moments of indecision about whether he should murder Duncan, Lady Macbeth questions Macbeth’s...
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...be shown and evident in The Merchant of Venice or it would not be realistic. This does not make Shakespeare a racist or anti semetic, but only demonstrates the reality of this time period. Without this, it would be even more insulting towards Jews to not acknowledge the racism they went through. In this way, The Merchant of Venice gives us a glimpse into history and reminds us of the troublesome times Jewish people went through. If you look at The Merchant of Venice in this light, one can realise that the insults could have a different purpose and meaning. In todays world, everyone is politically correct and meticulous about racially insulting people. Therefore many people, like Vienne-Guerrin, can consider the insults in The Merchant of Venice to be unsettling when truthfully they are simply reflections of their time period. Vienne-Guerrin makes a major flaw in comparing The Merchant of Venice to Much ado about Nothing and A Midsummer Night's Dream. The three of these plays have completely different plots and characters. Each of these plays have a different message, therefore each have their own style of humour. Therefore, it is not logical to compare them to each other. Each Shakespeare is it's own work of art with different themes and motifs. One may enjoy King Lear more than Macbeth, but that does not make Macbeth a poor story without humour. It is a matter of opinion and what ones style and preferred genre of story...
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...Spelling not yet standardized, thus name spelled in different ways • Shakespeare, Shakspere, Shackspere, Shaxper, Shagspere, Shaxberd, etc. Shakespeare: The most well known playwright of Elizabethan times is Shakespeare. But there were also other writers who in their time were just as, or even more famous than him. WHAT MAKES SHAKESPEARE STAND OUT? – The volume of his works Plays firmly attributed to Shakespeare ■ 14 COMEDIES – funny play – with amusing events – ended in marriage / or happily o Midsummer Night’s Dream, Merchant of Venice, Twelfth Night, As You Like It, Much Ado about Nothing… ■ 10 HISTORIES – Richard III, Richard II, Henry IV… ■ 10 TRAGEDIES – ends in death ← Hamlet, Macbeth, Romeo and Juliet, Othello, Julius Caesar… ■ 4 Romances – ( chivalry and love) Pericles,...
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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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...Some definitions of literary devices, techniques and style from searching via http://www.ferretsoft.com/ LITERARY DEVICES http://mrbraiman.home.att.net/lit.htm Literary devices refers to any specific aspect of literature, or a particular work, which we can recognize, identify, interpret and/or analyze. Both literary elements and literary techniques can rightly be called literary devices. Literary elements refers to aspects or characteristics of a whole text. They are not “used,” per se, by authors; we derive what they are from reading the text. Most literary elements can be derived from any and all texts; for example, every story has a theme, every story has a setting, every story has a conflict, every story is written from a particular point-of-view, etc. In order to be discussed legitimately, literary elements must be specifically identified for that text. Literary techniques refers to any specific, deliberate constructions of language which an author uses to convey meaning. An author’s use of a literary technique usually occurs with a single word or phrase, or a particular group of words or phrases, at one single point in a text. Unlike literary elements, literary techniques are not necessarily present in every text. Literary terms refers to the words themselves with which we identify and describe literary elements and techniques. They are not found in literature and they are not “used” by authors. Allegory:...
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...Renaissance Theatre. The Protestant Reformation in northern Europe put an end to most religious drama by the mid-16th century, and a new, dynamic secular drama developed in its place. The Renaissance began at different times in different areas of Europe and was a slow process of change rather than a sudden shift in ideas and values. England The English drama of the 16th cent. showed from the beginning that it would not be bound by classical rules. Many themes and ideas can be seen in the components of the Elizabethan drama. For example, many works were influenced by other works. Themes on revenge were seen and blood and killing was evidenced in many works by, for instance, Thomas Kyd 's Spanish Tragedy (c.1586). Marlowe’s works presented deeper meanings of questioning life. Shakespeare, of course, stands as the supreme dramatist of the Renaissance period, equally skilful at writing tragedies, comedies, or chronicle plays. His great achievements include the perfection of a verse form and language that captures the spirit of ordinary speech and yet stand above it to give a special dignity to his characters and situations; a marvellous ability to unify plot, character, imagery, and verse movement. With the reign of James I the English drama began to decline until the closing of the theatres by the Puritans in 1642. Source: http://en.wikipedia.org/wiki/Medieval_drama Comedy in Elizabethan Drama: The term "comedy" as applied to a division of the drama was not...
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... | | | |List of Table………………………………………………………………………….. | |List of Figure ………………………………………………………………………… | |List of Abbreviations/Acronyms ……………………………………………………. | |Introduction……………………………………………………………………….. | |2. Appearance of Behavioral Finance…………………………………………………… | |2.1. Important Contributors…………………………………………………. ………. | |3. Behavioral Biases…………………………………………………………………… | |3.1. Self Deception………………………………………………………………….. | |3.1.1. Over-Optimism………………………………………………………… | |3.1.2....
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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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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...KING LEAR Act One The play opens at Lear’s court, where we meet the main characters. The opening scene is in itself shocking, as Lear forces his daughters to declare their love for him. The one who loves him the most will receive the largest part of his kingdom, which he intends to divide between the three. Lear himself wishes to hand over the ruling of the kingdom to his daughters, while retaining the ‘Pre-eminence, and all the large effects / That troop with majesty’ (Scene 1, Lines 131-2). Goneril and Regan acquit themselves well at this love test. Cordelia, however, dismayed by her sisters’ ponderous words, refuses to take part in the ‘contest’ and tells Lear that she loves him as her duty instructs her. When Cordelia refuses to speak again, Lear casts her off without a moment’s hesitation. Ken attempts to argue with the King, accusing him of ‘hideous rashness’ (Scene 1, Line 151). When Kent further warns Lear that his elder daughters are false flatterers, Kent too is banished. Lear invests Albany and Cornwall with power, and, after Burgundy refuses to take Cordelia as his wife, now that she is without dowry, France takes her for her virtues alone. Goneril and Regan complain, in private, about Lear’s harsh judgement and unpredictable behaviour and worry that they too may be treated unfairly. Edmund, Gloucester’s bastard son, soliloquises about his own situation, revealing his devious intentions towards his brother. When his father enters, Edmund’s...
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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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...Table of Contents General IP Policy/theory 1 Trademarks 2 Foreign Treaties 4 Types of Marks 4 Infringement (Polaroid Test) 9 Defenses 10 Internet/UDRP 12 Dilution 13 Remedies 14 Copyrights 16 Derivative Works 19 Moral Rights 21 Renewal/Termination 23 Infringement (tests) 24 Fair Use/Defenses 15 DMCA 27 Remedies 29 Publicity/Misappropriation 32 Patents 34 Patent Prosecution 36 Utlity/Novelty /Non-Obvious 38 Priority 39 Statutory Bars 40 Infringement 41 Defenses 43 Remedies 44 Trade Secrets 46 IP In General I. Origins a. Patents began in Venice b. Copyright began in England - Publisher competition c. Trademarks - Guild System would mark the bottom of product so that people would know from whom they were purchasing II. Federal Authority a. Copyright/Patent Authority Article I Sec.1 cl. 8 i. “Progress of science and useful arts” 1. Science is copyright, and useful arts is patents 2. In the days of the Constitution means “knowledge.” ii. Utilitarian clause – not based on the moral rights iii. Most protection is pretty much on federal level. iv. Certain States with particular businesses adopted their own laws, which Congress eventually incorporated...
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