It is specifically based on the author and the reader's perspective of the work. Many times, the meaning is concluded from the knowledge we have already acquired, which leads to an enormous variety of interpretations of an author’s work. Meaning can also be created from concepts or ideas that are not present in the work being analyzed. The painting Nighthawks, the Oates poem, and the film La Mustache are perfect examples of the creation of meaning. The thoughts of the people in the background of the painting are not present, for the painting has no words.
The 1951 original written work by Ray Bradbury (“The Pedestrian”) was, at some point in time, later adapted into a short film. Although both the film and short story shared many of the same elements, there were still several noticeably apparent differences; for one, the film had chosen to introduce an entirely new character into the plot. Serving as a contrasting figure for Mead - a “foil”, of some sorts - Robert “Bob” Stockwell had assisted in providing much more insight in the dystopian world (i.e. experiencing the “outside” world after being inside so long, as was seen in the film). Whereas in the original story, no such insight was provided - Mead was, instead, only just an ordinary individual (unintentionally) caught amidst the confines
Specifically, Arthur Miller wrote on his experiences with the Red Scare and how he connected his feelings to his play. He wrote “McCarthy’s power to stir fears of creeping communism was not entirely based illusion of course; the paranoid, real or pretend, always secretes its pearl around a grain of fact.” Fear was being treated like a seed, once planted it grows and spreads, but if not controlled will ultimately be lost to its growing vines, the truth that so many seeked no longer being a viable thing. This concept can be seen once again when Reverend Hale approaches the Proctor family during the height of the Salem Witch Hunts. “I never knew until tonight that the world has gone daft with this nonsense.” Proctor acknowledged that this event was getting extremely out hand, much like the events of the Red
Established by his records and accounts, Shakespeare was a playwright, actor, and businessman, all feasible amid his time. Common assertions such as those against his education and upbringing do not suffice for an argument, as the time lacked such files. Shakespeare’s works remain accurate, while claims which theorize him a fraud based on his background are mere speculation. Historians need supplementary information on his youth and the early career to make such an assumption. Otherwise, he is truly
In 1606, Shakespeare created a soliloquy that was named Macbeth. In 1931, Aldous Huxley created a novel named Brave New World. Whether or not Huxley used Macbeth in the creation of Brave New World is not known; but the fact that Macbeth is a soliloquy and Brave New World is a novel doesn’t change that throughout these pieces; the allusions presented are indirect and very similar to each other. The values of life in both pieces are similar to each other, but the resulting settings and structure of each text make the values of life separate from each other. Shakespeare’s Macbeth emphasizes the fact that in order to value life, one must value the future and fate; while in comparison and somewhat of a contrast, Huxley patronizes life as a flaw
Although Oldenburg was trained as an expressionist, the group of artists he joined upon arriving in New York rejected the style’s abstract forms and distinct individuality. Challenging the idea of refined, high art, the group took commericial, aesthetically unpleasing objects to create a new type of art. This core idea is shown in Giant Three-Way Plug, since its distinct form allows it to be seen simply as a consumer object, a plug. However, the combination of the piece’s uncomplicated form and large scale, allows for it to symbolize more than just a plug. While all viewers see a plug, the piece’s simple shapes allow for the plug to resemble similar objects, particularly those relating to war.
Yet Shakespeare’s linguistic innovations, robust body of works are bar none. Manifestly, the play Shrew is about a common premise of courtship dealings and relationships a theme that without holds Shakespeare keen grip on language. Vividly, the broad theme represented by ever-changing factors that enhance and mark the English language in the course of its evolution, involving monarchy, great writers, and the common man as he interlaces humanity with prose and
“I do not believe that any writer has ever exposed this bovarysme, the human will to see things as they are not, more clearly than Shakespeare.” (T.S. Eliot, 1927) First things first, “bovarysme” is the literary movement for those who are fed up with the borders of the life and for those who wants to get beyond this borders. As T.S. Eliot states in his quote above, Shakespeare fits into this explanation very well because in his famous pieces, there are many samples which can support his arguments. In this essay, this argument will be discussed within the scope of Shakespeare’s “A Midsummer Night’s Dream”.
Dark Romanticism would never be the subgenre, or, daring greatly, I would call it even a concept, it has been since the turn of the 19th century. The cornerstone of its development lays within the landmark literary works by three Goliaths of American Literature: Edgar Allan Poe, Nathaniel Hawthorne and Herman Melville. Despite how unpeopled that niche or art might be, not a single merit can be taken from it. The recipe for making a Dark Romantic type of literature is as simple as it seems: firstly, fill a hollowed basin of one 's ill imagination with gloomy thoughts, mingle them very well, add some religion to it for a better taste, then bake this fiendish dough in a blaze of psychological games played with one 's sick mind and at length sprinkle
Hamlet’s Mind-Game, the Suspension of Disbelief and the Fictional Reality William Shakespeare composed in 1601 the play Hamlet, Prince of Denmark which was considered as a masterpiece at the time and it is still considered as one till the present time. The reason for the great attraction of the play lies in Shakespeare 's unique writing techniques. In these writing methods he elevates the language from its fundamental facility to a level in which the language transfers from its abstract notion to a degree when it becomes materialized for the audience. Therefore, in Hamlet prince of Denmark, the audience in the theater experiences the elaboration of the words from its complex or intangible meaning into a material form; thus a form that is more
There is nothing really unique about the Oregon Shakespeare Festival’s Mission Statement. It does define the company’s overall goal, but it is a vague definition and does not have a clear purpose that would be distinguishable from any other Shakespeare festival. Although it is very concise, the statement lacks any kind of excitement. There is nothing in the statement that would make me choose to work or go there other than the appeal of Shakespearian theatre. They use the statement “… shaped by the diversity of our American culture…” but what does that actually mean?
Inherit the Wind: Granting the Right to be Wrong While the practice of limiting a man’s ideas may now be seen as archaic, Inherit the Wind brings to light this very injustice, prevalent in an era not yet shrouded by time. In this final scene of the play, Drummond poignantly summarizes the beauty of free thought. The following passage highlights the central theme of Inherit the Wind: theological and scientific beliefs can co-exist, on the condition that an individual has the right to believe whatever he or she deems fit: DRUMMOND. Say - you forgot - (But Rachel and Cates are out of earshot. He rotates the volume in his hand, this one book has been the center of the whirlwind.
Shakespeare wrote The First Part of Henry the IV to adhere to an audience that would be familiar with the history and the characters within the play, because it was still considered recent history; however, he did alter the storyline to gear the play in a more tragic direction rather than writing the historical events as they truly happened. Similar to most of his plays, this play had been published multiple times, by several different publishers, which causes some discrepancies between the different versions. MORE DUMMY. A major difference that is clearly noticeable is the titles of the two versions, specifically with the amount of detail the titles give about the plot of the play. The 1598 version, which was published by P.S.