The western intellectual enquiry has undergone tremendous attitudinal as well as perceptional change over the years. The modifications are necessitated by the socio-political predicament of the ages gone into the repository of the past. Innumerable movements and isms have proficiently supplied ideas and ideologies to interpret the literary text from divergent perspective. “If there is such a thing as literary theory, then it would seem obvious that there is something called literature which it is the theory of.” (1) To put it precisely, much earlier critical writings aimed at explicating the nuances which must have involved in literary production. Whereas, the modern critical contributions rest largely on elucidating the technicalities that …show more content…
Both phases have tremendously contributed, shaped, determined and impacted the subsequent branches of knowledges, which have periodically been substituted to dismantle literary texts. As for as new criticism and formalism are concerned, The self-referential interpretation to text is paramount. ‘Defamiliarization’ and ‘literariness’ are excessively emphasized in Russian formalism to analyze document that falls under imagination. “It was made of words, not of objects or feelings, and it was a mistake to see it as the expression of an author’s mind.” (3) The referential/denotative denomination of a literary language is kept high above emotive/affective outpouring that of an author. The same method of investigation lends itself to comprise and and then to figure out the connotative/suggestive presence of compelling words on the …show more content…
As we are concerned so much about ‘social energy’ as a predominant contributive phenomenon, it can also be interesting to sea the presence of common humanity in Shakespearian plays, as he has often been contested for having dramatised the superhuman personalities, or in substitution the powerful elite individual. “A Midsummer Night’s Dream, The Tempest and Henry V are also historicised to reveal a Shakespeare in closer in sympathy to Caliban, Trinculo, Stephano than to Prospero.” But there would be alarming results, if the plays of Shakespeare is observed closely from renaissance construction of gentility. The gentlemen have encountered no trouble what so ever in finding their way out both on stage and in the space of spectatorship. The process of selection and omission has been envisaged consistently at the time of play production, which has later been
While the events taking place throughout the play are outlandish, but the actions aroused by the conflicting loyalties are comprehendible. The audience can still analyze the character’s actions and thoughts and recognize that they are genuine and understandable human encounters. From this, a sense of humanity—that we all have certain concerns and duties and we must respond to them
In the book An Invisible Thread, the author often provides examples of parents that have a poor quality of parenting. First there is Laura’s father Nunziato Carino, who’s a bartender. After he is done with his shift, he would often come home drunk and yell at his son, Frank who is Five. Frank will quickly hide under his bed sheet as his father dammed his name again and again. This happened frequently and every one would hide in their rooms as unfortunate Frank takes his father’s heavy word beating each night.
This sense of hostility springs forth from the misconstrued view of literature being the superior art form among the two, extending to the apparent artistic inferiority of cinematic adaptations, which seemingly “betrays” its source material. But the idea of cinema as a potent and dynamic art
With the identity of everyone being a mixture of intrepid experiences and lessons we often forget that our origins are the base of who we are. Concepts like this are reasons that when reading the memoirs The Glass Castle and The Distance Between Us two characters showed incredible similarities in their identities. The two characters that resonate together are the fathers of both authors Rex Walls, Jeannette’s father, and Reyna’s father, Papi. Rex and Pai are comparable in their neglect of their children and the effect they had on their children. Primarily Reyna and Jeannette’s fathers share a relatable relationship with their children.
Historical criticism strives to cognize a literary work by examining the social, cultural, and intellectual context that essentially includes the artist’s biography and milieu. Historical critics are more concerned with guiding readers through the use of identical connotation rather than analyzing the work’s literary significance. (Brizee and Tompkins). The journey of a historical reading begins with the assessment of how the meaning of a text has altered over time. In many cases, when the historical context of a text is not fully comprehended, the work literature cannot be accurately interpreted.
The role of fool in Renaissance drama with Specific reference to Touchstone Fools in Shakespeare’s plays are unique. The clowns or fool figures are one of the most fascinating stage characters in Shakespeare’s work of art. A few of his fools have major roles in his works. Their importance and personalities may vary according to the play but their frequent appearance shows how noteworthy and relevant they are in Shakespeare’s theatre.
One is familiar with Shakespeare’s tragedies such as “The Tragedy of Romeo and Juliet”, “The Tragedy of Hamlet” and so forth. Shakespeare’s tragedies have been known for centuries as a reflection of the societies in different eras which appealed to many until today. They express the darkness that lies within the human’s soul and mind. “The Tragedy of Julius Caesar” and “The Tragedy of Macbeth” are both remarkable works of Shakespeare’s that although they are of different plots, they both share indistinguishable characteristics and themes such as a tragic hero, tragic flaw and hero’s downfall. It had been noted that all Shakespearean tragedies reflect a flaw in the main character or a conflict with an overpowering force that can be observed in the characteristics of Julius Caesar’s, Brutus’s, and Macbeth’s.
In this journal we can thrash out the influences of Shakespeare and Machiavelli in the tragedy, The duchess of malfi. The Machiavellian note in the play: Niccolo Machiavelli was a statesman who flourished in Florence during the years 1469-1527.His book the PRINCE was the most popular work of the time and had wide influence . His doctrine may be thus summarized: (1) One should not allow oneself to be hampered by any kind of moral considerations in the pursuit
It is the first goal of our essay to understand how marriage and courtship in Shakespeare´s plays are an important exciting theme because it was something real during XVI century. The objective of the essay is to examine how courtship and marriage affects the issues and formation of the play named A Midsummer Night´s Dream (The Malone Society, 1996) focusing on the social and emotional relationships between men and women. Consequently, the aims are: first, to show the importance of the female character in the play according to virginity, chastity and sexuality; second, to explain how love is treated in the play; and lastly, to illustrate how courtship and marriage are depicted through the characters. It is crucial to understand that all of
‘Julius Caesar’ and ‘Henry V’ are plays whose themes are reflective of their respective contextual climates. They were both written in the time of renaissance theatre under the reign of Queen Elizabeth I, who was an avid supporter of Shakespeare’s work. The plays were written consecutively, and they both present historical figures that were greatly idolised in the period in which they were composed. Both history plays convey how, on political scenery, deceit is omnipresent. In Julius Caesar, it is used to bring down the monarchial rule and to ultimately implant a new democratic government, while in Henry V, the King makes use of multiple facets of his personality among which is deceitful behavior in order to conquer France and win over
The Feud in Shakespeare’s Romeo and Juliet The aim of this essay is to define the nature of the feud in Shakespeare’s Romeo and Juliet and to discuss its function in the dramatic development of the play. The conflict between the families of Montagues and Capuletes is presented as the outcome of an ultimate expression of patriarchal society in Verona which promotes virility at any cost and obscene sexual innuendo targeting women. However, the love of Romeo and Juliet comes to prove the young people’s indifference towards the feud but at the same time the patriarchy’s tremendous power over them. Finally, the family’s feud combined with the contribution of fate makes the timing of events such, that a tragic resolution cannot be prevented.
“A Tempest” is as a derivative of Shakespeare ’s play “The Tempest” by Aime Cesaire. Cesaire makes a number of alterations in his adaptation of Shakespeare’s “The Tempest”. These alterations have been made in order to outline the change in time eras between the two playwrights’ time of existence and to illustrate the great social change that occurred in these periods, mainly colonialism by the West, the subsequent theme of the quest for freedom as well as the theme of power that resonates throughout the play. This essay aims at exploring the similarities and to draw attention to the alterations made by Cesaire in “A Tempest” and the subsequent effects of these alterations on the audience.
Shakespeare was a famous author and poet that wrote extremely well-known texts, such as “Romeo and Juliet” and “Hamlet.” Shakespeare lived during the Renaissance when art and science advanced and he was one of the major contributors to this historical period. “Shakespeare Influences the way we speak now” by Hephzibah Anderson, “William Shakespeare’s Impact on Theatre” by Octane, and “How Outrage Built Over a Shakespearean Depiction of Trump” by Sara Krulwich suggest that Shakespeare had a great influence on many aspects of society, such as the phrases we use, style of theater, and is a figure of inspiration to many people. Shakespeare has contributed to many well-known phrases that are still used to this day, showing his significance in history.
It provides a condensed history of the evolution of critical theories and discriminates between them with the aid of a simple diagram. The essay begins with the definition of modern criticism which is to exhibit “the relation of art to the artist, rather than to external nature, or to the audience, or to the internal requirements of the work itself”. This one and a half century old theory of art competed against innumerable theories such as the mimetic theory, the pragmatic theory, etc., all of which have been thoroughly discussed in the essay. Abrams quotes theorists such as Santayana and D.W. Prall to show the unreal and chaotic nature of these alternate theories.
The conventions of tragedy and comedy, such as the tragedy in Oedipus Rex and the comedy in The Taming of the Shrew, can shape the way the play is developed. Thorough analysis can reveal these dramas to be discussions of human experience. As Laurence Olivier once said: “The office of drama is to exercise, possibly exhaust, human emotions. The purpose of comedy is to tickle those emotions into an expression of light relief; of tragedy, to wound them and bring relief of tears. Disgust and terror are the other points of the compass.”