...Samuel, Consolation of Philosophy, and Hamlet all demonstrate one common theme. Each character from these works have a strong devotion to their God and that reliance on their faith have brought them opportunities for desired fame, fortune, glory, knowledge, wisdom, and power. These opportunities were directly influenced by their Gods and it was their servitude to God that presented them with a better life. Conversely, characters who did not comply with their Gods were punished by being stripped of opportunities they once had. Characters going against God’s word were then left to live a fateful unravelling, when they could have been rewarded...
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...Whether death is a constant presence in Hamlet or not – one thing is for certain – death, or whatever it is supposed to represent permeates the play right from the opening scene, where the ghost of Hamlet’s father introduces the idea of death and its consequences. The ghost represents a disruption to the accepted social order – a theme also reflected in the volatile socio-political state of Denmark and Hamlet’s own indecision. This disorder has of course been triggered by the "unnatural death" of Denmark's figurehead, the King, and is soon followed by a whole range of murder, suicide, revenge and accidental deaths. Hamlet is above all a story of individuality – and the search for it. This is why Yorick’s skull is so pivotal to the whole story. Previously, Hamlet has been appalled and revolted by the moral corruption of the living. Seeing Yorick's skull (someone Hamlet clearly loved and respected ‘I knew him, Horatio’ ‘fellow of infinite jest’ ‘how abhorred in my imagination it is! my gorge rises’) propels Hamlet's realisation that death eliminates the differences between people. His questioning of ‘Where be your gibes now? Your gambols? your songs? your flashes of merriment’ are a manifestation of his realisation. This, once hilarious, loving person is a conglomeration of bones. It is also difficult to not notice the sudden shift in age as important. When the play begins, Hamlet is a university student, and therefore presumable 18 to 25. By the time Hamlet makes it to the...
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...''Themes are the fundamental and often universal ideas explored in a literary work.'' Or “The main subject that is being discussed or described in a piece of writing, a movie, etc.” Theme is a word having etymology from the Greek, "placed" or "laid down". Its origin is 1250–1300; Greek théma proposition, deposit, akin to tithénai to put, set down. In contemporary literary studies, a theme is the central topic a text treats. Themes can be divided into two categories: a work's thematic concept is what readers "think the work is about" and its thematic statement being "what the work says about the subject". The most common contemporary understanding of theme is an idea or concept that is central to a story, which can often be summed in a single word (e.g. love, death, betrayal). Typical examples of themes of this type are conflict between the individual and society; coming of age; humans in conflict with technology; nostalgia; and the dangers of unchecked ambition. A theme may be exemplified by the actions, utterances, or thoughts of a character in a novel. An example of this would be the theme loneliness in John Steinbeck's Of Mice and Men, wherein many of the characters seem to be lonely. It may differ from the thesis—the text's or author's implied worldview. A story may have several themes. Themes often explore historically common or cross-culturally recognizable ideas, such as ethical questions, and are usually implied rather than stated explicitly. An example of this...
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...Vickie Shipley Professor Marek ENC 1102, SEC 87 27 October, 2013 Drama Essay: "Hamlet's Ghost- To Believe or Not to Believe” Of all the plays written by William Shakespeare, Hamlet is the most intriguing. As the plot develops, themes such as indecision, deceit and revenge become apparent. As is expected, questions about the characters' motives arise as these themes are portrayed. Questions regarding Hamlet's love for Ophelia or his sanity arise. However, these questions develop throughout the story. The most important question arises at the beginning of the story in Act 1, and affects Hamlet’s every thought and action thereafter. Is the King's ghost a good spirit, merely seeking justice or an evil spirit sent to corrupt Hamlet? Perhaps the ghost is genuinely that of the dead king, but the fact that the ghost uses Hamlet to exact revenge and demands he commit the mortal sin of murder, clearly shows it to be an evil, malicious demon from hell. During the era in which Hamlet was written, there was a common belief of demonic intrusion, and corruption by the devil. Even today, it is not too difficult to find people who will agree that specters are evil demons, sent up from the bowels of hell to corrupt and destroy the living. In fact, a recent CBS poll reveals that almost half of all Americans believe in evil spirits, and that the dead can return in certain places and situations (Alfano). Because of this belief, the appearance of the spirit, along with the assumption of its...
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...“Of Deaths Put on by Cunning and Forced Cause” – Death and Dying in Hamlet and The Winter’s Tale Abstract Shakespeare employs the concept of death in every genre he writes, and Hamlet and The Winter’s Tale provide insights into the revenge tragedy and late romance respectively. Drawing inspiration from a web article on death in revenge tragedies (namely, Hamlet), death seems to me the common emotional connector between Hamlet and the audience, which Shakespeare then exploits to enact a singular catharsis. Similarly, a dissertation on counterfeit deaths in the late romances and a web article on resurrection in The Winter’s Tale provide me the basis to argue that death and resurrection are successively utilized in the romance to draw a self-awakening in Leontes, which Shakespeare uses as a proxy for the audience. It is intriguing how Shakespeare employs death as emotional bridge between audience and characters across the two genres, creating the heightened emotional state necessary to deliver his concluding catharsis: death as redemption when not used as a tool for personal gain. Death appears many times in both Hamlet and The Winter’s Tale, serving to drive both the action of the play as well as the development of characters. In Hamlet, it is the murder of Old Hamlet that necessitates the act of vengeance, forcing into motion all subsequent plot developments and character deaths. According to Thomas, “The Winter’s Tale is structured on the counterfeit deaths and resurrections...
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...The Tragedy of Hamlet, Prince of Denmark is a tragedy by William Shakespeare. Set in the Kingdom of Denmark, the play dramatizes the revenge Prince Hamlet exacts on his uncle Claudius for murdering King Hamlet, Claudius's brother and Prince Hamlet's father, and then succeeding to the throne and taking as his wife Gertrude, the old king's widow and Prince Hamlet's mother. The play vividly portrays both true and feigned madness – from overwhelming grief to seething rage – and explores themes of treachery, revenge, incest, and moral corruption. Hamlet is Shakespeare's longest play and among the most powerful and influential tragedies in the English language, with a story capable of "seemingly endless retelling and adaptation by others." The play was one of Shakespeare's most popular works during his lifetime It has inspired writers from Goethe and Dickens to Joyce and Murdoch, and has been described as "the world's most filmed story after Cinderella". Shakespeare based Hamlet on the legend of Amleth, preserved by 13th-century chronicler Saxo Grammaticus in his Gesta Danorum as subsequently retold by 16th-century scholar François de Belleforest. He may also have drawn on or perhaps written an earlier Elizabethan play known today as the Ur-Hamlet. He almost certainly created the title role for Richard Burbage, the leading tragedian of Shakespeare's time. In the 400 years since, the role has been performed by highly acclaimed actors and actresses from each successive age. Three...
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...Scene One Summary: Claudius, Gertrude, Rosencrantz, and Guildenstern talk about Hamlet and his lunacy. Rosencrantz and Guildenstern tell the King and Queen that they have tried to find out the reason for Hamlet’s madness, but he avoids their questions. Rosencrantz and Guildenstern tell the King and Queen about the actors that have arrived at the court and will be giving a performance. After Rosencrantz and Guildenstern leave, Claudius tells Gertrude that he has arranged for Hamlet to run into Ophelia, and Polonius and the King will hide and spy on their conversation to see if Hamlet is truly going crazy because he is in love. Gertrude tells Ophelia that she hopes that Hamlet’s madness is due to his love for her. Polonius tells Ophelia to read from a prayer book while waiting for Hamlet, which makes Claudius feels guilty as he remembers his own sin that he disguises with kind words. Then, Hamlet arrives speaking his famous to be or not to be speech. He is contemplating suicide, but he decides against it because he is worried that the environment after death will be even worse than the one he is living in right now. Ophelia then tells Hamlet that she has some of his mementos that she needs to return, which Hamlet denies ever giving her. Hamlet then goes into a dialogue with Ophelia that focuses on women and marriage. He is telling Ophelia to go to a nunnery because he does not believe in women or marriage anymore. Hamlet says that women use their beauty and power to fool their...
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...The Tragedy of Hamlet, Prince of Denmark ASCII text placed in the public domain by Moby Lexical Tools, 1992. SGML markup by Jon Bosak, 1992-1994. XML version by Jon Bosak, 1996-1999. Simplified XML version by Max Froumentin, 2001. The XML markup in this version is Copyright © 1999 Jon Bosak. This work may freely be distributed on condition that it not be modified or altered in any way. Table of Contents Act 1 .................................... p. 5 Scene 1 .................................... p. 5 Scene 2 .................................... p. 11 Scene 3 .................................... p. 20 Scene 4 .................................... p. 24 Scene 5 .................................... p. 28 Act 2 .................................... p. 36 Scene 1 .................................... p. 36 Scene 2 .................................... p. 40 Act 3 .................................... p. 61 Scene 1 .................................... p. 61 Scene 2 .................................... p. 67 Scene 3 .................................... p. 81 Scene 4 .................................... p. 84 Act 4 .................................... p. 92 Scene 1 .................................... p. 92 Scene 2 .................................... p. 93 Scene 3 .................................... p. 95 Scene 4 .................................... p. 97 Scene 5 .................................... p. 100 Scene 6 .................................... p. 108 Scene 7 ......................
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...2 The Nature of Organisational Behaviour The scope for the examination of behaviour in organisations is very wide. There are a multiplicity of interrelated factors which influence the behaviour and performance of people as members of a work organisation. It is important to recognise the role of management as an integrating activity and as the cornerstone of organisational effectiveness. People and organisations need each other. The manager needs to understand the main influences on behaviour in work organisations and the nature of the people–organisation relationship. The learning objectives of this chapter are to: G G G G G G G explain the meaning and nature of organisational behaviour and provide an introduction to a behavioural approach to management; detail main interrelated influences on behaviour in work organisations and explain the nature of behavioural science; explain contrasting perspectives of organisations and different orientations to work; explain the importance of management as an integrating activity; assess the importance and nature of the new psychological contract; recognise the need for an international approach and the importance of culture to the study of organisational behaviour; appreciate the complex nature of the behaviour of people in work organisations. Chapter 2 provides an introduction to the study area, a perspective on the nature of organisational behaviour and the importance of the role of management in work organisations. This chapter...
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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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...Дневник читателя READER’S JOURNAL Ernest Hemingway. The Old Man and the Sea (1952). Joseph Heller. Catch-22 (1961). Tennessee Williams. A Streetcar Named Desire (1959). Iris Murdoch. The Black Prince (1973). Jerome David Salinger. The Catcher in the Rye (1951). Michael Ondaatje. The English Patient (1992). Ray Bradbury. Fahrenheit 451 (1953). Ken Kesey. One Flew Over the Cuckoo’s Nest (1962). Edward Albee. Who’s Afraid of Virginia Woolf? (1962). Arthur Miller. Death of a Salesman (1949). ------------------------------------------------- ------------------------------------------------- Ernest Hemingway. The Old Man and the Sea (1952). ------------------------------------------------- ------------------------------------------------- FULL TITLE · The Old Man and the Sea ------------------------------------------------- ------------------------------------------------- AUTHOR · Ernest Hemingway ------------------------------------------------- ------------------------------------------------- TYPE OF WORK · Novella ------------------------------------------------- ------------------------------------------------- GENRE · Parable; tragedy ------------------------------------------------- ------------------------------------------------- LANGUAGE · English ------------------------------------------------- ------------------------------------------------- TIME AND PLACE WRITTEN · 1951, Cuba ------------------------------------------------- ...
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...Ben Jonson (1572–1637). The Alchemist. The Harvard Classics. 1909–14. | | | | |Introductory Note | | | | | |BEN JONSON was born of poor parents at Westminster in 1573. Through the influence of Camden, the antiquary, he got a good | 1| |education at Westminster School; but he does not seem to have gone to a University, though later both Oxford and Cambridge gave | | |him degrees. In his youth he practised for a time his stepfather’s trade of bricklaying, and he served as a soldier in Flanders. | | | It was probably about 1595 that he began to write for the stage, and within a few years he was recognized as a distinguished | 2| |playwright. His comedy of “Every Man in His Humour” was not only a great immediate success, but founded a school of satirical | | |drama in England. “Sejanus” and “Catiline” were less popular, but are impressive pictures of Roman life, less interesting but more| | |accurate than the Roman plays of Shakespeare. ...
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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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...'Vhat'Ve Can't A Guide J. Budzisze wski WHAT WE CAN’T NOT KNOW J. BUDZISZEWSKI WHAT WE CAN’T NOT KNOW A Guide Revised and Expanded Edition IGNATIUS PRESS SAN FRANCISCO First edition published by Spence Publishing Company, Dallas, Texas ©2003 by J. Budziszewski All rights reserved Cover illustration: Comstock/Fotosearch.com Cover design by Sam Torode ©2004 Spence Publishing Company Used by permission Published in 2011 by Ignatius Press, San Francisco ©2003, 2011 J. Budziszewski All rights reserved ISBN 978-1-58617-481-1 Library of Congress Control Number 2010927673 Printed in the United States of America To my grandparents Julian and Janina Budziszewski, long departed, not forgotten The mind of man is the product of live Law; it thinks by law, it dwells in the midst of law, it gathers from law its growth; with law, therefore, can it alone work to any result. —George MacDonald CONTENTS PREFACE TO THE SECOND EDITION A New Phase of an Old Tradition ix PREFACE TO THE FIRST EDITION Whom This Book Is For xix ACKNOWLEDGMENTS xxiii INTRODUCTION The Moral Common Ground 3 I THE LOST WORLD Things We Can’t Not Know 1 2 What It Is That We Can’t Not Know 3 Could We Get By Knowing Less? II EXPLAINING THE LOST WORLD 4 The First and Second Witnesses 5 The Third and Fourth Witnesses 6 Some Objections vii 19 29 54 83 93 116 viii WHAT WE CAN’T NOT KNOW III HOW THE LOST WORLD WAS LOST 7...
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...1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI Chapter XVIII CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI The Art of Public Speaking BY 2 The Art of Public Speaking BY J. BERG ESENWEIN AUTHOR OF "HOW TO ATTRACT AND HOLD AN AUDIENCE," "WRITING THE SHORT-STORY," "WRITING THE PHOTOPLAY," ETC., ETC., AND DALE CARNAGEY PROFESSOR OF PUBLIC SPEAKING, BALTIMORE SCHOOL OF COMMERCE AND FINANCE; INSTRUCTOR IN PUBLIC SPEAKING, Y.M.C.A. SCHOOLS, NEW YORK, BROOKLYN, BALTIMORE, AND PHILADELPHIA, AND THE NEW YORK CITY CHAPTER, AMERICAN INSTITUTE OF BANKING THE WRITER'S LIBRARY EDITED BY J. BERG ESENWEIN THE HOME CORRESPONDENCE SCHOOL SPRINGFIELD, MASS. PUBLISHERS Copyright 1915 THE HOME CORRESPONDENCE SCHOOL ALL RIGHTS RESERVED TO F. ARTHUR METCALF FELLOW-WORKER AND FRIEND Table of Contents THINGS TO THINK OF FIRST--A FOREWORD * CHAPTER I--ACQUIRING CONFIDENCE BEFORE AN AUDIENCE * CHAPTER II--THE SIN OF MONOTONY DALE CARNAGEY * CHAPTER III--EFFICIENCY THROUGH EMPHASIS AND SUBORDINATION * CHAPTER IV--EFFICIENCY THROUGH CHANGE OF PITCH * CHAPTER V--EFFICIENCY THROUGH CHANGE OF PACE * CHAPTER VI--PAUSE AND POWER * CHAPTER VII--EFFICIENCY THROUGH INFLECTION * CHAPTER VIII--CONCENTRATION IN DELIVERY...
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