...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 of Perdita...
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...The Winter's Tale: Metaphor Analysis Metaphor Analysis Metaphor Analysis Imagery When Leontes' jealousy erupts, he employs images of disease and poison. Railing against the immorality of women, he says, "Physic for't there's none" (Act 1, scene 2, line 200), i.e. it is like a disease for which there is no remedy. Leontes continues in the same speech, "many thousand on's, / Have the disease." The poison image occurs when he compares himself to a man who has unwittingly drunk a spider that was in a cup. (It was believed that this was poisonous if the person was aware that he had swallowed the spider.) The images of disease and poison are appropriate for Leontes' jealous state of mind. In the second part of the play, the dominant images change. Caroline Spurgeon comments in her book, Shakespeare's Imagery, that the imagery communicates a sense of "the common flow of life through all things, in nature and man alike the oneness of rhythm, of law of movement, in the human body and human emotions with the great fundamental rhythmical movements of nature herself" (p. 305). This is most noticeable in Act 4, in which images of nature dominate. It is as if the natural and human worlds come together in harmony, as well as the realm of the gods. This is of course appropriate, since the "disease" of Leontes' jealousy is being overcome by the natural tendency of life to regenerate itself. The nature images are especially apparent in the sheep-shearing scene (Act 4, scene 4), which...
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...2013. M.12 Coimisiún na Scrúduithe Stáit State Examinations Commission LEAVING CERTIFICATE EXAMINATION, 2013 English - Higher Level - Paper 2 Total Marks: 200 Thursday, 6 June – Afternoon, 2.00 – 5.20 Candidates must attempt the following :• ONE question from SECTION I – The Single Text • ONE question from SECTION II – The Comparative Study • ONE question on the Unseen Poem from SECTION III – Poetry • ONE question on Prescribed Poetry from SECTION III – Poetry N.B. Candidates must answer on Shakespearean Drama. They may do so in SECTION I, the Single Text (Macbeth) or in SECTION II, The Comparative Study (Macbeth, The Winter’s Tale). INDEX OF SINGLE TEXTS Wuthering Heights The Great Gatsby The Grass Is Singing Macbeth Antigone − Page 2 − Page 2 − Page 3 − Page 3 − Page 3 Page 1 of 8 SECTION I THE SINGLE TEXT (60 marks) Candidates must answer one question from this section (A – E). A WUTHERING HEIGHTS – Emily Brontë (i) In your opinion, to what extent are the values represented by the world of Thrushcross Grange defeated, in Brontë’s novel Wuthering Heights? Support your answer with suitable reference to the text. OR (ii) “Emily Brontë makes effective use of both Nelly Dean and Mr Lockwood in a variety of ways.” Discuss this statement, supporting your answer with suitable reference to the novel, Wuthering Heights. B THE GREAT GATSBY – F. Scott Fitzgerald (i) “Readers of The Great Gatsby are greatly influenced by the narrator, Nick Carraway.” Discuss...
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...MUCH ADO ABOUT NOTHING Title As a title, Much Ado About Nothing fits neatly with those of Shakespeare’s other plays written around the same time: the titles seem whimsical and even flippant. Twelfth Night was alternatively titled What You Will, and As You Like It seems a much less informative title than, say, The Tragedy of Hamlet, Prince of Denmark. Still, the capricious titles are actually as reflective of their content as any history or tragedy title. The plot of Much Ado About Nothing centers on a lot of hubbub over little misunderstandings; there’s a whole lot of fuss about stuff that ultimately isn’t that important. For the bigger issues in the play, though, we turn to the fact that, in Shakespeare’s day, "nothing" was often pronounced the same way as "noting." The play is built around the process of "noting," which has myriad meanings. It can mean "to take notice of" something, to eavesdrop, to observe, or to write something down – but these notings aren’t necessarily accurate. A person can misunderstand a meaning, or mishear, or misreport something, in the process of noting too. The foibles that result from noting (and misnoting) are central to keeping the play spinning. If that wasn’t interesting enough for you, you might want to note that "nothing" was also an Elizabethan slang term for the vagina. "Much Ado About Vagina" makes sense as a title, right? After all, the highs and lows of the play revolve around men and their relationships with, suspicion of, and...
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...English 1020 5, May 2014 The Green Fire of Jealousy In the story Othello by William Shakespeare jealousy rears her ugly head at every aspect of the characters’ lives. Right from the beginning when Roderigo is envious of Othello from his wishes to court with Desdemona, and to the end of the play, when Othello is manic with envy because he believes Cassio and Desdemona have been engaging in an affair. Some characters’ jealousy is fashioned by other characters. Iago is involved in much of this, creating lies and implementing misleading situations. He is consumed with jealousy of Cassio and masked with hatred of Othello because he is not chosen as lieutenant, Cassio was. Iago becomes one of the most evil villains in literature, he wants everyone to feel rage. He very skillfully manipulates the emotions, trust and jealousy of other characters. Iago is a man blinded by envy and anger, with one goal in mind for everyone to become equally jealous, an ambition he completes through his betrayal, deceit, and adept manipulation of characters. The seeds of deception are grown early on with Roderigo confiding in Iago. Roderigo frantically loves Desdemona and he pays Iago to draw her away from Othello. Here we see the malicious intent from Iago and paint him as a villain. Along with his actions, what Iago says also conveys him as a manipulative character. Iago has fabricated a plan to pose Othello as a thief by saying that he has stolen Desdemona’s heart using witchcraft. Iago coaxes...
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...Literary Criticism The Two Gentlemen of Verona The Two Gentlemen of Verona is a comedy about the adventures of two bosom buddies, Valentine and Proteus. When Proteus falls in love with his best friend's girlfriend, the guys find themselves torn between the bonds of male friendship and romance. (If you're thinking all this sounds like a modern day "bromantic comedy," you're right. Two Gentlemen of Verona is the great, great grandfather of buddy flicks like the 2009 comedy I Love You Man.) Written as early as 1590-91, Two Gentlemen appears to be William Shakespeare's first play. (As usual, some literary critics are divided over this issue, but we're going with the editors of The Norton Shakespeare and the editors of The Oxford Shakespeare on this one.) As Shakespeare's first theatrical effort, Two Gentlemenhas been referred to as a "limping forerunner" of Shakespeare's later works. Even famous literary scholar Harold Bloom says it's "the weakest of all Shakespeare's comedies." We, on the other hand, prefer to think of Two Gentlemen as Shakespeare's test kitchen, where a budding young playwright begins to work out the recipe for his "comedies" and begins to explore themes and conventions that he'll develop more fully in later works – particularly the themes of male friendship and heterosexual love, which come into conflict in plays like The Merchant of Veniceand also in Shakespeare's collection of Sonnets. Like all test kitchen creations, Two Gentlemen is far from perfect...
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...As You Like It presents an ideal world, just as The Merchant of Venice did. The Forest of Arden has as much romance, as many delightful lovers, more laughter and Joy. Lamb, Charles and Mary. Like A Midsummer Night's Dream and The Merchant of Venice, it is built by means of two worlds: the world ruled by Duke Frederick and the world of the Forest of Arden. Lamb, Charles and Mary. The effect is not the "separate but equal" envelope structure of A Midsummer Night Dream, nor the interlocking and necessary alternation of The Merchant of Venice; instead, Frederick's world first seems dominant and then dissolves and disappears into the world of Arden. Lamb, Charles and Mary. Its life seems to be in the play not so much for itself as to help us understand and read its successor. There is a set of contrasts between the two worlds of this play, but the contrasts are describable not in terms of opposition of power, as in A Midsummer Night's Dream and The Merchant of Venice, but in terms of attitudes of the dominant characters, as in Much Ado About Nothing, and in terms of differences in the settings and of changes in behavior for those characters who are part of both worlds. Lamb, Charles and Mary. These contrasts are easy to describe because Shakespeare points the way clearly, making each world an extreme. Our approach will be to examine the qualities of Frederick's world, then to examine the qualities of Arden, and finally out of this contrast to see how the characters behave in...
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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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...ALLEGOR AND IRONY IN 'OTHELLO' Y ANTOINETT B. DAUBER E Othello is Shakespeare's Spenserian tragedy, in which the theme of slandere d chastity becomes a vehicle for exploring the problems of an allegorica l art . Allegory is the mode of selfconscious faith, and Spenser's corpus may be rea d as a portrai t of the artis t as allegorist , wrestling first with the burdens of selfconsciousness and then with the burdens of faith.l In Othello, Shakespeare compresses and objectifies this struggle. Unlike Spenser, he is not committed to the maintenance of allegory, and so he freely dramatizes the interna l weaknesses and external onslaughts that lead to its destruction. What I am calling the 'Spenserian ' quality begins with the chivalric elements in the tragedy. Truly, Othello is a kind of Savage Knight, Desdemona, the absolutely, almost miraculously, worthy lady, and Iago, something of a manipulator like Archimago.2 But more particularl y I would call attention to a specific engagement with Spenserian rhetoric . Consider Cassio' s words of welcome to the disembarking Desdemona: Tempests themselves, high seas, and howling winds, The gutter'd rocks and congregated sands, Traitors ensteep'd to enclog the guiltless keel, As having sense of beauty, do omit Their mortal natures, letting go safely by The divine Desdemona. (2.1.68-73)3 He sets her in the line of Spenser's heavenly allegories . As a parallel , we may recal l Una , slandere d by the arch-magician , abandone d by 123 her...
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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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...An A level English Student Guide by Julia Geddes, Kitty Graham and Helen Ince ~ Wessex Publications ~ Selected Poems by John Clare CONTENTS Page Using the Workbook......................................................................................1 How to Study Poetry......................................................................................2 John Clare 1793 - 1864 ..................................................................................3 The Poems A Country Village Year.................................................................................6 December from ‘The Shepherd’s Calendar’: Christmas ...............................6 Sonnet: ‘The barn door is open’ ...................................................................11 The Wheat Ripening......................................................................................13 The Beans in Blossom ...................................................................................16 Sonnet: ‘The landscape laughs in Spring’ .....................................................19 Sonnet: ‘I dreaded walking where there was no path’...................................21 Sonnet: ‘The passing traveller’......................................................................23 Sport in the Meadows....................................................................................25 Emmonsales Heath .......................................................................................
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...THE HANDY RELIGION AN SWE R BOOK JOHN RENARD Detroit The Handy Religion Answer Book™ C O P Y R I G H T © 2002 BY VI S I B LE I N K PRE SS® This publication is a creative work fully protected by all applicable copyright laws, as well as by misappropriation, trade secret, unfair competition, and other applicable laws. No part of this book may be reproduced in any form without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine or newspaper. All rights to this publication will be vigorously defended. Visible Ink Press® 43311 Joy Rd. #414 Canton, MI 48187-2075 Visible Ink Press and The Handy Religion Answer Book are trademarks of Visible Ink Press LLC. Most Visible Ink Press books are available at special quantity discounts when purchased in bulk by corporations, organizations, or groups. Customized printings, special imprints, messages, and excerpts can be produced to meet your needs. For more information, contact Special Markets Director, Visible Ink Press, at www.visibleink.com or (734) 667-3211. Art Director: Mary Claire Krzewinski Typesetting: Graphix Group Library of Congress Cataloging-in-Publication Data Renard, John, 1944The handy religion answer book / John Renard. p. cm. ISBN 1-57859-125-2 (pbk.) 1. Religions--Miscellanea. I. Title. BL80.2 .R46 2001 291--dc21 Printed in the United States of America All rights reserved ...
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...Fourth Edition Reframing Organizations Artistry, Choice, and Leadership LEE G. BOLMAN TERRENCE E. DEAL B est- se l l i n g a u t h o rs of LEADING WITH SOUL FOURTH EDITION Reframing Organizations Artistry, Choice, and Leadership Lee G. Bolman • Terrence E. Deal Copyright © 2008 by John Wiley & Sons, Inc. All rights reserved. Published by Jossey-Bass A Wiley Imprint 989 Market Street, San Francisco, CA 94103-1741—www.josseybass.com 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, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the publisher, or authorization through payment of the appropriate per-copy fee to the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, 978-750-8400, fax 978-6468600, or on the Web at www.copyright.com. Requests to the publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, 201-7486011, fax 201-748-6008, or online at www.wiley.com/go/permissions. Credits are on page 528. Readers should be aware that Internet Web sites offered as citations and/or sources for further information may have changed or disappeared between the time this was written and when it is read. Limit of Liability/Disclaimer...
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...The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson The Illusion of Leadership This page intentionally left blank The Illusion of Leadership Directing Creativity in Business and the Arts Piers Ibbotson © Piers Ibbotson 2008 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6-10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2008 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan®...
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.... ReseaRching and WRiting a disseRtation a guidebook foR business students Colin Fisher second edition . Researching and Writing a Dissertation: A Guidebook for Business Students . We work with leading authors to develop the strongest educational materials in management, bringing cutting-edge thinking and best learning practice to a global market. Under a range of well-known imprints, including Financial Times Prentice Hall, we craft high-quality print and electronic publications which help readers to understand and apply their content, whether studying or at work. To find out more about the complete range of our publishing, please visit us on the World Wide Web at: www.pearsoned.co.uk . Researching and Writing a Dissertation: A Guidebook for Business Students Second edition Colin Fisher with John Buglear Diannah Lowry Alistair Mutch Carole Tansley . Pearson Education Limited Edinburgh Gate Harlow Essex CM20 2JE England and Associated Companies throughout the world Visit us on the World Wide Web at: www.pearsoned.co.uk First published 2004 Second edition 2007 © Pearson Education Limited 2004 © Pearson Education Limited 2007 The right of Colin Fisher to be identified as author of this work has been asserted by him in accordance with the 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...
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