...‘I am not that I play’ – Twelfth Night and the Comedy of Cross-dressing Dr Pamela Bickley considers the subtleties of gender-swapping in Shakespeare’s play. In Twelfth Night Shakespeare exploits the complexity of the situation to the full; disguise is part of the play’s carnivalesque confusion. Attention is frequently drawn to the falseness of Viola’s disguise. In her first scene with Orsino, she is already ‘Dear lad’ and close confidante: ‘I have unclasp’d To thee the book even of my secret soul.’ Orsino himself comments that Cesario is still physically far from manhood: ‘Diana’s lip Is not more smooth and rubious. Thy small pipe Is as the maiden’s organ, shrill and sound, And all is semblative a woman’s part.’ Act 1 Scene 4 l.31-34 His language (as well as conveying sexual innuendo) emphasises Viola’s androgyny: the attractive young man who resembles a woman. Shakespeare’s ‘Sonnet 20’ praises masculine beauty in similar language: A woman’s face with Nature’s own hand painted Hast thou, the master-mistress of my passion Disguise and the Love Triangle Viola’s situation is unique in two respects: first, she is a twin consciously using her disguise to keep her brother alive: ‘I my brother know Yet living in my glass. Even such and so In favour was my brother, and he went, Still in this fashion, colour, ornament, For him I imitate.’ Act 3 Scene 4 l.370-4 to a maid and man’. Equally, when Orsino claims his ‘share in this most happy wreck’, he still addresses...
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...This is a good article. Click here for more information. The Tempest From Wikipedia, the free encyclopedia (Redirected from The tempest) This article is about the Shakespeare play. For other uses, see The Tempest (disambiguation). The shipwreck in Act I, Scene 1, in a 1797 engraving by Benjamin Smith after a painting by George Romney The Tempest is a play by William Shakespeare, believed to have been written in 1610–11, and thought by many critics to be the last play that Shakespeare wrote alone. It is set on a remote island, where Prospero, the rightful Duke of Milan, plots to restore his daughter Miranda to her rightful place using illusion and skilful manipulation. He conjures up a storm, the eponymous tempest, to lure his usurping brother Antonio and the complicit King Alonso of Naples to the island. There, his machinations bring about the revelation of Antonio's lowly nature, the redemption of the King, and the marriage of Miranda to Alonso's son, Ferdinand. There is no obvious single source for the plot of The Tempest, but researchers have seen parallels in Erasmus's Naufragium, Peter Martyr's De orbe novo, and eyewitness reports by William Strachey and Sylvester Jordain of the real-life shipwreck of the Sea Venture on the islands of Bermuda, and the subsequent conflict between Sir Thomas Gates and Sir George Somers. In addition, one of Gonzalo's speeches is derived from Montaigne's essay Of the Canibales, and much of Prospero's renunciative speech is taken...
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...Act 1.1 * The mob of plebeians, which holds the stage as the play opens, lacks an individual identity but nevertheless constitutes one of the most important "characters" in the story. * They have taken up arms, true, but not without cause: As one of them puts it, "the gods know I speak this in hunger for bread, not thirst for revenge (I.i.22-23)." * Menenius does makes an attempt at a response, with his story about the stomach and the body. His behavior toward the plebeians contrasts starkly with Martius's--the common people like him, calling him "one that hath always loved the people"; they say of him, "...he's one honest enough! Would all the rest were so!"(I.i.49-52). Although he does not genuinely care for them any more than Martius does (he never actually takes their side in any of the play's political disputes), the people nevertheless favor him because he possesses a gift the play's hero lacks--the gift of public relations. – Compared to Menenius. * The play shows us a city suffering from a power vacuum; wily patricians like Menenius and crafty demagogues like the tribunes now struggle to fill this vacuum, Menenius with his organic conception of the state and the tribunes with their notion of popular rule. Moreover, this political situation can be traced back to Martius; we learn that as a youth he had a hand in King Tarquin's overthrow. One can, thus, see the play's initial situation as an Oedipal moment: The young Martius has overthrown the royal father-figure...
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...L3 Language Literacies Learning Harvard referencing guide UniSA This guide will help you apply the Harvard referencing style to your writing at UniSA. It is designed to help you understand the conventions and principles of this style and make decisions about referencing. There are many different versions of the Harvard style. This guide presents one consistent version for use at UniSA, which conforms to the Australian Government standard guidelines presented in Snooks & Co (eds) 2002, Style manual for authors, editors and printers, 6th edn, Wiley & Sons, Australia. Table of contents What is referencing? ......................................................................................................................... 2 How do we reference? ...................................................................................................................... 3 Sample extract from an essay ............................................................................................................ 5 What if your source does not match? ................................................................................................ 7 Harvard referencing UniSA examples ................................................................................................. 8 Print ................................................................................................................................................... 8 Book ..............................................
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...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 особым вкладам в ее развитие. Вторая часть пособия состоит из глоссария и примечаний, дающих необходимые литературоведческие, исторические, лингвистические и философские пояснения. Все права защищены. Любое воспроизведение текста, целиком или частично, без разрешения...
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...at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Very Short Introductions are for anyone wanting a stimulating and accessible way in to a new subject. They are written by experts, and have been published in 15 languages worldwide. Very Short Introductions available from Oxford Paperbacks: ANCIENT PHILOSOPHY Julia Annas THE ANGLO-SAXON AGE John Blair ARCHAEOLOGY Paul Bahn ARISTOTLE Jonathan Barnes Augustine Henry Chadwick THE BIBLE John Riches Buddha Michael Carrithers BUDDHISM Damien Keown CLASSICS Mary Beard and John Henderson Continental Philosophy Simon Critchley Darwin Jonathan Howard DESCARTES Tom Sorell EIGHTEENTH-CENTURY BRITAIN Paul Langford The European Union John Pinder Freud Anthony Storr Galileo Stillman Drake Gandhi Bhikhu Parekh HEIDEGGER Michael Inwood HINDUISM Kim Knott HISTORY John H. Arnold HUME A. J. Ayer Indian Philosophy Sue Hamilton Intelligence Ian Deary ISLAM Malise Ruthven JUDAISM Norman Solomon ...
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...Literary Theory: A Very Short Introduction ‘Jonathan Culler has always been about the best person around at explaining literary theory without oversimplifying it or treating it with polemical bias. Literary Theory: A Very Short Introduction is an exemplary work in this genre.’ J. Hillis Miller, University of California, Irvine ‘An impressive and engaging feat of condensation . . . the avoidance of the usual plod through schools and approaches allows the reader to get straight to the heart of the crucial issue for many students, which is: why are they studying literary theory in the first place? . . . an engaging and lively book.’ Patricia Waugh, University of Durham Jonathan Culler LITERARY THEORY A Very Short Introduction 1 Great Clarendon Street, Oxford o x2 6 d p Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide in Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Shanghai Singapore Taipei Tokyo Toronto Warsaw with associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries Published in the United States by Oxford University Press Inc., New York © Jonathan Culler 1997 The moral rights...
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...critical theory today critical theory today A Us e r - F r i e n d l y G u i d e S E C O N D E D I T I O N L O I S T Y S O N New York London Routledge is an imprint of the Taylor & Francis Group, an informa business Routledge Taylor & Francis Group 270 Madison Avenue New York, NY 10016 Routledge Taylor & Francis Group 2 Park Square Milton Park, Abingdon Oxon OX14 4RN © 2006 by Lois Tyson Routledge is an imprint of Taylor & Francis Group, an Informa business Printed in the United States of America on acid‑free paper 10 9 8 7 6 5 4 3 2 1 International Standard Book Number‑10: 0‑415‑97410‑0 (Softcover) 0‑415‑97409‑7 (Hardcover) International Standard Book Number‑13: 978‑0‑415‑97410‑3 (Softcover) 978‑0‑415‑97409‑7 (Hardcover) No part of this book may be reprinted, reproduced, transmitted, or utilized in any form by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying, microfilming, and recording, or in any information storage or retrieval system, without written permission from the publishers. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging‑in‑Publication Data Tyson, Lois, 1950‑ Critical theory today : a user‑friendly guide / Lois Tyson.‑‑ 2nd ed. p. cm. Includes bibliographical references and index. ISBN 0‑415‑97409‑7 (hb) ‑‑ ISBN 0‑415‑97410‑0 (pb) 1. Criticism...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK 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, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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