...Gender Collisions in Much Ado about Nothing Some of Shakespeare’s plays are related to the love between male and female, such as, Romeo and Juliet, Twelfth Night, Much Ado about Nothing and etc. Shakespeare’s focuses in these plays varied from different periods in his life. I’m going to analyze the gender collisions in the following couples in Much Ado about Nothing: Hero and her father Signor Leonato, Hero and Claudio, Benedick and Beatrice. I. Hero and her father Signor Leonato Hero and Leonato’s relationship is the typical father-daughter relationship in the feudal patriarchy. Signor Leonato, the father, is an arbitrary male chauvinist, loves his daughter superficially but never truly care about Hero. Hero, like most women in that time, follows everything what her father says. Obedience is rooted in her life. Marriage and obedience are the only two things she could use to please her father. As a “useless” girl in feudal society, Hero accepts her fate. All these factors result in the chaos in wedding. When Claudio doubted Hero’S chastity and dishonored Hero, Leonato’S first response is feeling humiliated for himself, worrying about his reputation and wanting to kill his daughter to save his fame. Hero just cried and even cried to faint. The only thing she could do is sitting, crying and saying “no”. She never thought stand up, and tell her father Claudio bravely “No! You are wrong! I am innocent!” The arbitrary and arrogant father and the coward daughter are still exist...
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...connection with nature, in the aspects of, floral nature. This connection is derived from his ideal that nature, in itself, provided a spiritual connection with God. This ideal corresponds with certain beliefs of Transcendentalists, allowing some readers to infer that Hawthorne could be identified in that community. However, Hawthorne disagreed with certain ideologies contained by the Transcendentalist society, as in, the belief that the world contained no evil. His disbelief is demonstrated in his consistent questioning of human nature’s purity and absence of evil. For example, in ” Rappaccini’s Daughter” the reader witnesses the manipulation of nature and the purity contained in nature by the garden that “is cultivated by the own hands of Signor Giacomo Rappaccini”...
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...The Shakespearean comedy, Much Ado about Nothing encompasses themes such as the importance of honour, the ideal of social grace, nevertheless uses a plot which primarily revolves around the theme of deception re occurring in various forms. On one hand deception is used throughout Much Ado About Nothing in a malicious manner, however on the on the hand it can be portrayed in a benevolent and beneficial manner such as the fooling of Beatrice and Benedick and deceiving them into proclaiming their love for each other. The use of both forms of deception often makes it difficult to distinguish between the two, such as when Claudio announces his desire to woo Hero, however Don Pedro takes it upon himself to woo her for Claudio. However Shakespeare’s use of deception is neither completely a means of malice nor a mean of showing traits of kindness between characters, the use of deception aids the development of the plot and creates a path for other elements necessary in the play such as its comical elements. The plot of Much Ado About Nothing centrals around misunderstanding, as during the Elizabethan era “Nothing” was pronounced “Noting”, meaning to observe, to take notice of or to write something down – take note of something, as the reader learns the play revolves around observation and surveying, however often these ‘notings’ are not continuously accurate, they are often misinterpreted or misunderstood and also misreported. The title highlights the idea of how lack of careful noting...
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...°°°Università Degli Studi Di Milano Bicocca°°° -Scienze del turismoDiritto del turismo OBBLIGO DI INFORMAZIONE DELL’AGENTE CIRCA I DOCUMENTI E LE FORMALITA’ PER L’ESPATRIO Obbligo di informazione dell’agente circa i documenti e le formalità per l’espatrio Primo caso: Secondo caso: GIUDICE DI PACE DI TRIESTE GIUDICE DI PACE DI TRENTO sentenza dell’11 dicembre 2002 sentenza del 10 dicembre 2002 Giud. Sampaolesi – Andreotti e Fassih c. Giud. Ercolessi - Derkovic e Veljko c. Sole Neve s.r.l. Sinfonia Viaggi s.r.l., Buon Viaggio s.p.a., Francorossso International s.p.a. Obbligazioni e contratti – Contratto di viaggio – Obbligazioni a carico dell’agenzia – Obbligo di informazione Obbligazioni e contratti – Contratto di viaggio – Obbligazioni a carico dell’agenzia – Obbligo di informazione L. 27 dicembre 1977, n. 1084; D.Lgs n. 111/1995; Art. 1703 ss.c.c. L’agenzia di viaggi, nel caso di vendita di un pacchetto tutto compreso a un cittadino extra-europeo, non è tenuta espressamente all’obbligo di informazione sulle condizioni di viaggio in tema di passaporto e visto, statuito dall’art. 8, D.Lgs n 111/1995, essendo richiesta la qualità di cittadino di Stato menbro dell’Unione Europea, ma è tenuta alla generale disciplina della responsabilità precontrattuale, come prevista e disciplinata dall’ art. 1337 cc. L. 27 dicembre 1977, n. 1084; D.Lgs n. 111/1995; Art. 1703 ss.c.c. Tra gli obblighi di diligenza e di buona fede nell’esecuzione del contratto...
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...Don John is the evil bastard brother in the play. He is only recently reconciled with Don Pedro and he plays the role of a schemer, a discontent and a Machiavelli. In reality, Don John is merely the excluded character, a man who cannot fit into the society he is unwillingly a part of. When Conrad tries to tell him he should act happy around Don Pedro, he states, "I had rather be a canker in a hedge than a rose in his grace" (1.3.21-22). Don John thus ignores the family network, fails to observe the proper code of conduct, misses the dinner party thrown by Leonato, and rebels against the compulsory set of social rules. Though Don John ostensibly influences all of the action of the play, he has very few speaking lines for a main character. Don John operates as a plot-device more than a fully fleshed out character. He does give us a little speech about how he’s a bad guy – and likes being a bad guy – but there’s not much that we say about him because we never really know his motivations, or even his reaction to all of the chaos he’s caused. In the end, he has run off before he can even be punished or have a warm, fuzzy change of heart scene. He’s definitely not Shakespeare’s most compelling and complex villain. Ultimately, though, it isn’t a failing of Shakespeare’s that this villain is so thin. It’s actually a reminder to the reader that the play isn’t supposed to be a tragedy, and isn’t even supposed to really analyze evil at all. The more important take-home points of the play...
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... In ‘Much ado about nothing’ Shakespeare establishes the relationship between Benedick and Beatrice as one of which is filled with hatred. In act 1 scene 1 Benedick and Beatrice meet for the first time on stage and they immediately are in an argument. The first thing that Beatrice says to Benedick is, “I wonder that you will still be talking, signor Benedick; nobody marks you.” By addressing Benedick first it shows that she want to talk to him. Beatrice seems to be paying Benedick quite a lot of attention. Even by the first line that they meet it is clearly established that Beatrice and Benedick have a very confrontational relationship. This scene is written in prose, which shows that they could be hiding their true feelings, as prose is the language people use when they are tricking someone or being deceitful. In this scene Benedick refers to Beatrice as “lady disdain,” disdain means looking down on something so this could imply that Benedick looks down on Beatrice. This could be for a number of different reasons, including the fact that she is a woman and in Elizabethan time it was a patriarchal society and he is to be called ‘signor’. Beatrice is portrayed as an unusual woman as she is arguing back to Benedick and in Elizabethan times that wouldn’t have been acceptable. The audience would find this very shocking but also quite funny. ‘Much ado about nothing’ is a play and in Elizabethan times a play would mainly be seen by men so it is written for a male audience, also Shakespeare...
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...worth and value, ideally it is showing that Hero is following the rules and duties of the conventional women as other characters such as Don Pedro recognises them and through his statement it portrays her that way. Through what Hero says presents clearly as her being a ideal women. At the start of act two, Beatrice referred to Don John as being so sour and tartly looking that it gave her heartburn. Whereas Hero sympathises towards him and claims that; “He is of a very melancholy disposition” This quotation tells the audience that she is considering the sad position that Don John is in, even knowing that he is illegitimate. This also relates back to act one when Hero corrected Beatrice when she was referred Benedick as Signor Monsanto. “My cousin means Signor Benedick of Padua”, the lack of disrespect that Beatrice shows contrast with Hero, therefore the audience gets to see the value and importance that Hero gives to other characters and following her duties of a women, by being respectful and modest towards others as an ideal women should be. However Beatrice’s non-conformity...
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...the three corrupt judges. Gaspard tried to eliminate Carlotta by getting her late, so when he saw a thick blonde fur tied in a braid he quickly followed it until she came into a room and Gaspard locked her in, he quickly went back to the room where the last elimination is being held. Gaspard was the first one who performed, because of the clubs and parties he attends his talent is suffering greatly. Signor Mousetti told him that he didn’t even pass the par he suggested that he would take lessons until he is confident and worthy to win to get the elimination round. It was Violet’s turn to perform she wasn’t as gracefull as before because practicing for hours has taken a toll on her muscles, Mousetti told Violet that her score wasn’t enough for her to go and continue but she can still participate in the gala performance . It was Carlotta’s turn to perform but she isn’t around, Mousetti told them that if Carlotta didn’t show up she will be eliminated because being late is enough to eliminate her it is currently 12:40 they will wait until 12: 45. Monsieur Le Bars moved closer to Signor Mousetti pretending to stumble and to “accidently” dropped the watch Mousetti was holding and he changed it to 12:45, Monsieur Le Bars said to Mousetti that it is 12:45 so therefore she is elaminated, Maousetti looked at his pink wrist watch (a little gift from Colette before they went to elimination room) “I’m here!” shouted Carlotta Mousetti said that It’s only 12:43 that she isn’t eliminated. She...
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...How far can the relationship between Benedick and Beatrice in acts 1 and 2 in ‘Much Ado About Nothing’ be seen as comedic? Comedy is firstly created in Act 1 when witty banter is exchanged between Beatrice and Benedick, this is first shown when Beatrice refers to Benedick as ‘Signor Mountanto.’ The use of the appellation ‘Mountanto’ implies that Beatrice sees Benedick as a farce, being over the top and flashy. At this point in the play the relationship between Beatrice and Benedick can be seen as comedic as before they have even met Beatrice is insulting him. Comedy is created by the use of the term ‘Mounanto’ not only by the obvious use of sarcasm, showing a clear dislike for Benedick, but also by the subversion of gender roles as in Shakespearean times it was very rare for a women to be so outspoken as they were usually under the notion to be ‘seen and not heard.’ The relationship between Benedick and Beatrice can also be portrayed as light hearted in act 1 when the pair speak and Benedick refers to himself as having ‘hard heart’ to which Beatrice replies, referring to herself as having ‘cold blood.’ By these comments the audience becomes aware of the parallel structure between the two, this is seen as comedic because of the fact that they are so alike and mirror images of one another yet insult each other so much shows a slight edge of humour as they are basically the same person so in effect can be seen as insulting themselves. Comedy is also shown in act 2 of ‘Much...
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...each other. One of the strongest examples for this is during act five scene four. Benedick calls out to Beatrice and asks her if she loves him. She declines this accusation and the two start to bicker about the circumstance. Beatrice and Benedick take awhile to come to terms with the solution of any arguments. Couples fight and they simply don’t forgive the other quickly. Time is also crucial to a relationship, it allows people to get to know someone. Benedict and Beatrice have known each other for a very long time, so they know how the other act, likewise with personality and attitude. According to Leonato, Beatrice and Benedick have known each other for a while. “You must not, sir, mistake my niece. There is a kind of a merry war betwixt Signor Benedick and her. They never meet but there’s a skirmish of wit between them.” During these time, people don’t usually marry someone after not too many days of knowing...
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...In the fall the war was always there, but we did not go to it any more. It was cold in the fall in Milan and the dark came very early. Then the electric lights came on, and it was pleasant along the streets looking in the windows. There was much game hanging outside the shops, and the snow powdered in the fur of the foxes and the wind blew their tails. The deer hung stiff and heavy and empty, and small birds blew in the wind and the wind turned their feathers. It was a cold fall and the wind came down from the mountains. We were all at the hospital every afternoon, and there were different ways of walking across the town through the dusk to the hospital. Two of the ways were alongside canals, but they were long. Always, though, you crossed a bridge across a canal to enter the hospital. There was a choice of three bridges. On one of them a woman sold roasted chestnuts. It was warm, standing in front of her charcoal fire, and the chestnuts were warm afterward in your pocket. The hospital was very old and very beautiful, and you entered a gate and walked across a courtyard and out a gate on the other side. There were usually funerals starting from the courtyard. Beyond the old hospital were the new brick pavilions, and there we met every afternoon and were all very polite and interested in what was the matter, and sat in the machines that were to make so much difference. The doctor came up to the machine where I was sitting and said: "What did you like best to do before...
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...In Othello, language is the medium in which the action and the plot flows through. Words are given power and influence. Characters construct their identity according to their power of speech, silence or ability to silence others. The shift of power for Othello is often conveyed through his language and linguistic skills. In the beginning, Othello appears honourable and articulate; his language is persuasive, abundant in imagery and humble. His speech in Act 1.3 clearly demonstrates his mastery of oratory, when he addresses the Venetian council as “most potent, grave and reverend signors” and even proclaims that he is “rude…in my speech” as he details his service and his “feats of broil and battle”. Desdemona was charmed by his stories and Othello affirms this as he declares that she “loved him for the dangers [he] passed”. Evidently, he is a...
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...MAAN: Love, what is it good for? Merriam-Webster dictionary defines love as “strong affection for another arising out of kinship or personal ties;” Throughout the play, Much Ado About Nothing by William Shakespeare, there is never really a love connection between the characters Benedick and Beatrice. In the beginning of the play, they despise one another and made witty comments about one another; not only that, but they also question why the other one loved them after overhearing the conversation between their friends. By this definition Beatrice and Benedick can't truly be in love, because of words spoken by their friends. At the start of the play, when Benedick first arrived in Messina, the first thing they did was make witty comments about...
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... | |Country |Preferred communication style |Non-verbal communication practices |Business communication norms |Strategies to increase cross-cultural | | | | | |communication | | |Italy official language is Italian, |Silence is rare and usually signals that |Always shake business men hands when |Learn to speak other languages to communicate | | |address men and women as signor or |there is a problem (Cross, n.d.). |meeting and departing (Cross, n.d.). |better with people of different language. | | |signora (Krazt, 2008). |Gestures and body language can be | | | | |Italians touch when verbally speaking;|extensive, It is oft en not a good idea |Space and distance mean cold and |Try to over look misunderstandings don’t hold | | |greets and say goodbye with a kiss on |to imitate Italians, though they tend to |unfriendly (Cross, n.d.). |it against a person that have no knowledge of,| | |each cheek (Krazt, 2008)...
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...Back About this item Amazon.com Review We already knew Joe McGinniss could chill our blood ( Fatal Vision) and arouse both our pity and distaste for the Kennedys ( The Last Brother), but who knew he could be so funny? (Well, maybe readers who remember The Selling of the President back in 1968.) Even those who have no interest in soccer--the majority of Americans, he ruefully admits--will relish the author's vivid account of a team from Castel di Sangro, a tiny town in Italy's poorest region, that against all expectations made it to the national competition. Whether he's chronicling his ordeal at possibly the least-inviting hotel in Italy (the heat doesn't come on until October, no matter the temperature; he is assigned to a room up four flights of stairs though there are no other guests), or sketching a colorful cast of characters that includes the team's sinister owner and an utterly unflappable translator, McGinniss prompts roars of laughter as he reveals an Italy tourists never see. He also saddens readers with a shocking final scene in which he confronts the nation's casual corruption, which taints men he's come to respect and even love. Although not a conventional memoir, this stirring book reveals as much about the author's passionate character as about the nation and the players who win his heart, then break it. --Wendy Smith From Library Journal With the growing popularity of soccer in North America, McGinniss, author of numerous best-selling works of narrative nonfiction...
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