You will be required to respond to at least 3 quotations for each chapter in the novel. You may comment on the characters, the conflicts, the themes, the structure, and/or general feelings about the story that your particular quotations identify. You may choose a particular quotation because you don’t understand its meaning; however, you think the quotation is necessary in some way regarding one’s understanding of the text. There are no “perfect” answers. This dialectical journal’s purpose is for your understanding and may become part of an important class discussion.
Explore the ways disturbed characters are presented in Shakeapeare’s Macbeth and Browning’s My Last Duchess, The Laboratory and Porphyria’s Lover. This is essentially a “use of language” essay, you need to show HOW the disturbed natures of the characters are conveyed, not just say how they show themselves. The essential point of this essay is to demonstrate what Shakespeare and Browning DO to convey the disturbed nature of the characters – not just saying what disturbed things the characters say or do, but what poetic and dramatic techniques the authors use to show their distrurbed natures. You MUST use quotations to back up every point you make. If you are hoping for the highest grades (B and above) you must make comparisons between the characters in the poems and Lady Macbeth.
To start with, in the original version as well as Branagh’s version of “Hamlet”, the “To be or not to be” soliloquy comes before Hamlets encounter with Ophelia, where as in Zeffirelli’s version of the play, Hamlet’s “To be or not to be” soliloquy comes after the scene where he speaks with Ophelia. Also, Zeffirelli’s version doesn’t completely follow the original script word for word. I personally feel that Zeffirelli’s version is better in both of these regards. As far as the scene sequences, I feel that Hamlet’s “To be or not to be” had become more relevant after his encounter with Ophelia because that encounter only added to his frustration and broken heart, which could have helped further explain his reasoning for considering whether life is worth living or not. In regard to the faithfulness of the original language in the script, I believe that it is better to differentiate a small bit as Zeffirelli did.
(5) However, there is no doubt that his works have influenced a number of authors both past and present. Examine the third sentence of the passage and choose the revision that will best improve the passage as a whole. (A) Change “It is true that” to “Unfortunately,”. (B) Delete “It is true that”. (C) Delete “before his death in 1593.” (D) Change the period to a comma, add “but” and combine sentences 2 and 3.
Furthermore, his ability to combine what he learned in his self-analysis with the Oedipus legend and Shakespeare’s Hamlet helped to form the core of his psychoanalyses (Bergmann 535). He also effectively established ethos and used elevated diction to strengthen his claim. On the other hand, his limited use of scientific studies and gender popularity weakened his explanation. Freud’s decision to use two significant pieces of western literature in his explanation of the Oedipus Complex, helped him to define his theory to others. The allusions he made with Oedipus Rex and Hamlet introduced variety into an otherwise limited discussion.
3. Shakespeare effectively uses a powerful literary device, Pathetic Fallacy, in the play, Macbeth. Discuss how this device is used in Act II. 4. Choose ONE of the following quotations and identify the speaker, audience, context, and significance: Act Three In Shakespearean tragedies, Act III is extremely significant as the plot builds up to its climax, and the fall of the tragic hero begins.
Palazzi 1 Lucas Palazzi Ms. Pearce ENG-4U 23 July 2012 A Hateful Hamlet in his First and Last Soliloquies In the play Hamlet by William Shakespeare, the main character Hamlet is a tough character to analyze. The play offers many possible interpretations of Hamlet’s true character, making him a difficult character to describe. However, by analyzing his soliloquies in the play, one can gain a better understanding of Hamlet’s thoughts and motives. An effective approach to this is to compare Hamlet’s first and last soliloquies. By finding the similarities between the two soliloquies, one can figure out what aspects of Hamlet’s character remained the same throughout the play, therefore catching a glimpse of his true character.
But it has the effect of obscuring from notice certain secondary aspects of the work which did, after all, figure in its history and weigh with its contemporary audience, and which must, therefore, be taken into consideration before either the book or the young mind that composed it has been properly assayed. One such minor strain, not too well recognised in criticism, is a thin vein of social speculation: a stereotyped, irrelevant, and apparently automatic repetition of the lessons of that school of liberal thought which was then termed “philosophical.” In the work of Godwin's daughter and Shelley's bride, some reflection of contemporary social radicalism—crude, second-hand, very earnest, already a little out of date—occurs almost as a matter of course; what deserves comment is
How does Kant argue in support of transcendental idealism in the “Transcendental Aesthetic” and how is this related to the passage BXVI of the preface to the second edition of the Critique (the “Copernican Turn”)? In the Preface to the second edition of The Critique of Pure Reason Immanuel Kant observes that, “If after many preliminaries and preparations are made, a science gets stuck as soon as it approaches its end, or if in order to reach this end it must often go back and set out on a new path…then we may be sure that such study merely groping about, that it is still far from having entered upon a course of science… ”(Bvii-Bviii). He is referring here to the study of metaphysics. Kant underlines his belief that the study of this subject so far has not been conclusive or productive in explaining how knowledge is given to us because of the approach taken by his contemporaries. In the Critique Kant introduces his doctrine of transcendental idealism in an attempt to solve what he believes to be this great problem in the study of metaphysics.
Alienation is a central concept in the discussion of modern man, whether its alienation from God, self, instincts, or humanity. In what ways does Shelley consider both Victor and the Creature’s sense of self in relationship to family (community), to ambition (work), and a Creator (in this case a modern scientific creator)? What makes each of them alienated and why? What point might Shelley be making about alienation—that science alienates us that difference does? Develop your own argument to lead your discussion about the role of alienation in the novel.