How has the study of the connection between your set texts shaped your understanding of context and values? The exploration of William Shakespeare’s play ‘King Richard III’ and Al Pacino’s 1996 doco-drama film ‘Looking for Richard’ reveals the explicit relationships between each text and their respective audience. The Elizabethan and twentieth century contexts in each of these texts are important as it demonstrates the value of each text and enables the understanding of how the film enriches the ideas presented in the play. Shakespeare’s ‘King Richard III’ portrays a malicious and corrupted Richard to explore the themes of divine justice and the notion of outer appearance versus inner reality in the theocentric context of the Elizabethan society. Four centuries later, Al Pacino’s ‘Looking for Richard’ reflects the director’s quest to come to terms with a Shakespearean text in a contemporary context, providing a personal examination of the same Richard’s behaviour, whist simultaneously reflects the post modern era with the absence of divine order and the change in views of conscience.
264-265). Shakespeare leans the theme of deception closer to Benedick in his dispute with Beatrice. Shakespeare echoes the idea that within a high pressure position, love becomes
This “metafictional parody is… used to seriously rework a literary model… to call attention to its conventions and limitations by putting it in a new, contemporary context” (Staels 2009, 101) that is achieved “through the technique of self-conscious mythologizing and demythologizing” through the use of a contemporary Penelope (Staels 2009, 103). The use of Penelope as a “retrospective” narrator allows the construction of “a personal variant of the same story” told by Homer in Odyssey (Staels 2009, 103). Penelope’s ability to speak from the underworld in Penelopiad gives her a form of “critical omniscience” that gives her a sense of freedom with no obligation to the roles she held in her life, but her guilt still haunts her (Ryan 2011). Before the “rise of feminist criticism in the last decades of the twentieth century” The Odyssey had a strong connection with the “feminine” with “Athena as its presiding deity” (Suzuki 2007, 263). Despite the vast criticism in how Homer portrays women in his epic poems, there are a significant number of literary critics including Andrew Dalby that suggest both the Illiad and the Odyssey were written by a woman (Suzuki 2007, 263).
He realized Cordelia’s wasn’t a flatterer and her love was so genuinely strong words could not express it. Oedipus had both a physical and mental blindness. When he addressed the people assuring them he would find Laius’ killer not knowing he was the killer all along until Teiresias [blind prophet] says it. Details about his birth are revealed during an argument with an older prophet. At the end of the play he gauged out his eyes to show that he was and forever will be blind to the world.
Gayatri Chakravorty Spivak's Three Women's Texts and a Critique of Imperialism discusses the "imperialist narrativization of history" in Charlotte Bronte's Jane Eyre (Spivak 175). Because "imperialism" is "England's social mission" and "cultural representation of England to the English" and literature produces the "cultural representation" of the English, all texts are driven by a hidden motivation to support the existing "imperialist project" (Spivak 175). This imperialist project requires the "worlding'" of "Third World'" entities so that their cultures are "exploited" by the English and translated into British literary heritage until these "heritages" lose all identity with the original country (Spivak 175). "Axioms of imperialism" are configured in the basic structures of the English narrative to subtly drive the motivations of the novels and uphold the established ideals of English hierarchy over the "Third World" (Spivak 175). For instance, imperialist measures are masked in "childbearing," or "domestic-society-through-sexual-reproduction," and "soul making," or "civil-society-through-social-mission" (Spivak 176).
Outline Thesis Statement The play Macbeth briefly demonstrates a significant role within the characters using quick tactics and strategies to manipulate and use super natural powers to have influence over others. Introduction paragraph Author and book- Macbeth written by William Shakespeare tragedy Interesting points- Thesis statement- The play Macbeth briefly demonstrates a significant role within the characters using quick tactics and strategies to manipulate and use super natural powers to have influence over others. Body Paragraph 1 Topic sentence- Firstly, achieving attention from a person is very complex and in order to keep it using persuasion is the best approach. Point- The character Macbeth encounters the weird sisters, who believe that if they sell their souls to the evil spirit they will
Through love, he is accepting and compassionate, but the narrator’s love for Doodle is hindered by pride and the cruelty that derives from it. It becomes obvious early on that the theme of “The Scarlet Ibis” is the strong conflict between love and pride. Hurst explores this theme when the narrator tries to kill his brother, when he cries after his family praises him, and when Doodle dies and the narrator is devastated. First, the theme of love verses pride is strongly demonstrated when the narrator plans to kill his baby brother, Doodle. The narrator is only slightly upset by the fact that his brother is an invalid, but when confronted with the information that Doodle might be “not all there” his pride is absolutely destroyed.
Richard at the beginning of the play reveals his plot to kill his brother Clarence in order to eliminate successors to the throne. Act 1 Shakespeare’s use of pun in the line ‘Brother, farewell,’ is said by the Duke of Gloucester with such earnestness that it is interpreted as a simple departure by George, however, there is an underlying message of ‘rest in peace Clarence’ which is later exposed in Richard’s aside. In Act 5, after the brutal death of Richard, pondering how England has remained under a time of tyranny and betrayal, with the use of alliteration, Richmond says as a part of his ending speech “brother blindly shed the brother’s blood”. This, while emphasising the greed of Richard where he has lost all morality and killed his biological brother in order to gain power, further emphasises Shakespeare’s indirect intention to bring forward the theme of karma. It also targets Elizabethan audience obliquely as it displays Shakespeare as an authentic man who believes in fate.
(eNotes, 2016) Jonathan Goldberg has inspected “Bradford's treatment of sexuality, sex, and racism during the time spent incorporation and avoidance by which he characterized the group portrayed in Of Plymouth Plantation. Different researchers contain endeavored” to display the history's benefits as an abstract work. E. F. Bradford has centered Bradford's utilization of a "plain style, a Puritan complexity to the exceptionally ornamented composition of other Renaissance creators.” This fault finder, together with G. “Cuthbert Blaxland and others, said: have accentuated that the appearing straightforwardness of Bradford's composition was the result of the cognizant abstract goal.” A different analysis artistic features of Bradford's written work has comprised Perry Westbrook's study a wide possibility
In doing so, the function of the magical world will be identified, and by the finality of this essay the representations of magic and its construction of out-of-balance love will be understood. From the onset, Shakespeare precisely depicts the lovers as being out of balance, a theme which generates stress during the play. For symmetry’s sake, the audience desires the four lovers to be arranged into two couples; as an alternative, Lysander and Demetrius love Hermia, and Helena is left out. Hermia and Helena are therefore in opposite positions, increasing the feeling of fundamental imbalance. This imbalance is introduced and reinforced in Act I, Scene I, when Lysander says “The course of true love never did run smooth” (136).