Suchergebnisse

Students read Shakespeare's plays to learn about politics and office, love and friendship, and other great themes of human life. This education is the core of the 'Shakespeare myth,' which is that Shakespeare educates the complete human being-man, woman, and citizen. In this paper, I provide support for the truth of this myth by challenging the suggestion that the Shakespeare of the 1590s is a traditional theist who accepts the divine machinery of providential history, a secularizing Machiavel, or a protorepublican advocating living together as equals under the rule of law. Instead of these Shakespearian simplifications, I present Shakespeare as a philosophical liberal who is interested in legitimacy, stability, participation, security, and the place of the individual within society, but not in a way that requires the complete enlightenment of his age's political forms and religious life, or that denies enlightenment altogether. Adapted from the source document.

Although writers of the English Restoration tragedy were not able to continue the path of the magnificent Renaissance tragedy and to become the worthy heirs of Shakespeare, they were experimenting with the verse and themes leaving a few impressive tragic scenes. Therefore, the heroic tragedy, as a dramatic kind, did not achieve an enviable aesthetic value. On the other hand, writers of comedies have managed to adjust the traditional elements to the new literary trends and to the atmosphere of the epoch. They have created a comedy of character and humor with an appropriate and realistic prose dialogue full of wit and refined language which was the best media for depicting cheerful and immoral aristocratic life of that time. Preserving and highlighting these dramatic elements, the dramatists of the Restoration have influenced the successors of a typical British comedy that will come to life again, in its true and pure comic form, in the works of Bernard Shaw and Oscar Wilde.

'Township Plays,' 'Port Elizabeth Plays,' and 'Interior Plays' by Anthol Fugard are reviewed.

AbstractPassion episodes such as the Buffeting are known for the powerful acts of compassion they occasioned within audiences through their performance of violence on the person of Jesus. Few critics, however, have considered that these episodes depend on antisemitic, Islamophobic, and anti-Black depictions of antagonists when engendering such emotional dispositions. By investigating the dynamics of mockery through a deeper look into the composite identities of Jesus's antagonists, this study reveals that these plays and the communities that produced them rely on a disingenuous stance of victimhood for their effectiveness. This 'victim play'—the collaborative community effort to claim the status of victim while simultaneously participating in the victimization of others—obscures that those who are attributed cruel acts of mockery are actually its targets. The powerful rhetorical strategies of the premodern English episodes are thus unearthed in this study.