Suchergebnisse

This paper presents an overview of my dissertation project. My project harnesses posthumanist and ecofeminist insights to illuminate how the category of the human—whether its metaphysical status, purview, or validity—is at the center of early modern understandings of classical moral and political philosophies. In doing so, my study redresses a gap in the critical reception of Shakespeare's Roman texts by challenging existing cross-historical, cross-cultural studies that (a) consider the human a stable construct and (b) overlook the capacity for nonhuman forces to impact humanity's discursive and material practices. I extend ongoing critical debates by demonstrating how the figure of Aristotle's "political animal" exceeds the human in Shakespeare's Roman plays (Titus Andronicus, Julius Caesar, Antony and Cleopatra, Coriolanus, and Cymbeline) and narrative poetry (Venus and Adonis and The Rape of Lucrece). Specifically, I argue that early modern literary representations of human agency in ancient Mediterranean sea- and land-scapes are positioned alongside, and often considered less favorably than, the forces exerted by other creatures, inert matter, or technologies.

A phenomenological analysis of Shakespeare's plays suggests that characters who testify after having witnessed intolerable conditions cause significant change by interrupting the actions of other characters and thereby enhancing the possibilities for egalitarian practices in the world of the play. The desire to testify is great enough that when public realms do not permit open disclosures, characters invent methods to give accounts of themselves or to bring their knowledge into discussion, either in soliloquy or through prompts to other characters. When possible, characters offer their personal narratives. With each divulgence, characters create greater access to information and present possibilities for alternate choices to participate in their communities, including deliberation and mutual disclosure, making it possible for others to see and recognize them, strengthening their public realms by rendering them more inclusive, and creating the potential for further disclosures. In III Henry VI, King Henry is brought to awareness of his role in England's civil war by the anonymous testimony of two soldiers and attempts to rule wisely thereafter. In Much Ado about Nothing, Dogberry employs the speech tools of the disenfranchised to disempower the homosocial and intolerant nobility without calling attention to himself. In Pericles, Marina deliberates with her interlocutors so they can understand their actions from her point of view. When she is prompted to share her personal narrative, she and her father, Pericles, understand that their isolated views of their lives were mistaken; they are characters in a single story that binds them to one another. The characters thereby uncover the meaning-giving nature of narrative: It enables a person to recognize what she or he has never known. The role of Gower augments the performative effect of wonder aroused by the reunion of Marina and Pericles by wielding the tools of narrative, which include imagining, predicting, and wishing.

Staging Power in Tudor and Stuart English History Plays examines the changing ideological conceptions of sovereignty and their on-stage representations in the public theaters during the Elizabethan and early Stuart periods (1580-1642). The study examines the way in which the early modern stage presented a critical dialogue concerning the nature of sovereignty through the lens of specifically English history, focusing in particular on the presentation and representation of monarchy. It presents the subgenre of the English history play as a specific reaction to the surrounding political context capable of engaging with and influencing popular and elite conceptions of monarchy and government. This project is the first of its kind to specifically situate the early modern debate on sovereignty within a 'popular culture' dramatic context; its purpose is not only to provide an historical timeline of English political theory pertaining to monarchy, but to situate the drama as a significant influence on the production and dissemination thereof during the Tudor and Stuart periods. Some of the plays considered here, notably those by Shakespeare and Marlowe, have been extensively and thoroughly studied. But others-such as Edmund Ironside, Sir Thomas Wyatt, and King John and Matilda-have not previously been the focus of much critical attention. ; https://scholarship.richmond.edu/bookshelf/1207/thumbnail.jpg

When Ibsen was first introduced to the audience, few might have thought that a new wit is coming up in the world theatre. His plays soon started to touch sharp social topics stigmatizing the political values of the leading class. This article analyzes the aspects that Ibsen's plays more often offered to the reader and to the audience: the socio-political ones. The plays taken into consideration are the most notable of the playwright, A Doll's House, Ghosts, Pillars of Society. The socio-political aspect in these plays is clearer and marks the starting point of a new epoch in which the writers began bringing to light real problems to the real world.The reader or the audience becomes a witness of the moral intrigue development; of the farce identity; where the high building of lies slowly begins to fall apart like a card-house. This article brings to comparison the main characters of these plays, the Ladies, respectively Mrs. Helmer, Mrs. Alving and Mrs. Bernick, which might have not been considered as the protagonists, but surely their position in the plays has been crucial in the tide of the events and in our analysis of the social and political aspect of Ibsen's plays. DOI:10.5901/mjss.2013.v4n11p676

[Extract] The king is running out of money for his war in Ireland. So he confiscates Henry Bolingbroke's estate. Richard II's expropriation and exile of Bolingbroke proves a turning point in the history of the English state. The events that flow from it transform the nature of British political history in deep-going and unexpected ways.The banishment of Bolingbroke brings about the downfall of Richard.

The paper deals with the issue of values expressed in South African plays, and takes a look at representative plays from the entire spectrum of South African drama - Afrikaans, English, Black drama and alternative Theatre. Following a survey of the field, discussions are provided of selected plays in all the sections. It emerges that there is a fair amount of homogeneity right across the board in terms of sociocultural and political values. There is also a strong insistence on value linked to Black consciousness in the plays by Black playwrights, which is important in view of the fact that the Black playwrights often have an overtly didactic and propagandists intention.

Introduction; Essay on the dramatic writings of Massinger, by John Ferriar; Commendatory verses on Massinger; Glossarial index; List of Massinger's plays; The virgin martyr; The unnatural combat; The Duke of Milan; The bondman; The renegado; The parliament of love; The Roman actor; The great Duke of Florence; The maid of honour; The picture; The emperor of the East; The fatal dowry; A new way to pay old debts; The city madam; The gaurdian; A very woman; The bashful lover; The old law; Poems. ; Mode of access: Internet.

Typed t.-p. supplied. ; A clergyman's courtship.--Giuseppina.--The Hessian.--The patriot.--Polly in politics.--The raiders.--Riverside farm.--The sky riders.--Won by wireless.--The wooing of Wilhelmina. ; Mode of access: Internet.

Senior Project submitted to The Division of Arts of Bard College.

This is the publisher's version, also available electronically from http://www.jstor.org/stable/1146214?seq=1#page_scan_tab_contents. ; No abstract is available for this item.

Third part published by la Correspondencia militar. ; Binder's title; each part has special t.p. only, was issued separately. ; [1] Boca de fraile,--[2] Confesión general.--[3] La Dolores.--[4] Un libro viejo.--[5] María del Carmen.--Miel de la Alcarria.--[7] La real moza. ; Mode of access: Internet.

One of the key-metaphor complexes in conceptualizing national identity is that of the nation as a body or a person, especially in English-speaking cultures, as evidenced in the lexicalization of phrases such as body politic, head of state). It has a long conceptual history and still figures prominently in present-day political discourse, both in Inner Circle English-speaking countries and internationally. It thus seems to show considerable semantic stability; however, it is still an open question whether the use of body-or person-based metaphors in international English means that recipients in different cultures understand these metaphors uniformly. This paper discusses empirical evidence from an international interpretation survey that shows substantial variation in conceptualization of the nation as a body, with five main conceptual scenarios (nation as body, nation's territory as body, nation as body part, nation as part of ego and nation as person).

Based on Shakespeare's King Richard II, and King John. ; Mode of access: Internet.

Bibliography: pages 366-380. ; In the introduction, the writer highlights Fugard's regional artistry, his authentic reflection and recreation of a nation's tormented soul. The first chapter deals with Fugard's early plays, revealing the embryonic playwright and those characteristics of imagery, construction, language and content to be developed and refined in later plays. Briefly examined within this context are No-Good Friday, Nongogo and Tsotsi, the playwright's only novel. A chapter on the Port Elizabeth plays written in Fugard's apprenticeship years, The Blood Knot, Hello and Goodbye and Boesman and Lena, focuses on his growing skill as a dramatist, his involvement in his milieu both geographically and emotionally, as well as providing detailed analysis of the plays in terms of major features such as national politics, universal values, existentialism and Calvinism. The period of collaboration in which Fugard responded to the suggestions, imaginative projections and creative stimulus of his actors, forms the content of a chapter devoted to detailed study of the improvised plays: The Coat, Orestes, Sizwe Bansi is Dead, and The Island. The later Port Elizabeth plays, A Lesson from Aloes and "Master Harold ' . and the boys, are explored from political and personal perspectives respectively, with attention paid to the intensely human dramas that dominate even the overtly ideological considerations. A chapter on the television and film scripts - The Occupation, Mille Miglia, The Guest, Marigolds in August - traces Fugard's involvement in these media, his economy of verbal descriptions and his taut control of his material generally. A chapter is devoted to Fugard' s women, the characters who present affirmative points of view, whose courage, compassion and determination infuse a hostile world with a range of possibilities beyond survival and existence. Milly in People are Living There, Frieda in Statements After An Arrest Under The Immorality Act and Miss Helen in The Road to Mecca form a Fugardian sorority of survivors. The final chapter of the thesis is devoted to Dimetos, regarded as an intensely personal artistic statement, an examination of the dramatist's alterego, the playwright's persona.

Pictures have an essential effect on our thoughts and decisions. We have also noticed how these pictures produced in the form of cartoons affect our viewpoints. They do so since we are addicted to social media to the extent it can manipulate our thoughts unconsciously and obnoxiously. Besides, people don't have the courage to express their viewpoints clearly, so they tend to use the satire to keep their face. This motivates the researcher to analyze the underlying structure of this satire presented in caricatures to read the message clearly. This research aims at revealing the way the political caricatures are produced and the main characteristics of political caricatures. Incorporating a methodology depending on selecting some samples, this paper is a semiotic analysis of political caricatures announced through the election campaign 2018 in Iraq. It concentrates on the format caricatures used as a communicative channel on net platform to come up with essential senses and prevailing political matters. This is carried out by adopting Barthes' semiotic theory which is the first apparent semiotic approach. It is a good means to analyze the implied structure, including the dictionary and implied senses of creating influence of political caricatures. Besides, it provides us with a good means to interpret and understand political caricatures. This is quite important since political cartoons work as an approach to comprehend human consciousness.