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Love and dramatic genre - Approaches to the top...
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Examination Thesis from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 1,3, Bielefeld University, 71 entries in the bibliography, language: English, abstract: 'Love' is a central topic in Shakespeare's plays. Many of his couples have gained a status of immortality: Antony and Cleopatra, Romeo and Juliet, or Beatrice and Benedick are only a few examples. These lovers share one experience, which Lysander in 'A Midsummer Night's Dream' sums up very clearly: 'The course of true love never did run smooth ...' (1,1,134) This dilemma is the 'raw material' I am interested in. I will take three Shakespearean plays with 'love' as their central issue and examine the protagonists' courses of love in them. This involves the beginning, the obstacles in the way, the reactions to these obstacles and the final failure or success to overcome them. The plays chosen are 'Romeo and Juliet', 'All's Well that Ends Well', and 'The Taming of the Shrew'. In the First Folio edition the first one is classified as belonging to the literary form of 'tragedy', the latter two as 'comedies'. This leads me to the second element in the title, which is 'dramatic genre'. What Northrop Frye says about comedy is also valid for tragedy: 'If a play in a theatre is subtitled 'a comedy', information is conveyed to a potential audience about what kind of thing to expect, and this type of information has been intelligible since before the days of Aristophanes.' One such expectation concerns a play's mood. Here lies a fundamental difference between tragedy and comedy. Generally speaking, the audience expects that a comedy creates a happy mood and a tragedy a sad one. However, I am not alone finding that 'Romeo' is a rather happy play over long stretches, whereas 'The Taming' and 'All's Well' are anything but thoroughly happy pieces. In these three dramas Shakespeare only partly fulfils the expectations, which are evoked. Their generic structure does not generate a consistent mood. So what are the causes of this inconsistency?

Anbieter: Orell Fuessli CH
Stand: 24.09.2020
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Words and phrases that are to do with sex in li...
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Seminar paper from the year 2001 in the subject English Language and Literature Studies - Linguistics, grade: 1,0, Bielefeld University, 12 entries in the bibliography, language: English, abstract: In his book 'Dr. Bowdler's Legacy' Noel Perrin tells us in the first chapter that a big change of morality took place with the turn of the nineteenth century in England. He puts it as follows: '... the first new generation of the nineteenth century (grew) up more strait-laced, inhibited, and conventional than its parents, so that sons discussed their fathers' wild oaths, and daughters worried about their mothers' loose sexual behaviour.' According to Perrin one of the cornerstones of this new way of thinking was that the people began to acquire a more reserved attitude towards sexuality. The chief cause of this tendency was what can be called the rise of the idea of delicacy, or 'the new prudery'. From the middle of the eighteenth century onwards, delicacy came to be regarded as a special and precious characteristic - especially among women. Basically, it means that people felt offended as soon as they were confronted with sexuality in whatever form. Blushing and fainting were outward indicators of this new propriety. Another consequence was that people began to keep away from anything that might be a burden on their conscience. An important result of this trend was the emergence of the idea of expurgation in literature. That is people simply started to remove 'words or scenes that were considered likely to offend or shock'. The pioneering work in this field was Dr. Bowdler's 'Family Shakespeare', which was published in 1807. Dr. Bowdler's aim was - according to the fashion of his time - 'to exclude from this publication whatever is unfit to be read aloud by a gentleman to a company of ladies'. In another passage he says that he wants to enable a father to read one of Shakespeare's plays to his family circle 'without incurring the danger of falling unawares among words and expressions which are of such a nature as to raise a blush on the cheek of modesty ...'. As he says in the preface to the first edition, Bowdler was primarily concerned with profanity and obscenity. In this essay I will constrict myself to the field of obscenity in its sexual dimension. In the first part of my paper I will watch a Victorian at work by examining Bowdler's version of 'Romeo and Juliet' and comparing it to Shakespeare's. What kind of words and passages does he change and in what way does he revise them? Does he treat different terms in different ways?

Anbieter: Thalia AT
Stand: 24.09.2020
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Love and dramatic genre - Approaches to the top...
12,40 € *
zzgl. 3,00 € Versand

Examination Thesis from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 1,3, Bielefeld University, 71 entries in the bibliography, language: English, abstract: 'Love' is a central topic in Shakespeare's plays. Many of his couples have gained a status of immortality: Antony and Cleopatra, Romeo and Juliet, or Beatrice and Benedick are only a few examples. These lovers share one experience, which Lysander in 'A Midsummer Night's Dream' sums up very clearly: 'The course of true love never did run smooth ...' (1,1,134) This dilemma is the 'raw material' I am interested in. I will take three Shakespearean plays with 'love' as their central issue and examine the protagonists' courses of love in them. This involves the beginning, the obstacles in the way, the reactions to these obstacles and the final failure or success to overcome them. The plays chosen are 'Romeo and Juliet', 'All's Well that Ends Well', and 'The Taming of the Shrew'. In the First Folio edition the first one is classified as belonging to the literary form of 'tragedy', the latter two as 'comedies'. This leads me to the second element in the title, which is 'dramatic genre'. What Northrop Frye says about comedy is also valid for tragedy: 'If a play in a theatre is subtitled 'a comedy', information is conveyed to a potential audience about what kind of thing to expect, and this type of information has been intelligible since before the days of Aristophanes.' One such expectation concerns a play's mood. Here lies a fundamental difference between tragedy and comedy. Generally speaking, the audience expects that a comedy creates a happy mood and a tragedy a sad one. However, I am not alone finding that 'Romeo' is a rather happy play over long stretches, whereas 'The Taming' and 'All's Well' are anything but thoroughly happy pieces. In these three dramas Shakespeare only partly fulfils the expectations, which are evoked. Their generic structure does not generate a consistent mood. So what are the causes of this inconsistency?

Anbieter: Thalia AT
Stand: 24.09.2020
Zum Angebot