Hamlet This module requires students to explore and evaluate a specific text and its reception in a range of contexts. It develops students’ understanding of questions of textual integrity. Each elective in this module requires close study of a single text to be chosen from a list of prescribed texts. Students explore the ideas expressed in the text through analysing its construction‚ content and language. They examine how particular features of the text contribute to textual integrity. They research
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Shakespeare uses his second soliloquy to present Hamlet’s initial responses to his new role of revenger. Shakespeare is not hesitant in foreboding the religious and metaphysical implications of this role‚ something widely explored in Elizabethan revenge tragedy‚ doing so in the first lines as Hamlet makes an invocation to ‘all you host of heaven’ and ‘earth’. Hamlet is shown to impulsively rationalize the ethical issues behind his task as he views it as a divine ordinance of justice‚ his fatalistic
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Medea and Oedipus the King were and remain masterpieces of the Western literary patrimony. These tragedies gave rise to strong emotional releases of fear and pity. Because of this catharsis‚ it induced important philosophical reasoning. The main concern was whether or not it damaged the individual mind. The central figures in this debate were Plato and Aristotle. Paradoxically‚ it is difficult to navigate in the rivers of human drama without being splashed by feeling of fear and pity. The central
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Malfi as a Revenge Tragedy “The Duchess of Malfi” by John Webster is a kind of Revenge Tragedy modeled on Seneca‚ the Latin playwright of 1st century A.D. This play is considered as one of the best plays of Webster and as a Revenge Tragedy‚ it is considered as the best tragedy after Shakespeare’s containing almost all the characteristics of Revenge Tragedy. This play contains the depth of extreme violence‚ plotting and mostly revenge on the best part which are the chief elements of revenge tragedy
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acting in ‘Hamlet’. Show how far your appreciation and understanding of this element of ‘Hamlet’ has been informed by your study of ‘The Revenger’s Tragedy’ and critical readings of both plays. Acting and deceit prove to be key ingredients to Revenge Tragedy as a genre; the deception of characters in both Hamlet and The Revenger’s Tragedy (Revengers) subsequently accelerating the plays to their respective final catastrophes. The majority of characters in both texts arguably play a part in order
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Jonson‚ whose varied and dramatic works followed classical models and was enriched by his worldly‚ peculiarly English wit. His satiric dramas‚ notably the great Volpone (1606)‚ all take a cynical view of human nature. Also cynical were the horrific revenge tragedies of John Ford‚ Thomas Middleton‚ Cyril Tourneur‚ and John Webster (the best poet of this grim genre). Novelty was in great demand‚ and the possibilities of plot and genre were exploited almost to exhaustion. Still‚ many excellent plays were
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Romeo & Juliet and Medea Essay “You know you’re in love when you can’t fall asleep because reality is finally better than your dreams” – Dr. Seuss. This quote explains how love can possess you‚ sometimes in a way that causes powerful devotion. Other times it may cause a malignant insanity. But that is why I think that in the plays of Romeo & Juliet and Medea‚ love and hate are just as powerful because they create each other. In the story of Romeo & Juliet‚ love and hate play a serious role in
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Metatheatricality is defined by Stuart Davis as “a convenient name for the quality or force in a play which challenges theatre’s claim to be simply realistic -- to be nothing but a mirror in which we view the actions and sufferings of characters like ourselves‚ suspending our disbelief in their reality.” (Metatheatre). It is present in many Renaissance dramas‚ yet it is analysed‚ understood and critiqued in a vast variety of ways. Davis claims that metatheatre awakens our minds to life’s “uncanny
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In Sophocles’ Antigone and Euripdes’ Medea‚ the minor female characters Ismene and the Chorus determine the protagonists’ actions and fate. Ismene serves as the compassionate but rational and prudent counterpart to Antigone’s headstrong style of decision-making with no regard for consequence. In the beginning of the play‚ Antigone starts off on the wrong foot. She defies the order set by Creon to not bury Polynices‚ her brother. She starts to perform the burial rituals on Polynices and resolves
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In Euripides’ Medea‚ the protagonist abandoned the gender roles of ancient Greek society. Medea defied perceptions of gender by exhibiting both "male" and "female" tendencies. She was able to detach herself from her "womanly" emotions at times and perform acts that society did not see women capable of doing. However‚ Medea did not fully abandon her role as a woman and did express many female emotions throughout the play. <br> <br>In ancient Greek society‚ murder was not commonly associated with women
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