The document summarizes key aspects of Elizabethan tragedy based on Shakespeare's works. It describes Elizabethan tragedy as focusing on great heroes who contribute to their own downfall through a tragic flaw. It provides details on the structure of Elizabethan plays in five acts, and theatrical conventions like soliloquies, asides, blank verse, and iambic pentameter. It also contrasts Greek and Elizabethan drama, noting Elizabethan plays had more varied plots and characters and mixed genres like comedy and tragedy.
Drama its origin: growth & development by Suhail Ahmed SolangiSohail Ahmed Solangi
An effort to search the exact history of drama along with its development. This work also includes all the eras of English Literature with its link to Drama.
However, one presentation couldn't define a complete history of drama.
Thanks
Drama its origin: growth & development by Suhail Ahmed SolangiSohail Ahmed Solangi
An effort to search the exact history of drama along with its development. This work also includes all the eras of English Literature with its link to Drama.
However, one presentation couldn't define a complete history of drama.
Thanks
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
A presentation on epics and mock epics including summary of Beowulf and battle of the frogs and mice.You can also attach a video of the battle of the frogs and mice from you-tube and get the summary of Aeneid from Google.
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
Chapter 8 THEATER We sit in the darkened theater with many str.docxspoonerneddy
Chapter 8 THEATER
We sit in the darkened theater with many strangers. We sense an air of anticipation, an awareness of excitement. People cough, rustle about, then suddenly become still. Slowly the lights on the stage begin to come up, and we see actors moving before us, apparently unaware of our presence. They are in rooms or spaces similar to those that we may be in ourselves at the end of the evening. Eventually they begin speaking to one another much the way we might ourselves, sometimes saying things so intimate that we are uneasy. They move about the stage, conducting their lives in total disregard for us, only hinting occasionally that we might be there in the same space with them. At first we feel that despite our being in the same building with the actors, we are in a different world. Then slowly the distance between us and the actors begins to diminish until, in a good play, our participation erases the distance. We thrill with the actors, but we also suffer with them. We witness the illusion of an action that has an emotional impact for us and changes the way we think about our own lives. Great plays such as Hamlet, Othello, The Misanthrope, Death of a Salesman, A Streetcar Named Desire, and Long Day’s Journey into Night can have the power to transform our awareness of ourselves and our circumstances. It is a mystery common to much art: that the illusion of reality can affect the reality of our own lives.
Aristotle and the Elements of Drama
Drama is a collaborative art that represents events and situations, either realistic and/or symbolic, that we witness happening through the actions of actors in a play on a stage in front of a live audience. According to the greatest dramatic critic, Aristotle (384–322 BCE), the elements of drama are as follows:
1. Plot: a series of events leading to disaster for the main characters who undergo reversals in fortune and understanding but usually ending with a form of enlightenment—sometimes of the characters, sometimes of the audience, and sometimes of both
2. Character: the presentation of a person or persons whose actions and the reason for them are more or less revealed to the audience
3. Diction: the language of the drama, which should be appropriate to the action
4. Thought: the ideas that underlie the plot of the drama, expressed in terms of dialogue and soliloquy
5. Spectacle: the places of the action, the costumes, set designs, and visual elements in the play
6. Music: in Greek drama, the dialogue was sometimes sung or chanted by a chorus, and often this music was of considerable emotional importance; in modern drama, music is rarely used in serious plays, but it is of first importance in the musical theater
Aristotle conceived his theories in the great age of Greek tragedy, and therefore much of what he has to say applies to tragedies by such dramatists as Aeschylus (ca. 525–456 BCE), especially his trilogy, Agamemnon, The Libation Bearers, and The Eumenides. Sophocles (ca. 496–406 B.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
A presentation on epics and mock epics including summary of Beowulf and battle of the frogs and mice.You can also attach a video of the battle of the frogs and mice from you-tube and get the summary of Aeneid from Google.
Matthew Arnold (24 December 1822 – 15 April 1888) was an English poet and cultural critic who worked as an inspector of schools. He was the son of Thomas Arnold, the famed headmaster of Rugby School, and brother to both Tom Arnold, literary professor, and William Delafield Arnold, novelist and colonial administrator.
During this time Arnold wrote the bulk of his most famous critical works, Essays in Criticism (1865) and Culture and Anarchy (1869), in which he sets forth ideas that greatly reflect the predominant values of the Victorian era.
Chapter 8 THEATER We sit in the darkened theater with many str.docxspoonerneddy
Chapter 8 THEATER
We sit in the darkened theater with many strangers. We sense an air of anticipation, an awareness of excitement. People cough, rustle about, then suddenly become still. Slowly the lights on the stage begin to come up, and we see actors moving before us, apparently unaware of our presence. They are in rooms or spaces similar to those that we may be in ourselves at the end of the evening. Eventually they begin speaking to one another much the way we might ourselves, sometimes saying things so intimate that we are uneasy. They move about the stage, conducting their lives in total disregard for us, only hinting occasionally that we might be there in the same space with them. At first we feel that despite our being in the same building with the actors, we are in a different world. Then slowly the distance between us and the actors begins to diminish until, in a good play, our participation erases the distance. We thrill with the actors, but we also suffer with them. We witness the illusion of an action that has an emotional impact for us and changes the way we think about our own lives. Great plays such as Hamlet, Othello, The Misanthrope, Death of a Salesman, A Streetcar Named Desire, and Long Day’s Journey into Night can have the power to transform our awareness of ourselves and our circumstances. It is a mystery common to much art: that the illusion of reality can affect the reality of our own lives.
Aristotle and the Elements of Drama
Drama is a collaborative art that represents events and situations, either realistic and/or symbolic, that we witness happening through the actions of actors in a play on a stage in front of a live audience. According to the greatest dramatic critic, Aristotle (384–322 BCE), the elements of drama are as follows:
1. Plot: a series of events leading to disaster for the main characters who undergo reversals in fortune and understanding but usually ending with a form of enlightenment—sometimes of the characters, sometimes of the audience, and sometimes of both
2. Character: the presentation of a person or persons whose actions and the reason for them are more or less revealed to the audience
3. Diction: the language of the drama, which should be appropriate to the action
4. Thought: the ideas that underlie the plot of the drama, expressed in terms of dialogue and soliloquy
5. Spectacle: the places of the action, the costumes, set designs, and visual elements in the play
6. Music: in Greek drama, the dialogue was sometimes sung or chanted by a chorus, and often this music was of considerable emotional importance; in modern drama, music is rarely used in serious plays, but it is of first importance in the musical theater
Aristotle conceived his theories in the great age of Greek tragedy, and therefore much of what he has to say applies to tragedies by such dramatists as Aeschylus (ca. 525–456 BCE), especially his trilogy, Agamemnon, The Libation Bearers, and The Eumenides. Sophocles (ca. 496–406 B.
Literary terms and their meanings.
Literary terms, such as, allegory, alliteration, consonance, conceit, tragicomedy, tragedy, comedy, etc all are explained.
The limits of my language means the limits of my world.
Ludwig Wittgenstein
Philosophy is a battle against the bewitchment of our intelligence by means of language.
Ludwig Wittgenstein
www.english-culture.com/literature-life Our lives in the end are nothing but stories. Carl William Brown
If we spoke a different language, we would perceive a somewhat different world.
Ludwig Wittgenstein
In my 3rd year in college, I was assigned to discuss in the class one of William Shakespeare's plays and I chose Hamlet, Prince of Denmark. It was in our English&American Literature class with Mr. D.A. Aragon. :)
The 1st part of the presentation is, of course, a short introduction of the playwright. (this is a super-duper late upload. haha)
Acetabularia Information For Class 9 .docxvaibhavrinwa19
Acetabularia acetabulum is a single-celled green alga that in its vegetative state is morphologically differentiated into a basal rhizoid and an axially elongated stalk, which bears whorls of branching hairs. The single diploid nucleus resides in the rhizoid.
Read| The latest issue of The Challenger is here! We are thrilled to announce that our school paper has qualified for the NATIONAL SCHOOLS PRESS CONFERENCE (NSPC) 2024. Thank you for your unwavering support and trust. Dive into the stories that made us stand out!
June 3, 2024 Anti-Semitism Letter Sent to MIT President Kornbluth and MIT Cor...Levi Shapiro
Letter from the Congress of the United States regarding Anti-Semitism sent June 3rd to MIT President Sally Kornbluth, MIT Corp Chair, Mark Gorenberg
Dear Dr. Kornbluth and Mr. Gorenberg,
The US House of Representatives is deeply concerned by ongoing and pervasive acts of antisemitic
harassment and intimidation at the Massachusetts Institute of Technology (MIT). Failing to act decisively to ensure a safe learning environment for all students would be a grave dereliction of your responsibilities as President of MIT and Chair of the MIT Corporation.
This Congress will not stand idly by and allow an environment hostile to Jewish students to persist. The House believes that your institution is in violation of Title VI of the Civil Rights Act, and the inability or
unwillingness to rectify this violation through action requires accountability.
Postsecondary education is a unique opportunity for students to learn and have their ideas and beliefs challenged. However, universities receiving hundreds of millions of federal funds annually have denied
students that opportunity and have been hijacked to become venues for the promotion of terrorism, antisemitic harassment and intimidation, unlawful encampments, and in some cases, assaults and riots.
The House of Representatives will not countenance the use of federal funds to indoctrinate students into hateful, antisemitic, anti-American supporters of terrorism. Investigations into campus antisemitism by the Committee on Education and the Workforce and the Committee on Ways and Means have been expanded into a Congress-wide probe across all relevant jurisdictions to address this national crisis. The undersigned Committees will conduct oversight into the use of federal funds at MIT and its learning environment under authorities granted to each Committee.
• The Committee on Education and the Workforce has been investigating your institution since December 7, 2023. The Committee has broad jurisdiction over postsecondary education, including its compliance with Title VI of the Civil Rights Act, campus safety concerns over disruptions to the learning environment, and the awarding of federal student aid under the Higher Education Act.
• The Committee on Oversight and Accountability is investigating the sources of funding and other support flowing to groups espousing pro-Hamas propaganda and engaged in antisemitic harassment and intimidation of students. The Committee on Oversight and Accountability is the principal oversight committee of the US House of Representatives and has broad authority to investigate “any matter” at “any time” under House Rule X.
• The Committee on Ways and Means has been investigating several universities since November 15, 2023, when the Committee held a hearing entitled From Ivory Towers to Dark Corners: Investigating the Nexus Between Antisemitism, Tax-Exempt Universities, and Terror Financing. The Committee followed the hearing with letters to those institutions on January 10, 202
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasn’t one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
2. Context
It describes the type of tragedy that may be applied to
Shakespeare´s writing.
Shakesperean Tragedy: The hero must always
contribute in some way to this downfall and the resulting
tragedy.
The heroes are described as great exceptional people.
People of high degree and of public importance.These
characters are examples of mankind, but most have a
least one tragic flaw, which leads them to their downfall.
4. Structure
Act one: outlines the situation, introduces the
main characters and begins the action
(exposition)
Act two: continues the action and introduces
complications (development)
Act three: the crisis or climax, a change of
direction occurs or understanding is precipitated.
Act four: further developments leading to part
five.
Act five: the final crisis of action or revelation
and resolution are explained.
5. Women weren´t allowed to act on stage until long
after the Elizabethan Era, some female parts
were played by boys or men dressed like
women.
Elizabethan tragedy death with heroic themes:
usually centering on a great personality that is
destroyed by his own passion and ambition.
The comedies often satarized the fops and
gallants of society.
Spectacle
6. Action
Shakespeare´s general plan of tragedy is to
show one set of forces advancing, in secret or
open opposition to the other to some decisive
success, and then driven downward to defeat by
the reaction to provoke.
Surpassed the limits of known drama- European
theater and the classical drama of ancient
Greece and Rome, by portraying complex
political, psychological, and historical themes.
7. Space
The scenery that they used for the act was from
the very simple things to very luxurious and old
concisious things.
The new kind of drama was more professional
and commercial performed by employed
actor/writer who travelled the country.
They theatre could change depending of the
seasons.
The most common one, was the round one,
denominated the Globe
8. The rich people where located in the botton part
and the low class people down.
Rich people had the advantage of watch the play
seated while the others had to remain standing
all the time.
The use of animals was a way of entertaining the
audience during the intermission.
In the play they used ropes for the stage.
9.
10. Theatricality
It´s a device whereby a play comments on itself,
drawing attention to the literal circumstances of
its own production.
It is reflected in the presence of the audience or
the fact that the actors are actors.
William Shakespeare´s works reflect
Theatricality.
11. Soliloquy
Device used in drama in which a character expresses
his thoughts and feelings aloud, to himself or herself,
while either alone upon the stage or with the other
actors keeping silence.
12. Characteristics
They confirm what the audience or reader does
know about the character.
Written in blank verse of unparalleled variety,
invention and rhythmic flexibility
Suggestive of the changing moods of the
speakers
They mostly contain imagery for revealing the
character’s struggles or moods
13. HAMLET: To be, or not to be, - that is the question
Is it nobler to put up with all the nasty things that luck
throws your way, or to fight against all those troubles
by simply putting an end to them once and for all?
Dying, sleeping—that’s all dying is—a sleep that ends
all the heartache and shocks that life on earth gives
us—that’s an achievement to wish for. To die, to
sleep—to sleep, maybe to dream…
Example
14. Blank verse and iambic
pentameters
Balnk verse: literary device defined as an un-
rhyming verse written in iambic pentameter. The
intention of using it is to produce a formal
rhythmical pattern that creates musical effects
and capture the attention of listeners or readers.
Iambic pentameter: the most common meter in
English verse. It consists of a line ten syllables
long that is accented on every second beat. It
means there is an ustressed syllable followed by
a stressed syllable (iam); the line has five of this
“feet”.
15. Example
But, woe is me, you are so sick of late,
So far from cheer and from your former
state,
That I distrust you. Yet, though I
distrust,
Discomfort you, my lord, it nothing
must…
(Hamlet by William Shakespeare)
16. Aside
Dramatic device in which a brief comment is
spoken privately, the other characters can’t hear
it and they are most of the time directed to the
audience. It shows the charecter’s other face.
CHARACTERISTICS:
Were not ment simply to reveal the inner feelings
of the character.
Showed some consciousness of the audience, to
whom they were addressed.
17. SHYLOCK:
How like a fawning publican he looks!
I hate him for he is a Christian,
But more for that in low simplicity
He lends out money free and brings down
The rate of usance here with us in Venice.
If I can catch him once upon the hip,
I will feed fat the ancient grudge I bear him.
He hates our sacred nation, and he rails,
Even there where merchants most do
congregate,
On me, my bargains and my well-won thrift,
Which he calls interest. Cursed be my tribe,
If I forgive him!
BASSANIO:
Shylock, do you hear?
The merchant of Venice Act 1, scene 3
18. Monologue
In theather, it is presented by a single
character, most often to express their mental
thoughts aloud, to the audience. They can be
in a dramatic or non-dramatic media, such as
poetry.
19. They were spontaneous
They revealed the characters thoughts towards
another character or a situation
They made the audience question and analyze the
personality of each character
They could be funny or dramatic
Monologue
Chacteristics
20. Greek VS Elizabethan
Drama
CRITERIA GREEK ELIZABETHAN
Unity and variety There is only one
story told (main plot),
which the audience
recognize.
There is a main plot,
but inside of it, there
are more stories;
sometimes related,
sometimes not.
Characters Great characters:
military generals,
royalty or Gods’s
children.
Few characters with a
chorus.
A huge variety of
characters, including
fairies or even ghosts.
Many people acted in
the same play.
21. CRITERIA GREEK ELIZABETHAN
Subject
Matter
Plays were political or
religious.
Stories or myths that the
audience already knew.
Focussed on the story’s
moral and ethics.
Many sources of
inspiration.
Stories of private
individuals, lovers, kings
and nobles.
Mixed comedy and
tragedy in one play.
Staging Performed at religious
festivals in large
outdoors amphitheaters.
Large stages and
audience.
Frequent use of masks
Performed in contryards
and in more permanent
structures, such as The
Globe.
Smaller stages.
Use of customes and
wigs, not so much masks.
