Prince Hamlet is unmasked and shown to be a sun figure. This academic paper will be published in the March 2014 issue of the Area Studies Journal of Tsukuba University.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
Pathetic fallacy is a literary device used by the author to attribute human emotions and traits to nature or inanimate objects. For instance, the following descriptions refer to weather and how it affects the mood, which can add atmosphere to a story: smiling skies, somber clouds, angry storm, or bitter winter.
http://youtu.be/PiCfrt8Sr3I ,JOHN KEATS,AS A THINKER IN RELATION TO CRITICAL...Rituparna Ray Chaudhuri
Keats's poetry is characterized by sensuous delight in the beauty of nature. He looks at the natural world with child-like wonder, thrilled by what he sees, hears, and experiences with all his senses. In Ode to a Nightingale, Keats seeks escape into the world of the nightingale's song to forget the pains of life, but realizes that fancy cannot provide lasting escape from reality. The poem reflects the human experience that life is full of sorrow and disappointment, and that youth, beauty, and joy are all fleeting.
1) The narrator visits his old friend Roderick Usher at the gloomy House of Usher, which gives him an overwhelming sense of dread.
2) Roderick explains that he is afflicted by a mysterious illness and nervous agitation, which is exacerbated by his sister Madeline also falling gravely ill.
3) During the visit, Madeline is seen briefly but causes great distress in both the narrator and Roderick, foreshadowing some impending crisis or disastrous outcome at the House of Usher.
http://youtu.be/aWmj1bMR4Mo ,A Silent Romantic Comedy-The Merchant Of Venice.Rituparna Ray Chaudhuri
Act I Scene 1 of The Merchant of Venice establishes the mood and introduces key characters and plots. Antonio is melancholy while Bassanio seeks a loan to woo Portia. They discuss the bond with Shylock and Portia's father's will requiring suitors choose among caskets. This sets up the intertwining stories of the bond and casket lottery that will drive the play's events.
“Conceit deceitful”: the painting of Hecuba and the Trojan War in The Rape of...Marianne Kimura
The document discusses Shakespeare's use of "conceits" in his works. It analyzes Lucrece's interpretation of a painting depicting the fall of Troy, noting how she develops a conceit comparing the painting's characters and plot to her own rape. The author argues this reveals Shakespeare's approach of using classical stories as conceits or allegories. Additionally, Lucrece is shown giving voice to the voiceless painted figure of Hecuba, implying artists should do the same, such as Shakespeare voicing opposition to coal through his works. In general, the document analyzes Shakespeare's aesthetic philosophy and use of conceits/allegories as a way to express social commentary and criticism.
The witches in Macbeth do not directly force characters to perform evil acts, but can tempt them to choose evil paths. Macbeth deliberately chooses evil multiple times in the play due to his ambition and desire for power, not because he is compelled by the witches. While the witches prophesize events that intrigue Macbeth, they do not control his actions. It is Macbeth's own choices and deterioration of character that lead to the tragic outcomes in the play, not any direct influence of the witches.
Prince Hamlet is unmasked and shown to be a sun figure. This academic paper will be published in the March 2014 issue of the Area Studies Journal of Tsukuba University.
Please help support my research into solar energy themes in Shakespeare's other plays by buying my e-novel "Juliet is the Sun" (about $8 on Amazon). (Thank you very much!)
Pathetic fallacy is a literary device used by the author to attribute human emotions and traits to nature or inanimate objects. For instance, the following descriptions refer to weather and how it affects the mood, which can add atmosphere to a story: smiling skies, somber clouds, angry storm, or bitter winter.
http://youtu.be/PiCfrt8Sr3I ,JOHN KEATS,AS A THINKER IN RELATION TO CRITICAL...Rituparna Ray Chaudhuri
Keats's poetry is characterized by sensuous delight in the beauty of nature. He looks at the natural world with child-like wonder, thrilled by what he sees, hears, and experiences with all his senses. In Ode to a Nightingale, Keats seeks escape into the world of the nightingale's song to forget the pains of life, but realizes that fancy cannot provide lasting escape from reality. The poem reflects the human experience that life is full of sorrow and disappointment, and that youth, beauty, and joy are all fleeting.
1) The narrator visits his old friend Roderick Usher at the gloomy House of Usher, which gives him an overwhelming sense of dread.
2) Roderick explains that he is afflicted by a mysterious illness and nervous agitation, which is exacerbated by his sister Madeline also falling gravely ill.
3) During the visit, Madeline is seen briefly but causes great distress in both the narrator and Roderick, foreshadowing some impending crisis or disastrous outcome at the House of Usher.
http://youtu.be/aWmj1bMR4Mo ,A Silent Romantic Comedy-The Merchant Of Venice.Rituparna Ray Chaudhuri
Act I Scene 1 of The Merchant of Venice establishes the mood and introduces key characters and plots. Antonio is melancholy while Bassanio seeks a loan to woo Portia. They discuss the bond with Shylock and Portia's father's will requiring suitors choose among caskets. This sets up the intertwining stories of the bond and casket lottery that will drive the play's events.
“Conceit deceitful”: the painting of Hecuba and the Trojan War in The Rape of...Marianne Kimura
The document discusses Shakespeare's use of "conceits" in his works. It analyzes Lucrece's interpretation of a painting depicting the fall of Troy, noting how she develops a conceit comparing the painting's characters and plot to her own rape. The author argues this reveals Shakespeare's approach of using classical stories as conceits or allegories. Additionally, Lucrece is shown giving voice to the voiceless painted figure of Hecuba, implying artists should do the same, such as Shakespeare voicing opposition to coal through his works. In general, the document analyzes Shakespeare's aesthetic philosophy and use of conceits/allegories as a way to express social commentary and criticism.
The witches in Macbeth do not directly force characters to perform evil acts, but can tempt them to choose evil paths. Macbeth deliberately chooses evil multiple times in the play due to his ambition and desire for power, not because he is compelled by the witches. While the witches prophesize events that intrigue Macbeth, they do not control his actions. It is Macbeth's own choices and deterioration of character that lead to the tragic outcomes in the play, not any direct influence of the witches.
The English language : 'I am' but 'I do' speak English! AND ? ITS WHISPERS O...Rituparna Ray Chaudhuri
"THE ENGLISH LANGUAGE: AND ITS WHISPERS OF IMMORTALITY".(DIRECT TO ALSO: http://archive.org/details/THEENGLISHLANGUAGEIAMBUTIDOSPEAKENGLISH) (http://www.slideshare.net/RituparnaRayChaudhur/the-english-language-i-am-but-i-do-speak-english)http://bit.ly/1Ps8sR7
This document provides an overview and summary of the author's book "Dead People on Holiday". The book explores philosophical ideas about humanity and existence. It discusses how people strive for happiness and meaning, yet true happiness is fleeting and found in overcoming adversity, not in constant contentment. It also examines ideas of individuality, conformity, and finding purpose as a solitary being rather than only among crowds. The author questions society's obsession with positivity and fulfillment at all costs.
The document discusses the "Woman Question" and changing views of women's roles in Victorian England. It provides excerpts from writings that showcase the debate, including those advocating for expanding women's education and opportunities beyond the home, as well as those promoting the ideal of women's primary role being in the domestic sphere as wives and mothers. The selections illustrate the tensions between traditional views and the emergence of feminist thought advocating for women's independence and ability to pursue meaningful work and advancement.
This document provides course contents for an advanced reading skills course, including summaries of 3 poems and 2 songs. It outlines works studied such as sonnets by Shakespeare and Milton, songs by Christina Rossetti and John Donne, dramatic monologues from Browning and Shakespeare, elegies by Gray and Thomas, a ballad by Keats, odes by Shelley and Keats, and free verse by Pound. It also lists one-act plays by Koss, Chekov and Gregory.
The document discusses the poem "My Last Duchess" by Robert Browning. It analyzes the character and voice of the speaker, the Duke. [The Duke takes the listener on a tour of a portrait of his deceased wife and reveals through his word choices that he secretly resented her easy manner with others and felt she did not properly appreciate him. The analysis discusses how the Duke's hidden feelings and insecurities are betrayed through his long-winded speech.]
Such was the disposition of Rama after his return from the pilgrimage as explained by one of his attendant. In chapters to follow we shall now see what Rama’s real apathy is as explained in his own words.
God gives this opportunity to all human beings as a feeling of loneliness and detachment from the Objective World. This is actually the pull of the soul towards its source God. But we fail to recognize the pull and miss the golden opportunity.
This also calls for the guidance of a realized teacher and only a few fortunate human beings who reflect upon the transient nature of the world get necessary help.
The document discusses the author's reflections on death and impermanence. As a child, he saw his aunt Savitri die unexpectedly by falling into a well. His other aunt Vinodini lived with a cancer that eventually took her life. Throughout his life, he has experienced periods of existential dread and fear of his own mortality, seeing himself as just one small consciousness in a vast, uncertain world. He recalls vivid nightmares of dying and has come to appreciate death as a natural part of life.
This document provides a detailed summary and analysis of Shakespeare's sonnets. It discusses how the sonnets can be divided into two sections - sonnets 1-126 addressing a male friend, and sonnets 127-152 addressing a "dark mistress." The main themes are constancy versus inconstancy between the two subjects of the sonnets, and how Shakespeare uses them to represent non-physical and physical realities. The document analyzes metaphor usage and how Shakespeare portrays the two subjects in relation to themes of youth, beauty, fidelity and the test of time.
Poetry Without Borders: Places and Memoriesrmpalacios
This summary provides an overview of 3 poems exchanged between Gottfried Benn and Else Lasker-Schüler about love and memory in Berlin in the early 1900s. Else Lasker-Schüler's first poem expresses her clinging love for Benn and the pain of their separation. Benn's response does not offer consolation, describing his solitary path. Lasker-Schüler's second poem depicts her continued longing through painting his face on her room walls and feeling the weight of stars.
The summary provides key details about the document in 3 sentences:
The document summarizes a presentation on the Victorian poem "My Last Duchess" which analyzes the possessive and arrogant Duke who speaks to a messenger about his previous wife, as depicted in her portrait. It describes how the Duke sees women as possessions and was displeased that his Duchess appreciated all people equally rather than respecting his high social status alone. The analysis suggests the Duke's jealousy led him to order his Duchess's death, as implied by his comments about her smiles stopping.
The narrator visits the gloomy House of Usher at the request of his boyhood friend Roderick Usher, who is suffering from an unknown illness. Upon arriving at the dreary estate surrounded by dead trees and a dark tarn, the narrator is overcome by a sense of dread and gloom emanating from the house itself. He meets with Roderick, who appears greatly aged and unwell, within the dark and antique-filled rooms of the mansion. The house and surroundings seem to have an unnatural atmosphere that deeply unnerves the narrator.
Merits of Milton's Paradise Lost in Samuel Johnson's CriticismRaja Zia
This presentation contains Merits of Paradise Lost as explained by Samuel Johnson in his The Study of Milton's Paradise Lost. When I was looking for these, I was unable to find these on the internet, hope my contribution will help.
This document analyzes whether Hamlet was insane in Shakespeare's play Hamlet. It summarizes that Hamlet was rational in his quest for revenge against King Claudius for murdering Hamlet's father. Hamlet feigned madness as a disguise to investigate Claudius and catch him in his guilt, as evidenced by Hamlet's successful staging of a play mimicking the murder to elicit a reaction from Claudius. While some critics argue Hamlet's grief and despair indicate madness, the document contends Hamlet remained reasoning and his actions were calculated, unlike Ophelia's who truly lost her mind after her father's death.
This document discusses differing interpretations of Henry James's short story "The Beast in the Jungle". It presents three takes on interpreting the story: 1) examining the marriage plot and its subversion, 2) viewing it through the lenses of Freudian and Jungian psychology, and 3) analyzing it as a commentary on the variability and limitations of language. Key passages from the story are included to illustrate these various critical readings.
The document is a long list of things that supposedly don't matter, such as not conquering victories, alleviating humanity's suffering, or living extraordinarily accomplished lives. However, it argues that what truly matters is unveiling one's passionate heart to others, not living or dying alone, contributing to God's creation, and experiencing immortal love. Living fully and connecting with humanity are presented as the most important things.
- Ralph Grancy's wife dies suddenly, leaving him devastated. He throws himself into his work as a diplomat to cope.
- Three years later, the narrator visits Grancy and notices he has aged greatly. At Grancy's house, everything remains unchanged except the portrait of his late wife, which now shows her aged alongside Grancy over the past few years of grief and loneliness.
- Grancy explains he had the portrait artist alter the painting so it showed his wife aging alongside him, as he feels that is what she would have wanted since they planned to grow old together. The portrait now reflects both Grancy's inner aging and his enduring devotion to his late wife's memory.
This document provides an overview of Victorian poets Alfred Tennyson, Robert Browning, and Matthew Arnold. It discusses their backgrounds, major works, and poetic forms. It analyzes Tennyson's long poem "In Memoriam A.H.H." which mourned the loss of his friend Arthur Hallam and explored grief, faith, and homoerotic love. It also examines Browning's dramatic monologue "My Last Duchess" told from the perspective of a manipulative Duke, and Arnold's dramatic lyric "Dover Beach" which reflected on loss of faith. The document promotes considering these poems through queer readings that acknowledge Victorian anxieties around same-sex affection.
This honors thesis examines John Donne's Holy Sonnets, which grapple with the religious, political, and artistic conflicts of Donne's time. The introduction provides biographical context on Donne, noting he came from a middle-class family but his father died when he was young, impacting his prospects. It also discusses how Donne was interested in public life but faced obstacles. The document outlines how Donne wrestled with questions of salvation during the Protestant Reformation and Counter-Reformation, when theological beliefs were destabilized. It argues Donne's sonnets express his "passionate intensity" in confronting mortality and the possibility of eternal life, as did poet W.B. Yeats in his poem
This document provides an in-depth analysis of William Shakespeare's play Hamlet. It discusses key elements of the plot and characters, including Hamlet's introspective nature and delay in seeking revenge. It also analyzes other main characters like Ophelia, Claudius, and Horatio, and contrasts Hamlet's contemplative traits with more impulsive characters like Laertes. Overall, the document analyzes the themes, characters, and critical reception of Hamlet through numerous quotes and references from the play.
Hamlet contains hints that Shakespeare wrote it to convey a hidden message or puzzle. The document analyzes a passage where Hamlet instructs Ophelia to reveal the truth about his madness, suggesting the puzzle's solution will become clear when fossil fuels are seen as negatively as "the bloat King". The author believes Shakespeare, representing concern for the environment, used Hamlet to allegorically portray the transition from a sun-based economy to fossil fuel use. Clues like Hamlet's deceptive writings and references to exposing mysteries indicate the play itself contains a puzzle for future generations to solve regarding this message.
The English language : 'I am' but 'I do' speak English! AND ? ITS WHISPERS O...Rituparna Ray Chaudhuri
"THE ENGLISH LANGUAGE: AND ITS WHISPERS OF IMMORTALITY".(DIRECT TO ALSO: http://archive.org/details/THEENGLISHLANGUAGEIAMBUTIDOSPEAKENGLISH) (http://www.slideshare.net/RituparnaRayChaudhur/the-english-language-i-am-but-i-do-speak-english)http://bit.ly/1Ps8sR7
This document provides an overview and summary of the author's book "Dead People on Holiday". The book explores philosophical ideas about humanity and existence. It discusses how people strive for happiness and meaning, yet true happiness is fleeting and found in overcoming adversity, not in constant contentment. It also examines ideas of individuality, conformity, and finding purpose as a solitary being rather than only among crowds. The author questions society's obsession with positivity and fulfillment at all costs.
The document discusses the "Woman Question" and changing views of women's roles in Victorian England. It provides excerpts from writings that showcase the debate, including those advocating for expanding women's education and opportunities beyond the home, as well as those promoting the ideal of women's primary role being in the domestic sphere as wives and mothers. The selections illustrate the tensions between traditional views and the emergence of feminist thought advocating for women's independence and ability to pursue meaningful work and advancement.
This document provides course contents for an advanced reading skills course, including summaries of 3 poems and 2 songs. It outlines works studied such as sonnets by Shakespeare and Milton, songs by Christina Rossetti and John Donne, dramatic monologues from Browning and Shakespeare, elegies by Gray and Thomas, a ballad by Keats, odes by Shelley and Keats, and free verse by Pound. It also lists one-act plays by Koss, Chekov and Gregory.
The document discusses the poem "My Last Duchess" by Robert Browning. It analyzes the character and voice of the speaker, the Duke. [The Duke takes the listener on a tour of a portrait of his deceased wife and reveals through his word choices that he secretly resented her easy manner with others and felt she did not properly appreciate him. The analysis discusses how the Duke's hidden feelings and insecurities are betrayed through his long-winded speech.]
Such was the disposition of Rama after his return from the pilgrimage as explained by one of his attendant. In chapters to follow we shall now see what Rama’s real apathy is as explained in his own words.
God gives this opportunity to all human beings as a feeling of loneliness and detachment from the Objective World. This is actually the pull of the soul towards its source God. But we fail to recognize the pull and miss the golden opportunity.
This also calls for the guidance of a realized teacher and only a few fortunate human beings who reflect upon the transient nature of the world get necessary help.
The document discusses the author's reflections on death and impermanence. As a child, he saw his aunt Savitri die unexpectedly by falling into a well. His other aunt Vinodini lived with a cancer that eventually took her life. Throughout his life, he has experienced periods of existential dread and fear of his own mortality, seeing himself as just one small consciousness in a vast, uncertain world. He recalls vivid nightmares of dying and has come to appreciate death as a natural part of life.
This document provides a detailed summary and analysis of Shakespeare's sonnets. It discusses how the sonnets can be divided into two sections - sonnets 1-126 addressing a male friend, and sonnets 127-152 addressing a "dark mistress." The main themes are constancy versus inconstancy between the two subjects of the sonnets, and how Shakespeare uses them to represent non-physical and physical realities. The document analyzes metaphor usage and how Shakespeare portrays the two subjects in relation to themes of youth, beauty, fidelity and the test of time.
Poetry Without Borders: Places and Memoriesrmpalacios
This summary provides an overview of 3 poems exchanged between Gottfried Benn and Else Lasker-Schüler about love and memory in Berlin in the early 1900s. Else Lasker-Schüler's first poem expresses her clinging love for Benn and the pain of their separation. Benn's response does not offer consolation, describing his solitary path. Lasker-Schüler's second poem depicts her continued longing through painting his face on her room walls and feeling the weight of stars.
The summary provides key details about the document in 3 sentences:
The document summarizes a presentation on the Victorian poem "My Last Duchess" which analyzes the possessive and arrogant Duke who speaks to a messenger about his previous wife, as depicted in her portrait. It describes how the Duke sees women as possessions and was displeased that his Duchess appreciated all people equally rather than respecting his high social status alone. The analysis suggests the Duke's jealousy led him to order his Duchess's death, as implied by his comments about her smiles stopping.
The narrator visits the gloomy House of Usher at the request of his boyhood friend Roderick Usher, who is suffering from an unknown illness. Upon arriving at the dreary estate surrounded by dead trees and a dark tarn, the narrator is overcome by a sense of dread and gloom emanating from the house itself. He meets with Roderick, who appears greatly aged and unwell, within the dark and antique-filled rooms of the mansion. The house and surroundings seem to have an unnatural atmosphere that deeply unnerves the narrator.
Merits of Milton's Paradise Lost in Samuel Johnson's CriticismRaja Zia
This presentation contains Merits of Paradise Lost as explained by Samuel Johnson in his The Study of Milton's Paradise Lost. When I was looking for these, I was unable to find these on the internet, hope my contribution will help.
This document analyzes whether Hamlet was insane in Shakespeare's play Hamlet. It summarizes that Hamlet was rational in his quest for revenge against King Claudius for murdering Hamlet's father. Hamlet feigned madness as a disguise to investigate Claudius and catch him in his guilt, as evidenced by Hamlet's successful staging of a play mimicking the murder to elicit a reaction from Claudius. While some critics argue Hamlet's grief and despair indicate madness, the document contends Hamlet remained reasoning and his actions were calculated, unlike Ophelia's who truly lost her mind after her father's death.
This document discusses differing interpretations of Henry James's short story "The Beast in the Jungle". It presents three takes on interpreting the story: 1) examining the marriage plot and its subversion, 2) viewing it through the lenses of Freudian and Jungian psychology, and 3) analyzing it as a commentary on the variability and limitations of language. Key passages from the story are included to illustrate these various critical readings.
The document is a long list of things that supposedly don't matter, such as not conquering victories, alleviating humanity's suffering, or living extraordinarily accomplished lives. However, it argues that what truly matters is unveiling one's passionate heart to others, not living or dying alone, contributing to God's creation, and experiencing immortal love. Living fully and connecting with humanity are presented as the most important things.
- Ralph Grancy's wife dies suddenly, leaving him devastated. He throws himself into his work as a diplomat to cope.
- Three years later, the narrator visits Grancy and notices he has aged greatly. At Grancy's house, everything remains unchanged except the portrait of his late wife, which now shows her aged alongside Grancy over the past few years of grief and loneliness.
- Grancy explains he had the portrait artist alter the painting so it showed his wife aging alongside him, as he feels that is what she would have wanted since they planned to grow old together. The portrait now reflects both Grancy's inner aging and his enduring devotion to his late wife's memory.
This document provides an overview of Victorian poets Alfred Tennyson, Robert Browning, and Matthew Arnold. It discusses their backgrounds, major works, and poetic forms. It analyzes Tennyson's long poem "In Memoriam A.H.H." which mourned the loss of his friend Arthur Hallam and explored grief, faith, and homoerotic love. It also examines Browning's dramatic monologue "My Last Duchess" told from the perspective of a manipulative Duke, and Arnold's dramatic lyric "Dover Beach" which reflected on loss of faith. The document promotes considering these poems through queer readings that acknowledge Victorian anxieties around same-sex affection.
This honors thesis examines John Donne's Holy Sonnets, which grapple with the religious, political, and artistic conflicts of Donne's time. The introduction provides biographical context on Donne, noting he came from a middle-class family but his father died when he was young, impacting his prospects. It also discusses how Donne was interested in public life but faced obstacles. The document outlines how Donne wrestled with questions of salvation during the Protestant Reformation and Counter-Reformation, when theological beliefs were destabilized. It argues Donne's sonnets express his "passionate intensity" in confronting mortality and the possibility of eternal life, as did poet W.B. Yeats in his poem
This document provides an in-depth analysis of William Shakespeare's play Hamlet. It discusses key elements of the plot and characters, including Hamlet's introspective nature and delay in seeking revenge. It also analyzes other main characters like Ophelia, Claudius, and Horatio, and contrasts Hamlet's contemplative traits with more impulsive characters like Laertes. Overall, the document analyzes the themes, characters, and critical reception of Hamlet through numerous quotes and references from the play.
Hamlet contains hints that Shakespeare wrote it to convey a hidden message or puzzle. The document analyzes a passage where Hamlet instructs Ophelia to reveal the truth about his madness, suggesting the puzzle's solution will become clear when fossil fuels are seen as negatively as "the bloat King". The author believes Shakespeare, representing concern for the environment, used Hamlet to allegorically portray the transition from a sun-based economy to fossil fuel use. Clues like Hamlet's deceptive writings and references to exposing mysteries indicate the play itself contains a puzzle for future generations to solve regarding this message.
"My Mistress' Eyes Are Nothing Like the Sun": Hidden Lovers in Shakespeare's ...Marianne Kimura
This document analyzes themes in some of Shakespeare's sonnets related to pagan sun worship, environmental issues, and humanity's interaction with fossil fuels. It argues that sonnets like 7, 10, 15, and the famous 130 contain subtle references and allegories related to these themes. For example, sonnet 7 uses religious language to describe the sun's journey that could indicate Shakespeare's own changing religious views. Sonnet 10 echoes a line from Hamlet that refers obliquely to coal smoke pollution. The "fair young man" addressed in the sonnets represents mankind, and exhortations to procreate or reform may carry deeper messages about environmental stewardship.
Este documento contiene 20 canciones cristianas de diferentes géneros musicales como zambas, yaravíes y otros. Las canciones tratan temas como la fe, Jesús, la Virgen María, el bautismo, la eucaristía, la cruz y la resurrección de Cristo. La mayoría expresan sentimientos de amor, alabanza y entrega a Dios.
A couple, Oscar and Lily, are going about their morning routine getting ready for work. Lily is a struggling writer while Oscar is an accountant. Lily collapses after Oscar leaves for work. Oscar finds Lily's bucket list of things she wants to do and feels compelled to help her complete everything on the list as Lily's health declines. Throughout the film, Oscar takes Lily around to complete various activities on her bucket list in an attempt to make the most of the time they have left together.
This production plan outlines the dates, locations, costumes, props, equipment, and personnel needed for filming. On October 26th, filming will take place at the director's house, which will serve as the bathroom setting, and on nearby roads. Costumes will include dressing gowns and casual clothes. A camera and tripod will be used. On October 27th, filming will occur at Ferry Meadows Country Park, where costumes will be slightly warm clothes. A camera and tripod will again be used. On October 28th, filming is scheduled for Hunstanton Beach, where warmer but casual clothes and props including a ring, slot machine, and bumper cars will be needed. The camera, tripod and all
Performing the Anthropocene in "Romeo and Juliet"Marianne Kimura
The start of the Anthropocene Epoch was recently defined as 1610 and this coincides with the career of Shakespeare. Moreover, "Romeo and Juliet" contains a sequence of scenes that actually shows the birth of the Anthropocene Era!
Laura Rodrigues, Senior Director of Visa Business School at Visa Inc., has certified that Mohsen Abdelhamid successfully completed a course on Containment and Remediation of Security Breaches on June 28, 2016.
Este documento contiene información sobre las plantas dividida en varias fichas. La primera ficha introduce el tema y pide al alumnado clasificar palabras relacionadas con plantas comestibles. Las siguientes fichas explican las partes de una planta, las funciones vitales como la nutrición, la fotosíntesis y la respiración, así como la relación de las plantas con su entorno. También incluye actividades como un experimento sobre el transporte en plantas y explica las partes de una flor. El documento provee información básica sobre plantas
This document discusses risks associated with installing metal sheets on a roof for a football stadium. It identifies hazards at each step: transporting metal sheets, laying sheets, and installing sheets. Hazards include sheets falling, overloading machinery, ruptures causing injury, slipping, equipment mishandling, electric shock, and metal splinters. For each hazard, it assesses risk level and proposes risk reductions like safety equipment, training, and monitoring. The overall goal is a risk assessment process to identify, assess, reduce, implement, and monitor risks to achieve acceptable residual risks.
"Are you a god?": Actaeon pursuing Diana in 'The Comedy of Errors' and 'The T...Marianne Kimura
Antipholus of Syracusa's pursuit of Luciana in The Comedy of Errors references the Actaeon/Diana myth, with Luciana associated with the goddess Diana. This metaphor shows the heroic intellect pursuing divine truth, an idea from Giordano Bruno's works. Petruchio's wooing of Kate in The Taming of the Shrew also references this myth twice, with Kate likened to Diana and Petruchio to the pursuing Actaeon. By referencing this myth, Shakespeare explored Bruno's idea of the heroic lover seeking eternal truth, though in more subtle ways as his skill developed.
Prospero's "most auspicious star" and Shakespeare's message in a bottleMarianne Kimura
This document analyzes Shakespeare's play The Tempest and argues it contains allegorical references to Shakespeare's support for solar energy and opposition to fossil fuels. It claims Prospero represents Shakespeare, and his line about courting "a most auspicious star" refers to the sun. The storm that drives Prospero's enemies to the island represents an intellectual debate. The document provides a lengthy analysis exploring parallels between The Tempest and Hamlet, and arguing both plays contain encrypted predictions that the negative effects of fossil fuel use would one day enable audiences to understand Shakespeare's true message in support of solar energy.
"Report me and my cause aright": "Hamlet" functions subversively as an intera...Marianne Kimura
"Hamlet" functions as a cultural production to subversively train fighters in the centuries-long fight to resist fossil fuels, capitalism and the western symbolic. Horatio is the avatar and Hamlet is the senpai or sensei figure.
The end of Christianity depicted in "Hamlet"MarianneKimura
This document discusses similarities between Shakespeare's Hamlet and Giordano Bruno's 1584 work Lo Spaccio della besta trionfante (The Expulsion of the Triumphant Beast). It argues that both works predict the end of Christianity and fossil fuels through their use of allegory. Several images and plot points are analyzed that link the character of Claudius to Christianity and events in Hamlet to ideas presented in Lo Spaccio, including the deaths of many characters mirroring an existential environmental crisis. The works are said to share a vision of moving to a new era beyond Christianity defined by principles of materials, energy, and nature.
Cultural Studies & Formalistic Approach in ‘ Hamlet’rajyagururavi
This document discusses cultural studies and its application to Shakespeare's play Hamlet. It makes the following key points:
1) Cultural studies examines the cultural significance of literature, film, television and other art forms through the lens of theories like Marxism and feminism.
2) Applying cultural studies to Hamlet, it analyzes the power dynamics between characters like Claudius, Hamlet, and Rosencrantz and Guildenstern.
3) A speech by the marginalized character Rosencrantz is praised for its insight into the nature of kingship, though it is often overlooked. This demonstrates how cultural studies examines overlooked aspects.
Comment on the statement that webster, in the play ‘the duchess of malfi’ s...Rituparna-Shehanaz
The document discusses John Webster's play "The Duchess of Malfi" and analyzes the moral world presented in the play. It argues that while the world appears chaotic due to the Machiavellian villains, a deeper analysis shows it is influenced by a mysterious moral order that ultimately brings punishment for crimes. Though the moral order exists, the world remains incomprehensible and people's futures are unpredictable. Major characters like the Duchess and Antonio have flaws but their extreme suffering seems disproportionate to their sins. The play illustrates how the moral order does not always equitably reward and punish. It presents a dark, corrupt world filled with violence, cruelty, and horror.
Similar to Hamlet’s “whale” is actually Bruno’s “tranquil cetus” (6)
1. Interest in witchcraft and paganism has grown significantly in recent decades among young people in the US and elsewhere. Over 1.5 million Americans now identify as Wiccan or pagan.
2. Modern witches engage in rituals focused on nature, moon cycles, and goddesses. They see witchcraft as a way to connect with the natural world and gain a sense of power in a world they see as oppressive or hopeless.
3. Interest in Japanese culture, especially anime, has also risen dramatically globally in recent decades. Anime frequently features Japanese religious symbols and practices like Shinto shrines, which some see as presenting an alternative to Western monotheism.
Shakespeare and the Divine Feminine (Into to my book)Marianne Kimura
This document provides an introduction to Marianne Kimura's research focusing on representations of fossil fuels in literature. She began her research in 2004 examining imagery of fossil fuels and vehicles in texts. Her interest was sparked by observing the loss of green space in her city due to development related to cars and fossil fuels. She discovered references to coal in Shakespeare's Romeo and Juliet, motivating her to study how other writers portrayed fossil fuels. Her analysis of Romeo and Juliet led her to interpret it as an allegory about humanity's relationship with the sun and nature. This interpretation expanded her focus to examining Shakespeare's works for portrayals of the divine feminine and nature worship. Over a decade, her research shifted exclusively to analyzing
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I discuss my idea that "Juliet is the sun" is about the problems of using fossil fuels and becoming structurally dependent on them. I include some recent thinking on New Materialism, which addresses issues where humans and non-humans meet in the material word. Thus this theory is perfect for Shakespeare. His plays are allegories about the entanglement of human and non-human.
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This document summarizes and analyzes a scholarly paper that examines how Shakespeare incorporated materialist ideas about non-human materials like coal and the sun in some of his plays. It argues that Othello allegorically depicts the rise of coal replacing the sun economy, with Iago representing coal. It also analyzes how Shakespeare alludes to Giordano Bruno's revolutionary materialist philosophy in Hamlet and the "to be or not to be" soliloquy. The document explores how Shakespeare recognized the agency of non-human materials and anticipated humanity's realization of the consequences of replacing the sun economy with fossil fuels.
This document summarizes how a witch might interpret Shakespeare's play Macbeth. The witch notes parallels between the misfortunes of a sailor and his wife in the play's opening scene, and the ill fate that befalls Macbeth and his wife after Duncan's murder. However, unlike the sailor's wife, Macbeth has committed no obvious transgression against the witches. The document then suggests that through allegory, Macbeth represents the rise of capitalism and fossil fuel use, which harmed communal societies like that of the witches. It argues Shakespeare subtly took revenge on capitalists through the play, prophesying capitalism's demise. The witches represent victims of the capitalist class and conduct an indirect "
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This document discusses how Shakespeare's comedy As You Like It was influenced by Giordano Bruno's work Gli Eroici Furori. It argues that Bruno's conception of the dual nature of the goddess, represented by Diana and a Thames nymph, is reflected in Shakespeare's pairing of female characters like Rosalind/Celia. References to Diana and Bruno's philosophy are also found throughout the play, such as in the description of the wounded stag. The document analyzes how As You Like It uses these elements to allegorically address the environmental and economic crisis facing Elizabethan England from a shift towards fossil fuel usage.
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Ninjas and Goddesses: the mad, dashing world of ShakespeareMarianne Kimura
1) The document discusses an academic who discovered references to Giordano Bruno's work and ideas of the divine feminine/goddess in Shakespeare's play Love's Labor's Lost.
2) The academic then began finding further evidence of Bruno's ideas and depictions of goddesses in other Shakespeare plays like As You Like It, through the characters of Rosalind and Celia disguised as men.
3) Unconventionally, the academic also found similarities between the strategies of ninjas and some of Hamlet's actions and philosophies.
This document discusses Shakespeare's play Love's Labor's Lost and its connection to ideas from Giordano Bruno's philosophical work Gli Eroici Furori. It argues that Bruno's work, which promoted a dual goddess/god system rejecting monotheism, was an important influence on Shakespeare and provides imagery and narratives that can be found in Love's Labor's Lost. Specifically, it notes similarities between a story in Gli Eroici Furori of blind philosophers helped by a river nymph and the opening scene of Love's Labor's Lost. The document aims to show that Shakespeare used Bruno's work to secretly promote allegiance to "the Goddess" in his play.
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This document discusses William Shakespeare's narrative poem Venus and Adonis, published in 1593. The author argues that the poem is an allegory for the transition in England from a "sun economy" powered by biomass to one powered by coal in the early 1600s. In the poem, Venus represents English society and Adonis represents the sun. Through imagery and allusions, Shakespeare laments the decline of the sun economy and the rise of fossil fuel use, which he saw as unsustainable. The analysis draws comparisons between Shakespeare's poem and its source material in Ovid to support the claim that Shakespeare used allegory to subtly critique England's emerging coal economy.
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Trichogramma spp. is an efficient egg parasitoids that potentially assist to manage the insect-pests from the field condition by parasiting the host eggs. To mass culture this egg parasitoids effectively, we need to culture another stored grain pest- Rice Meal Moth (Corcyra Cephalonica). After rearing this pest, the eggs of Corcyra will carry the potential Trichogramma spp., which is an Hymenopteran Wasp. The detailed Methodologies of rearing both Corcyra Cephalonica and Trichogramma spp. have described on this ppt.
Hamlet’s “whale” is actually Bruno’s “tranquil cetus”
1. Hamlet’s “whale” is actually Bruno’s “tranquil
cetus”
“In all things, it is the Beginning and End that are interesting.”
---Yoshida Kenko, from Essays in Idleness (1330-2)
Hamlet: Why, look you now, how unworthy a thing you make of me!
You would play upon me; you would seem to know my stops; you would
pluck out the heart of my mystery; you would sound me from my lowest
note to the top of my compass; and there is much music,
excellent voice, in this little organ, yet cannot you make it
speak. 'Sblood, do you think I am easier to be play'd on than a
pipe? Call me what instrument you will, though you can fret me,
you cannot play upon me.
[Enter Polonius.]
God bless you, sir!
Polonius: My lord, the Queen would speak with you, and presently.
Hamlet: Do you see yonder cloud that’s almost in shape of a camel?
Polonius: By th’mass and ‘tis, like a camel indeed.
Hamlet: Methinks it is like a weasel.
Polonius: It is back’d like a weasel.
Hamlet: Or like a whale.
Polonius: Very like a whale.
Hamlet: Then I will come to my mother by and by. [aside] They fool me to the top of my
bent* ---I will come by and by.
Polonius: I will say so. (exit)
Hamlet: 'By-and-by' is easily said.- Leave me, friends.
[Exeunt all but Hamlet.]
'Tis now the very witching time of night,
When churchyards yawn, and hell itself breathes out
Contagion to this world. Now could I drink hot blood
And do such bitter business as the day
Would quake to look on. Soft! now to my mother!
O heart, lose not thy nature; let not ever
The soul of Nero enter this firm bosom.
Let me be cruel, not unnatural;
I will speak daggers to her, but use none.
My tongue and soul in this be hypocrites-
How in my words somever she be shent,
1
2. To give them seals never, my soul, consent! (Exit.) (III.ii.363-399)
*Footnote: { They fool me to the top of my bent=”they make me play the fool to the top of
my ability”(from the Riverside Shakespeare)}
First, the Blue Lines…..
It may seem in the blue lines above that Hamlet is just playing with Polonius, or rather,
tormenting him, forcing him to agree that a cloud looks like one animal and then another. But do
not forget that Rosencrantz and Guildenstern are standing there too and Hamlet has just (in the
green lines above) rebuked them for trying to “play upon” him and for trying to “pluck out the heart
of his mystery”. (Of course, Hamlet’s mystery isn’t available to the paid spies of Claudius (since
Claudius is propagating fossil fuels and Hamlet is a solar power).
But why does Hamlet start talking about what particular shape a cloud has immediately after
rebuking Rosencrantz and Guildenstern for going about their interpreting all wrong? Moreover, this
puzzling discussion on how to correctly ‘interpret’ the shape of the cloud seems like it may be
somehow related to the green lines (which are also about interpreting a hidden meaning.) But the
blue lines seem so simple and straightforward---like something a child might say--- that they cannot
‘hide’ any clues or hints, or can they?
But, of course, since Shakespeare (as he, hidden behind the mask of Hamlet, admits) is ‘playing
the fool’ (as a writer writing) to the top of his ability (“to the top of my bent”), even simple words
can do amazing wonders. Hamlet’s “whale” is a clever Hermetic reference to the “cetus” in
Giordano Bruno’s The Expulsion of the Triumphant Beast.
Third part of the Third Dialogue
(Continuation of Sophia’s speech)
“Now here is how they offer to set up the third part of heaven,” said the
mighty Thunderer, “the part called austral, called meridional, where first, oh
2
3. Nepture, that great and terrible animal of yours presents itself to us.”
“Cetus,” said Momus, “if it is not that monster which served as a galley,
carriage, or tabernacle for the prophet of Nineveh, which served as a meal,
medicine and vomitory, if not the trophy of Perseus’ triumph, if it is not the
protoparent of Ianni de l’Orco, if it is not the terrible beast of Cola
Catanzano, who descended with him to the lower regions, I do not know
what bad omen it may be, although I am one of the great secretaries of the
celestial republic.”
“Let it go, if it so pleases Jove, to Salonica; and let it see whether it can
serve as some beautiful fable to the bewildered nation and people of the
goddess Perdition. And because when this animal is discovered upon the
deep, tempestuous sea, it announces the sea’s future state of tranquility, if
not on the same day, on one of those that is to come later, it seems to me
that it must have been, in its class, a good prototype of the tranquility of the
spirit.”
“It is well,” said Jove, “that this sovereign virtue called Tranquility of Mind
should appear in heaven if it is that virtue which strengthens men against
mundane instability, the constant waves, and the insults of Fortune, keeps
them removed from the responsibility of administration, keeps them little
eager for novelties, little troublesome to their friends, and in no way subject
to vainglory, not perplexed because of the variety of misfortunes, not
irresolute in their encounters with death.” (Giordano Bruno, The Expulsion
of the Triumphant Beast, pages 254-5)
Hilary Gatti makes it clear that Horatio is associated most closely with this above “sovereign
virtue called Tranquility of Mind”:
Horatio’s role appears as essentially connected to that of Hamlet himself, not in
terms of a secondary function, but rather as complementary to the efforts of
philosophy to penetrate beyond the appearances of reality into the inner truths of
being.
One of the questions which the play poses is thus that of the ideal nature of this
new narrator-historian. Shakespeare does not avoid the question; rather, he
clarifies it in the extremely specific terms through Hamlet’s praise of Horatio
just before the staging of the inner play. During its performance, significantly,
Horatio becomes something more than the loyal and loved friend, starting a
direct collaboration with Hamlet in the unmasking of the hidden truth. Horatio
appears to Hamlet the ideal figure for this role for characteristics which we
continue to today to appreciate in the historian-narrator: his impartiality, his
balanced independence of judgement, his calm rationality. Hamlet also heavily
underlines the importance of Horatio’s position as an independent observer with
respect to the political intrigues of the Court, considering it an essential part of
his worth as both friend and collaborator that he has kept himself financially
3
4. independent of the prevailing power-complex as Rosencrantz and Guildenstern,
for example, the paid spies, have not: ‘no revenue/ hast but thy good spirits/ To
feed and clothe thee---
Dost thou hear?
Since my dear soul was mistress of her choice,
And could of men distinguish her election,
Sh’ath seal’d thee for herself; for thou hast been
As one, in suffering all, that suffers nothing,
A man that Fortune’s buffets and rewards
Hast ta’en with equal thanks; and blest are those
Whose blood and judgement are so well commeddled,
That they are not a pipe for Fortune’s finger
To sound what stop she please. Give me that man
That is not passion’s slave, and I will wear him
In my heart’s core, ay, in my heart of heart,
As I do thee. (III.ii.62-74)
Hamlet’s choice of Horatio as a friend, and later as a recorder of his ‘story’,
relates in in interesting ways to the final section of the Spaccio (The Expulsion
of the Triumphant Beast) where Bruno deals with the merits of what he calls
‘the Calm Spirit’. Bruno too is developing the final stages of his process of
universal reform or ‘renovatio’ which take place in the third part of the
heavens. The precise moment in which Bruno introduces the theme of the
Calm Spirit is when Jupiter consults Neptune as to the correct way of dealing
with constellation known as the Cetus or the Maritime Monster. As usual,
Momus wants to have his say and butts into the discussion to identify the
Maritime Monster as a whale, associating it with the biblical story of Jonah.
Jupiter accepts the connection with the Old Testament fable, and accordingly,
decides to send the Cetus off to Salonicca, a Greek town famous as a
hospitable centre for the Jews and counting a large Jewish community. The
question to be faced then is what kind of virtue to promote to the seat vacated
by the Maritime Monster. It is here that Jupiter summons to the skies the virtue
which he calls the Calm Spirit. The whale itself, Jupiter claims, may be
associated with the idea of rest or calm, for ‘when this animal makes its
appearance above the high waves of a boiling and tempestuous sea, it
announces the arrival of future calm, if not on that same day, at least on an
approaching one’. This episode of the reform thus announces the coming end
of the convulsive working out of the new order. But the virtues of the Calm
Spirit are also considered by Bruno as importance accompanying factors of the
final stages of the reform itself—
It is to be desired—said Jupiter---that this sovereign virtue, called
4
5. Calmness of Spirit, appear in the heavens, as it is that which balances
men against the upheavals of the world, renders them constant against
the buffets of fortune, keeps them away from the care of governments,
prevents them from pursuing every novelty, makes then of little
annoyance to enemies and of little trouble to their friends, quite
untouched by pride or conceit, unperplexed by the vagaries of chance,
not irresolute at the prospect of death.
There are striking similarities between this speech of Jupiter’s in praise of the
Calm Spirit and Hamlet’s praise of Horatio. (Hilary Gatti, The Renaissance
Drama of Knowledge, pages 155-6)
If we look again at the lines that Hamlet uses to praise Horatio, especially these (in
brown, below) do seem to echo the lines from The Expulsion of the Triumphant Beast
(“constant against the buffets of fortune..”):
for thou hast been
As one, in suffering all, that suffers nothing,
A man that Fortune’s buffets and rewards
Hast ta’en with equal thanks; and blest are those
Whose blood and judgement are so well commeddled,
That they are not a pipe for Fortune’s finger
To sound what stop she please. Give me that man
That is not passion’s slave…
Moreover, the phrase “that they are not a pipe for Fortune’s finger/ To sound what stop she
please” above certainly seems to echo the passage (in green) I quote at the beginning of this paper
where Hamlet angrily accuses Rosencrantz and Guildenstern:
…you would sound me from my lowest note to the top of my compass; and there is much
music, excellent voice, in this little organ, yet cannot you make it speak. 'Sblood, do you think I am
easier to be play'd on than a pipe? Call me what instrument you will, though you can fret me,
you cannot play upon me.
Later, as Hamlet is dying from Laertes’ poisoned sword, he begs Horatio to “Report me and my
cause aright to the unsatisfied” (V.ii.338) and a few lines later tells Horatio again “Absent thee from
5
6. felicity a while/ And in this harsh world draw thy breath in pain/ To tell my story” (V.ii.346-8) and
finally Hamlet pleads to Horatio “So tell him, with th’ occurrents more and less/ Which have
solicited---the rest is silence.”(V.ii.357-8) Horatio, associated with the Calm Spirit, is to be trusted
to report Hamlet’s story, but not Rosencrantz and Guildenstern, associated with Claudius, though
they have tried to “pluck out the heart” of Hamlet’s “mystery”.
Hamlet’s cloud “whale”, like Jupiter’s Maritime Monster constellation, appears in the sky. It is
amusing to see Polonius, who has no idea what Hamlet is talking about, quote him verbatim and
respectfully (“very like a whale”) which echoes the situation whereby only a select few would
understand what Shakespeare was trying to say (using Bruno’s basic philosophy) about fossil fuels
and the sun with his artful allegories. The majority, like Polonius, would simply be at a loss when
presented with Hamlet (or Shakespeare’s other solar allegories) and the “whale” might as well be a
“camel” or a “weasel” for all they would know or care or understand. Hamlet underscores that the
puzzle-aspect of his play is intentional with his line “they fool me to the top of my bent”.
Finally, the Red Lines……
Looking at the red lines quoted at the beginning of this paper:
'Tis now the very witching time of night,
When churchyards yawn, and hell itself breathes out
Contagion to this world. Now could I drink hot blood
And do such bitter business as the day
Would quake to look on. Soft! now to my mother!
O heart, lose not thy nature; let not ever
The soul of Nero enter this firm bosom.
Let me be cruel, not unnatural;
I will speak daggers to her, but use none.
My tongue and soul in this be hypocrites-
How in my words somever she be shent,
To give them seals never, my soul, consent! (Exit.) (III.ii.363-399)
6
7. Since the Queen is Shakespeare’s audience or the English society, we can see here Shakespeare
divulging his methods a bit. He “will speak daggers to her, but use none”. In other words, his ideas
are somewhat controversial or would be at odds with prevailing ideas and would be seen as such.
But, interestingly, he keeps reaffirming that he will only use words and not deeds. In other words,
he could be claiming that he means to be trying to protect her.
It may be strange but the only analogy I can think of readily is the way some J-pop singers
often use the phrase “mamoru” (“I’ll protect (you)”) in their lyrics and, by the way, J-pop singers
also often sing about shining things, the moon the sky, the rain and the snow, etc. In fact, they sing
about these planetary things—associated with the sky (like Hamlet’s “whale”-shaped cloud)--- way
more often than western pop singers do.
But it’s surely very vague---and even, ‘cloudy’-- to end like this. But maybe that’s appropriate,
since the discussion was clouds at the start.
7