Goethe's Faust is influenced by earlier versions of the Faust legend as well as Renaissance drama like Shakespeare. However, it also looks forward and offers a modern examination of human subjectivity and the individual's place in the modern world. While it incorporates theatrical elements like choruses, Faust resists being categorized strictly as a play due to its epic scope and examination of profound philosophical themes. The work was composed over several decades and integrates Goethe's evolving interests in classicism, drama, and the human condition.
The legend of Faust tells the story of a scholar who makes a deal with the devil, trading his soul for unlimited knowledge and pleasures. This legend has been adapted and reinterpreted through many literary, artistic, and musical works over time. Two seminal versions are Christopher Marlowe's play Doctor Faustus from the 16th century and Johann Wolfgang von Goethe's 19th century play Faust, which complicates the moral message of earlier versions. F.W. Murnau also directed a famous silent film adaptation of Faust in 1926 featuring impressive special effects.
Bridging the Abyss and Becoming the Work of Art- Aristotle, Socrates and Poet...Tristan Wicks
Friedrich Nietzsche's first book, The Birth of Tragedy, examines Greek poetic and musical art leading up to Attic tragedies in the 5th century. While Nietzsche was critical of the book later in life, it explores how scholarship can be viewed from the perspective of art and vice versa. The document analyzes how The Birth of Tragedy itself mimics the tragic form through its absorption in Greek tragedy and lack of strict facts. It compares Nietzsche's views to Aristotle's Poetics, finding they both emphasize emotion in tragedy and criticize Euripides' plays. The document argues The Birth of Tragedy has more in common with tragic plots than philosophical works through its use of
' Waiting For Godot- As an Absurd Theatre 'kishan8282
This document is a student paper analyzing Samuel Beckett's play "Waiting for Godot" as an example of absurdist or "Theatre of the Absurd" drama. It defines key features of absurdist plays like meaningless plots, lack of beginning/end, repetitive dialogue. It analyzes how Godot fits these through its plotless story of Vladimir and Estragon waiting endlessly. The paper also discusses the philosophical roots of absurdism in Camus' view of life as meaningless and examines elements like nonsense language, stereotypical characters, and absurd/ambiguous endings found in Godot and characteristic of Theatre of the Absurd.
This document provides an overview of the history and development of drama across different time periods and cultures. It begins with an explanation of Greek drama and its origins in dithyrambs honoring Dionysus. It then discusses the evolution of Greek tragedy and comedy and their influence on Roman drama. Medieval drama developed out of church liturgy in forms like mystery plays and morality plays. Renaissance drama was influenced by the rediscovery of Greek and Roman classics and varied across countries, with England producing great dramatists like Shakespeare. Realism emerged in 19th century drama alongside melodrama, influencing later playwrights across Europe.
The document discusses the history and development of drama across different cultures and time periods. It begins with an overview of Greek drama and its origins in dithyrambs honoring Dionysus. It then covers the developments of tragedy, comedy, and satire in ancient Greece. Next it discusses the traditions of drama in Rome, the Middle Ages focusing on religious plays, and the Renaissance with a focus on developments in Italy, France, Spain, and England. It concludes with an overview of 18th century sentimental comedy and the rise of realism and melodrama in the 19th century.
The document discusses the origins and evolution of drama from ancient Greek times to modern eras. It notes that drama likely grew out of ancient rituals and performances. It then outlines key developments in Greek drama including the works of playwrights like Aeschylus, Sophocles, and Euripides. It discusses Aristotle's analysis of tragedy which defined its core elements and structures. Finally, it summarizes how drama changed and experimented with form over time through medieval, Shakespearean, and modern works.
Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول م...Al Baha University
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
The legend of Faust tells the story of a scholar who makes a deal with the devil, trading his soul for unlimited knowledge and pleasures. This legend has been adapted and reinterpreted through many literary, artistic, and musical works over time. Two seminal versions are Christopher Marlowe's play Doctor Faustus from the 16th century and Johann Wolfgang von Goethe's 19th century play Faust, which complicates the moral message of earlier versions. F.W. Murnau also directed a famous silent film adaptation of Faust in 1926 featuring impressive special effects.
Bridging the Abyss and Becoming the Work of Art- Aristotle, Socrates and Poet...Tristan Wicks
Friedrich Nietzsche's first book, The Birth of Tragedy, examines Greek poetic and musical art leading up to Attic tragedies in the 5th century. While Nietzsche was critical of the book later in life, it explores how scholarship can be viewed from the perspective of art and vice versa. The document analyzes how The Birth of Tragedy itself mimics the tragic form through its absorption in Greek tragedy and lack of strict facts. It compares Nietzsche's views to Aristotle's Poetics, finding they both emphasize emotion in tragedy and criticize Euripides' plays. The document argues The Birth of Tragedy has more in common with tragic plots than philosophical works through its use of
' Waiting For Godot- As an Absurd Theatre 'kishan8282
This document is a student paper analyzing Samuel Beckett's play "Waiting for Godot" as an example of absurdist or "Theatre of the Absurd" drama. It defines key features of absurdist plays like meaningless plots, lack of beginning/end, repetitive dialogue. It analyzes how Godot fits these through its plotless story of Vladimir and Estragon waiting endlessly. The paper also discusses the philosophical roots of absurdism in Camus' view of life as meaningless and examines elements like nonsense language, stereotypical characters, and absurd/ambiguous endings found in Godot and characteristic of Theatre of the Absurd.
This document provides an overview of the history and development of drama across different time periods and cultures. It begins with an explanation of Greek drama and its origins in dithyrambs honoring Dionysus. It then discusses the evolution of Greek tragedy and comedy and their influence on Roman drama. Medieval drama developed out of church liturgy in forms like mystery plays and morality plays. Renaissance drama was influenced by the rediscovery of Greek and Roman classics and varied across countries, with England producing great dramatists like Shakespeare. Realism emerged in 19th century drama alongside melodrama, influencing later playwrights across Europe.
The document discusses the history and development of drama across different cultures and time periods. It begins with an overview of Greek drama and its origins in dithyrambs honoring Dionysus. It then covers the developments of tragedy, comedy, and satire in ancient Greece. Next it discusses the traditions of drama in Rome, the Middle Ages focusing on religious plays, and the Renaissance with a focus on developments in Italy, France, Spain, and England. It concludes with an overview of 18th century sentimental comedy and the rise of realism and melodrama in the 19th century.
The document discusses the origins and evolution of drama from ancient Greek times to modern eras. It notes that drama likely grew out of ancient rituals and performances. It then outlines key developments in Greek drama including the works of playwrights like Aeschylus, Sophocles, and Euripides. It discusses Aristotle's analysis of tragedy which defined its core elements and structures. Finally, it summarizes how drama changed and experimented with form over time through medieval, Shakespearean, and modern works.
Judgmental Point of View on Marlowe’s Doctor Faustus (1) وجهة نظر ناقدة حول م...Al Baha University
The Elizabethan poet-dramatist Christopher Marlowe is one of the most distinguished literary figures who put a touchable print and significantly contributed to the English literature through various masterpieces such as The Tragical History of the Life and Death of Doctor Faustus. The main character is Doctor Faustus, who surpasses in many fields of learnings but unfortunately, he detours his track searching for unlimited power and influence. The paper attempts to shed light on some critical and condemnatory points of view on Elizabethan theater with particular reference to Doctor Faustus as a person of extravagant ambition, an experienced philosopher who rejects natural sciences to metaphysical powers. This task might be extended with more investigations to deal with the two broad points fully; the Elizabethan theater and Doctor Faustus. This study comes to an end with a concise summary as an initial conclusion.
Dr. Faustus is a Renaissance tragedy written by the Cambridge scholar Christopher Marlowe.
The full title of the play is “The Tragical History of the Life and Death of Doctor Faustus”.
It was adopted from a German story ‘Faust’ translated in English as The English Faust Book.
The name Faustus is a reference to the Latin word for "favoured" or "auspicious“.
The play is in blank Verse and prose in thirteen scenes (1604) or twenty scenes (1616).
Blank verse is largely reserved for the main scenes while prose is used in the comic scenes.
English theater has a long history dating back to ancient Greek and Roman eras. Notable developments include William Shakespeare becoming one of the most influential playwrights in the English language in the 16th century. The theater genre was used to reflect society and culture through different periods. Key periods in the evolution of English theater include the Elizabethan era featuring playwrights like Christopher Marlowe, the Restoration period in the late 17th century bringing back moral comedies and heroic plays, and modern developments with playwrights like Harold Pinter, Tom Stoppard, and Caryl Churchill.
John Dryden was an influential English poet and playwright during the Restoration period. In his work "Essay of Dramatic Poesy", Dryden explores different viewpoints on dramatic theory through a dialogue between four men on a boat ride. They debate the relative merits of ancient Greek and French drama versus contemporary English drama. While some argue for strict adherence to classical rules like the three unities, others believe English drama is more lively and exciting through its use of subplots and variety. Dryden ultimately seems to favor the English approach through his character Neander.
An Objective Evaluation of Shakespeare’s Universal Appealpaperpublications3
Suit the action to the word, the word to the action, with this special observance; that you o‟verstep not the modesty of
nature. For anything so o‟erdone is from the purpose of playing, whose end both at the first, and now, was and is, to hold
as „twere the mirror up to nature, to show Virtue her own feature, scorn her own Image, and the very age and body of the
time his form and pressure.
- Hamlet: III.ii.17-24
This document provides an overview of the history and development of tragedy as a dramatic art form. It discusses the origins of tragedy in ancient Greek theater, including the works of Aeschylus, Sophocles, and Euripides. It also covers the transmission of tragedy to Roman and Renaissance theaters, and theories about tragedy put forth by philosophers like Aristotle.
The story is about Wasserkopf, a man who complains to his former school principal that the education he received 18 years prior did not adequately prepare him for work. As a result, he demands a refund of his school fees. The principal and teachers are worried this could set a precedent, so they conduct a fake exam where they claim Wasserkopf's absurd answers contain deep insights. They declare him an excellent student and refuse his refund request, sending him away.
Goethe was born in Frankfurt in 1749 into a middle-class family. Though he studied law, he pursued a literary career, publishing his influential novel The Sorrows of Young Werther in 1774. He later worked as an educator at the court of Duke Karl August of Weimar and was exposed to classical ideas during a voyage to Italy from 1786-1788. For his play Faust, Goethe adapted the legend of the scholar Faust who makes a pact with the devil Mephisto. The play is composed in varying poetic styles and meters and includes scenes depicting Faust's love of Gretchen and the Walpurgis Night festival.
It Will Turn Vicious - An Exploration of the Cycle of Audience RidiculeStephanie Elfont
This thesis by Stephanie Elfont from the University of Central Florida explores the cycle of audience ridicule in French drama from the medieval period to the Theatre of the Absurd. It analyzes how playwrights have employed language, character studies, and plot elements to highlight societal issues and shame audiences into action. The document traces the evolution of this tactic from the medieval sottie plays through neoclassical, enlightenment, romantic, and avant-garde works up to the absurdist theatre of Eugène Ionesco.
Western classical plays and opera evolved from ancient rituals and ceremonies. The ancient Greeks developed theatre with tragedies by playwrights like Aeschylus and comedies. The Romans adopted Greek theatre styles and added spectacles involving gladiators and chariot races. During the medieval era, church mysteries and morality plays developed. The Renaissance saw the rebirth of classical styles and the development of commedia dell'arte, masques and plays by Shakespeare. The Baroque period used new technologies for special effects and scene changes. Neoclassical theatre was grand and taught lessons through tragedies and comedies. Romanticism made melodrama and opera popular through the works of playwrights like Victor Hugo.
Western classical plays and opera evolved from ancient rituals and ceremonies. The ancient Greeks developed theatre with tragedies by playwrights like Aeschylus and comedies. The Romans adopted Greek theatre styles and added spectacles involving gladiators and chariot races. During the medieval era, church mysteries and morality plays developed. The Renaissance saw the rebirth of classical styles and the development of commedia dell'arte, masques and plays by Shakespeare. The Baroque period used new technologies for special effects and scene changes. Neoclassical theatre was grand and taught lessons through tragedies and comedies. Romantic theatre was popularized melodramas and operas with a focus on emotions, music, dance and spectacle
Oliver Goldsmith's play She Stoops to Conquer broke new ground in the 18th century by establishing a new subgenre of comedy called "laughing comedy." Prior forms of comedy focused more on sentimentality, but Goldsmith argued this was a "bastard form of tragedy" and that true comedy should provoke laughter by presenting humorous examinations of human folly. The play achieved this through characters like Tony Lumpkin, whose songs in the play encouraged finding humor in supposedly low or vulgar behaviors. She Stoops to Conquer influenced modern comedy by prioritizing laughter over sentimentality.
In 1929, Vienna's theater scene was thriving but faced major changes. This was the year Max Reinhardt launched his influential theater seminar in Vienna and the year Hugo von Hofmannsthal and Arthur Schnitzler, two of the city's greatest dramatists, died. Their deaths marked the end of an era for Vienna's theater and foreshadowed the difficulties the rise of Hitler and Nazi Germany would bring in the coming years, as the city saw half its theaters close and many Jewish theater artists flee persecution. Many of these emigrants, including Hedy Lamarr, went on to have profound success in Hollywood, carrying Vienna's rich theatrical traditions to new international audiences.
The document provides a history of drama from its origins in ancient Greece to modern times. It notes that drama began as part of festivals honoring Dionysus in Greece, with the first genres being tragedy, comedy, and satyr plays performed by famous playwrights like Aeschylus and Aristophanes. Drama developed further in Rome and the Middle Ages before flourishing during the Renaissance with Shakespeare. Modern drama saw experimentation with forms and a shift from realism to symbolism and expressionism in the late 19th/early 20th centuries. Contemporary drama explores language and mirrors social issues.
The Relationship between Kyd’s The Spanish Tragedy and Shakespeare’s Hamlet a...inventionjournals
This document discusses the relationship between Thomas Kyd's play The Spanish Tragedy and two of William Shakespeare's revenge tragedies, Hamlet and Titus Andronicus. It argues that The Spanish Tragedy, as one of the earliest Elizabethan revenge plays, established conventions and plot devices that influenced Shakespeare's later plays. Specifically, it examines how The Spanish Tragedy introduced elements like ghostly visitations, the Machiavellian villain, feigned madness, and delayed revenge that were then utilized by Shakespeare in more developed forms in Hamlet and Titus Andronicus. Through a close reading and comparison of the three plays, the document contends that Shakespeare was likely inspired by Kyd's play when writing his own revenge
This document discusses the origins, definitions, history, and theories of fantastic literature in Europe. It covers the etymology of terms like "fantastic", explores the rise of fantastic narrative works and theory in the 19th century, and examines the development of fantastic literature from ancient times through the medieval period and Renaissance. Key figures and works discussed include Hoffmann, Nodier, Tieck, the Brothers Grimm, Apuleius, and others. The document also analyzes poetic and rhetorical elements of the genre.
Thatcherism was a political ideology that emphasized individual responsibility, limited government, free markets, and social conservatism. It contributed to the electoral success of the Conservative Party in the UK from 1979-1987 by appealing to those who favored its emphasis on personal responsibility over collective responsibility and its program of economic liberalization. Thatcherism was a defining element of Conservative manifestos and policies during this time, which focused on reducing the power of unions, privatizing industries, cutting taxes and public spending. This ideological approach helped the Conservatives win three consecutive elections in 1979, 1983, and 1987, though with a reduced majority in the final election as opposition to some aspects of Thatcherism grew.
William Hogarth (1697-1764) was an English painter, printmaker, pictorial satirist, and editorial cartoonist who was one of the greatest artists of the 18th century. He produced works that commented on social and political life in London, creating moralistic series like A Harlot's Progress and A Rake's Progress. His paintings and engravings included moral warnings against alcoholism in Beer Street and Gin Lane and cruelty in The Four Stages of Cruelty. Hogarth never received formal artistic training and became successful early in his career as an engraver before establishing himself as a painter with moralizing series that achieved wide circulation as prints.
The document discusses Alexander Pope's mock-heroic poem "The Rape of the Lock". It provides background on Pope and the conventions of epic and mock-epic poems. The poem satirizes a petty feud between noble families by treating the cutting of a lock of hair as an epic battle. It uses techniques like heroic couplets, exaggerated language, and allusions to Paradise Lost to trivialize the epic form for comic effect.
The document summarizes changes to the BBC Newsroom, including relocating operations to a new building called New Broadcasting House in London. Key changes include bringing together global and UK news output into a single, specially designed newsroom with a central newsdesk. This will integrate video, audio, stills and text intake across all platforms. The new setup aims to improve collaboration and priorities for digital and broadcast platforms.
Jeremy Bentham was a fierce critic of the common law system and advocated for the codification and rationalization of laws according to the principle of utility. While Blackstone praised the common law tradition, Bentham argued it perpetuated errors and benefited judges. The Napoleonic Code provided a clear example of codification, which Bentham largely approved of despite some criticisms. In Britain, there was increasing support for reforming and consolidating laws in the early 19th century through various acts, though full codification was not achieved. Bentham sought to codify laws for numerous countries and be a "Legislator of the World" through systematically rationalizing legal systems.
This document discusses British citizenship for children in the UK. It notes that an estimated 120,000 children living in the UK do not have British citizenship despite being entitled to it, and 65,000 of these children were born in Britain. It reveals that the fee for a child to obtain citizenship is currently £1012, with £372 going to processing costs and £640 in profit for the Home Office. The document argues that the fee should be removed or allow fee waivers as there are currently no exceptions to the fee, meaning children unable to afford it lose their right to citizenship at age 18. It calls for supporting Amnesty's campaign to pressure the Home Office to stop blocking children's rights to citizenship.
Dr. Faustus is a Renaissance tragedy written by the Cambridge scholar Christopher Marlowe.
The full title of the play is “The Tragical History of the Life and Death of Doctor Faustus”.
It was adopted from a German story ‘Faust’ translated in English as The English Faust Book.
The name Faustus is a reference to the Latin word for "favoured" or "auspicious“.
The play is in blank Verse and prose in thirteen scenes (1604) or twenty scenes (1616).
Blank verse is largely reserved for the main scenes while prose is used in the comic scenes.
English theater has a long history dating back to ancient Greek and Roman eras. Notable developments include William Shakespeare becoming one of the most influential playwrights in the English language in the 16th century. The theater genre was used to reflect society and culture through different periods. Key periods in the evolution of English theater include the Elizabethan era featuring playwrights like Christopher Marlowe, the Restoration period in the late 17th century bringing back moral comedies and heroic plays, and modern developments with playwrights like Harold Pinter, Tom Stoppard, and Caryl Churchill.
John Dryden was an influential English poet and playwright during the Restoration period. In his work "Essay of Dramatic Poesy", Dryden explores different viewpoints on dramatic theory through a dialogue between four men on a boat ride. They debate the relative merits of ancient Greek and French drama versus contemporary English drama. While some argue for strict adherence to classical rules like the three unities, others believe English drama is more lively and exciting through its use of subplots and variety. Dryden ultimately seems to favor the English approach through his character Neander.
An Objective Evaluation of Shakespeare’s Universal Appealpaperpublications3
Suit the action to the word, the word to the action, with this special observance; that you o‟verstep not the modesty of
nature. For anything so o‟erdone is from the purpose of playing, whose end both at the first, and now, was and is, to hold
as „twere the mirror up to nature, to show Virtue her own feature, scorn her own Image, and the very age and body of the
time his form and pressure.
- Hamlet: III.ii.17-24
This document provides an overview of the history and development of tragedy as a dramatic art form. It discusses the origins of tragedy in ancient Greek theater, including the works of Aeschylus, Sophocles, and Euripides. It also covers the transmission of tragedy to Roman and Renaissance theaters, and theories about tragedy put forth by philosophers like Aristotle.
The story is about Wasserkopf, a man who complains to his former school principal that the education he received 18 years prior did not adequately prepare him for work. As a result, he demands a refund of his school fees. The principal and teachers are worried this could set a precedent, so they conduct a fake exam where they claim Wasserkopf's absurd answers contain deep insights. They declare him an excellent student and refuse his refund request, sending him away.
Goethe was born in Frankfurt in 1749 into a middle-class family. Though he studied law, he pursued a literary career, publishing his influential novel The Sorrows of Young Werther in 1774. He later worked as an educator at the court of Duke Karl August of Weimar and was exposed to classical ideas during a voyage to Italy from 1786-1788. For his play Faust, Goethe adapted the legend of the scholar Faust who makes a pact with the devil Mephisto. The play is composed in varying poetic styles and meters and includes scenes depicting Faust's love of Gretchen and the Walpurgis Night festival.
It Will Turn Vicious - An Exploration of the Cycle of Audience RidiculeStephanie Elfont
This thesis by Stephanie Elfont from the University of Central Florida explores the cycle of audience ridicule in French drama from the medieval period to the Theatre of the Absurd. It analyzes how playwrights have employed language, character studies, and plot elements to highlight societal issues and shame audiences into action. The document traces the evolution of this tactic from the medieval sottie plays through neoclassical, enlightenment, romantic, and avant-garde works up to the absurdist theatre of Eugène Ionesco.
Western classical plays and opera evolved from ancient rituals and ceremonies. The ancient Greeks developed theatre with tragedies by playwrights like Aeschylus and comedies. The Romans adopted Greek theatre styles and added spectacles involving gladiators and chariot races. During the medieval era, church mysteries and morality plays developed. The Renaissance saw the rebirth of classical styles and the development of commedia dell'arte, masques and plays by Shakespeare. The Baroque period used new technologies for special effects and scene changes. Neoclassical theatre was grand and taught lessons through tragedies and comedies. Romanticism made melodrama and opera popular through the works of playwrights like Victor Hugo.
Western classical plays and opera evolved from ancient rituals and ceremonies. The ancient Greeks developed theatre with tragedies by playwrights like Aeschylus and comedies. The Romans adopted Greek theatre styles and added spectacles involving gladiators and chariot races. During the medieval era, church mysteries and morality plays developed. The Renaissance saw the rebirth of classical styles and the development of commedia dell'arte, masques and plays by Shakespeare. The Baroque period used new technologies for special effects and scene changes. Neoclassical theatre was grand and taught lessons through tragedies and comedies. Romantic theatre was popularized melodramas and operas with a focus on emotions, music, dance and spectacle
Oliver Goldsmith's play She Stoops to Conquer broke new ground in the 18th century by establishing a new subgenre of comedy called "laughing comedy." Prior forms of comedy focused more on sentimentality, but Goldsmith argued this was a "bastard form of tragedy" and that true comedy should provoke laughter by presenting humorous examinations of human folly. The play achieved this through characters like Tony Lumpkin, whose songs in the play encouraged finding humor in supposedly low or vulgar behaviors. She Stoops to Conquer influenced modern comedy by prioritizing laughter over sentimentality.
In 1929, Vienna's theater scene was thriving but faced major changes. This was the year Max Reinhardt launched his influential theater seminar in Vienna and the year Hugo von Hofmannsthal and Arthur Schnitzler, two of the city's greatest dramatists, died. Their deaths marked the end of an era for Vienna's theater and foreshadowed the difficulties the rise of Hitler and Nazi Germany would bring in the coming years, as the city saw half its theaters close and many Jewish theater artists flee persecution. Many of these emigrants, including Hedy Lamarr, went on to have profound success in Hollywood, carrying Vienna's rich theatrical traditions to new international audiences.
The document provides a history of drama from its origins in ancient Greece to modern times. It notes that drama began as part of festivals honoring Dionysus in Greece, with the first genres being tragedy, comedy, and satyr plays performed by famous playwrights like Aeschylus and Aristophanes. Drama developed further in Rome and the Middle Ages before flourishing during the Renaissance with Shakespeare. Modern drama saw experimentation with forms and a shift from realism to symbolism and expressionism in the late 19th/early 20th centuries. Contemporary drama explores language and mirrors social issues.
The Relationship between Kyd’s The Spanish Tragedy and Shakespeare’s Hamlet a...inventionjournals
This document discusses the relationship between Thomas Kyd's play The Spanish Tragedy and two of William Shakespeare's revenge tragedies, Hamlet and Titus Andronicus. It argues that The Spanish Tragedy, as one of the earliest Elizabethan revenge plays, established conventions and plot devices that influenced Shakespeare's later plays. Specifically, it examines how The Spanish Tragedy introduced elements like ghostly visitations, the Machiavellian villain, feigned madness, and delayed revenge that were then utilized by Shakespeare in more developed forms in Hamlet and Titus Andronicus. Through a close reading and comparison of the three plays, the document contends that Shakespeare was likely inspired by Kyd's play when writing his own revenge
This document discusses the origins, definitions, history, and theories of fantastic literature in Europe. It covers the etymology of terms like "fantastic", explores the rise of fantastic narrative works and theory in the 19th century, and examines the development of fantastic literature from ancient times through the medieval period and Renaissance. Key figures and works discussed include Hoffmann, Nodier, Tieck, the Brothers Grimm, Apuleius, and others. The document also analyzes poetic and rhetorical elements of the genre.
Thatcherism was a political ideology that emphasized individual responsibility, limited government, free markets, and social conservatism. It contributed to the electoral success of the Conservative Party in the UK from 1979-1987 by appealing to those who favored its emphasis on personal responsibility over collective responsibility and its program of economic liberalization. Thatcherism was a defining element of Conservative manifestos and policies during this time, which focused on reducing the power of unions, privatizing industries, cutting taxes and public spending. This ideological approach helped the Conservatives win three consecutive elections in 1979, 1983, and 1987, though with a reduced majority in the final election as opposition to some aspects of Thatcherism grew.
William Hogarth (1697-1764) was an English painter, printmaker, pictorial satirist, and editorial cartoonist who was one of the greatest artists of the 18th century. He produced works that commented on social and political life in London, creating moralistic series like A Harlot's Progress and A Rake's Progress. His paintings and engravings included moral warnings against alcoholism in Beer Street and Gin Lane and cruelty in The Four Stages of Cruelty. Hogarth never received formal artistic training and became successful early in his career as an engraver before establishing himself as a painter with moralizing series that achieved wide circulation as prints.
The document discusses Alexander Pope's mock-heroic poem "The Rape of the Lock". It provides background on Pope and the conventions of epic and mock-epic poems. The poem satirizes a petty feud between noble families by treating the cutting of a lock of hair as an epic battle. It uses techniques like heroic couplets, exaggerated language, and allusions to Paradise Lost to trivialize the epic form for comic effect.
The document summarizes changes to the BBC Newsroom, including relocating operations to a new building called New Broadcasting House in London. Key changes include bringing together global and UK news output into a single, specially designed newsroom with a central newsdesk. This will integrate video, audio, stills and text intake across all platforms. The new setup aims to improve collaboration and priorities for digital and broadcast platforms.
Jeremy Bentham was a fierce critic of the common law system and advocated for the codification and rationalization of laws according to the principle of utility. While Blackstone praised the common law tradition, Bentham argued it perpetuated errors and benefited judges. The Napoleonic Code provided a clear example of codification, which Bentham largely approved of despite some criticisms. In Britain, there was increasing support for reforming and consolidating laws in the early 19th century through various acts, though full codification was not achieved. Bentham sought to codify laws for numerous countries and be a "Legislator of the World" through systematically rationalizing legal systems.
This document discusses British citizenship for children in the UK. It notes that an estimated 120,000 children living in the UK do not have British citizenship despite being entitled to it, and 65,000 of these children were born in Britain. It reveals that the fee for a child to obtain citizenship is currently £1012, with £372 going to processing costs and £640 in profit for the Home Office. The document argues that the fee should be removed or allow fee waivers as there are currently no exceptions to the fee, meaning children unable to afford it lose their right to citizenship at age 18. It calls for supporting Amnesty's campaign to pressure the Home Office to stop blocking children's rights to citizenship.
The document discusses the history and structure of Greek theaters. Greek theater originated as part of religious festivals honoring Dionysus. Performances were held outdoors in large open-air theaters that seated thousands. The theater consisted of the orchestra where the chorus performed, a stage building where actors changed costumes, and tiered seating surrounding the performance space. Theater was a major part of Greek culture and an important public event.
This document discusses various types and aspects of translation. It begins by outlining the historical aspects of translation including oral, written and mechanical forms. It then discusses types of translation such as literary vs non-literary and methods of oral translation like simultaneous and consecutive. The document also covers machine translation and computer-assisted translation. It provides examples and discusses aspects like terminology research, consistency checks, and specialized legal translation.
Freudian psychodynamic theory proposes that behavior is driven by unconscious forces. Freud developed three models to explain this:
1) The topographical model divides the mind into conscious, preconscious, and unconscious sections. The unconscious drives behavior through primary process thinking and is revealed through dreams, slips of the tongue, etc.
2) The structural model describes the id, ego, and superego. The id operates on the pleasure principle, the superego incorporates social values, and the ego mediates their demands with reality.
3) Behavior results from conflicts between instinctual drives and societal restrictions. People employ defense mechanisms like repression, rationalization, and projection to avoid uncomfortable thoughts and feelings
The document discusses several major theories on translation from the 1950s-1970s. It introduces Roman Jakobson's work on meaning and equivalence. Eugene Nida is discussed for his concepts of formal and dynamic equivalence and equivalent effect. Nida analyzed meaning on the linguistic, referential, and emotive levels. Techniques like componential analysis and semantic structure analysis helped differentiate similar words. Peter Newmark and his semantic and communicative translation approaches are mentioned. Finally, Werner Koller's work on correspondence and equivalence relations is briefly referenced.
The document discusses the beginnings of psychology as a scientific field in the late 19th century. It outlines several important figures and theories that emerged during this time, including Wilhelm Wundt establishing the first psychology laboratory in 1875 and making psychology an independent science from philosophy. Sigmund Freud introduced psychoanalysis and his theories of the unconscious mind, psychosexual development, and the id, ego, and superego. Ivan Pavlov conducted experiments demonstrating classical conditioning. The document also discusses Karl Bühler's contributions to gestalt psychology and the universities of Leipzig, Würzburg, and Vienna that were important centers for early work in experimental psychology.
The Magna Carta addressed grievances that people in medieval England had with King John's rule in the early 1200s. People were unhappy with high taxes, laws that took away rights and property, and the king claiming new powers without approval. The Magna Carta forced the king to accept that he ruled the country according to long-established laws and customs and to respect basic civil liberties.
The document discusses various issues relating to the concept of equivalence in translation. It addresses:
1) Definitions of equivalence, including being equal, comparable, or having the same meaning or function.
2) The relationship between the source text and target text, and how to define and measure their level of equivalence.
3) Theories of equivalence from scholars like Roman Jakobson, Vladimir Nabokov, and Eugene Nida that focus on different types and levels of equivalence.
What Could Be Behind Your Mercedes Sprinter's Power Loss on Uphill RoadsSprinter Gurus
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2. Goethe’s Faust: giving birth to the modern?
Faust looks back:
•Influenced by the allegorical tradition (think mystery and morality play
traditions)…
•…and by Renaissance drama, not least Shakespeare (“A Walpurgis Night’s
Dream”).
•Takes the medieval German legend of Faust, the scholar who sells his soul to
the devil in return for great knowledge and power, as source material.
•Shows Goethe’s interest, in the 1790s especially, in classicism. Note the
repeated use of Choruses and a depiction of a protagonist who wrestles with
the limitations of his own humanity.
3. Goethe’s Faust: giving birth to the modern?
But Faust also looks forward:
“Goethe was sent by the gods as a boundary stone to mark where the past
ends and modernity begins.”
(Karl Gutzkow, 1836)
It offers us:
•Modern domestic drama (the “Gretchen tragedy”).
•Intense, fraught, self-conscious look at human subjectivity: the frustration and
alienation of the individual in a modern, secular, industrialized world.
•A movement beyond the categories of good and evil.
•The breakdown of genre.
4. The Faust legend
Dr. Johann Faust or Faustus (c. 1480–1540),
a German scholar of supposedly magical
and arcane powers.
The basic legend:
Faust, in search of greater magical powers,
made an agreement with Mephistopheles
according to which he would literally sell his
soul to the Devil in return for twenty-four
years of knowledge, magical power, and
unlimited pleasure. In the end, of course,
Faust regretted the agreement, understanding the illusory nature of that
which he had apparently gained, and he was taken off to Hell.
1587: Chapbook entitled Historia von D. Johann Fausten published. First
known printed source of the legend of Faust is a small.
c. 1588: Christopher Marlowe’s The Tragical History of Dr. Faustus written
and performed.
5. Updating the Faust legend
Goethe radically changes the narrative and emphases of this legend as it
appears in earlier sources, including Marlowe.
Gretchen
He adds the seduction story of Margareta/Gretchen – the part of the play that
was and is most popular and successful with theatre audiences.
As a result the Faust legend is split in two: “the scholar’s tragedy” and
“Gretchen’s tragedy”.
6. Updating the Faust legend
Mephistopheles and the nature of evil
Mephistopheles no longer the embodiment of evil. He is, as he describes
himself:
Part of that Power which would
Do evil constantly, and constantly does good. (1335-6)
He represents a vital cosmic force:
I am the spirit of perpetual negation;
And rightly so, for all things that exist
Deserve to perish… (1338-40)
In the “Prologue in Heaven”, the Lord tells Mephistopheles that he “Serves
well to stimulate him [man] into action” (343).
In fact, in a celestial bet, he gives Mephistopheles permission to tempt Faust
as part of a divine bet.
7. Updating the Faust legend
The “pact”
Goethe’s Faust doesn’t make a pact with Mephistopheles at all. Instead,
there’s a “wager” (the second bet in the play):
If any pleasure you can give
Deludes me, me cease to live!
I offer you this wager! […]
If ever the moment I shall say:
Beautiful moment, do not pass away!
Then you may forge your chains to bind me (1696-1701)
Traditional story inverted?
• Faust can only save himself by continually giving into temptation.
• And he wants experience not knowledge: “in my inner self I will
embrace | The experience allotted to the whole | Race of
mankind.” (1770-2)
The Faust story is recast as a conflict, or dialectic, between idealism
and cynicism, the positive and the negative.
8. Goethe and the composition history of Faust
1749 Born in Frankfurt.
1765-8 Studies at the University of Leipzig.
1772-5 Begins writing Faust.
1774 Publishes The Sorrows of Young
Werther.
1788 Resumes work on Faust
1790 Publishes Faust. A Fragment.
1794 Strikes up friendship with poet,
philosopher and playwright Friedrich
Schiller.
1797-1801 Resumes work on Faust at
Schiller’s prompting.
9. Goethe and the composition history of Faust
1819 Selected scenes from Faust performed
privately at Castle Monbijou, Berlin.
1825-31 Completes Faust Part II.
1827 Publishes Helena, part of Faust Part II.
1829 First public performance of Faust Part I.
1832 Goethe dies, aged 82. Faust Part II
published posthumously.
1876 First performance of Faust Parts I & II,
in Weimar.
10. Goethe and the composition history of Faust
Three phases of composition:
1. URFAUST (1772-5)
Discovered in manuscripts in 1887. Consists mainly of the tragedy of
Gretchen.
“Sturm und Drang” (“Storm and Stress”)
•A short‐lived but influential movement in German literature of the 1770s.
•Early precursor of Romanticism. Passionate, individualistic, rebellious.
•Hostile attitude to French neoclassicism and Enlightenment rationalism.
•E.g. The Sorrows of Young Werther (1774)
2. FAUST. A FRAGMENT (1790)
Goethe revises everything to date into verse and adds a few scenes.
Published without the final dungeon scene.
3. FAUST PART I (1808)
Completed 1797-1806. To this stage of the play belong the prologues, the
second half of ‘Night’ with the Easter chorus, the pact scenes and the
‘Walpurgis Night’.
11. Faust Part II
Faust helps the Emperor to solve the financial problems of the Empire by
issuing paper money.
He summons of Helen of Troy and later seduces her. They have a son,
Euphorion, who flies so high that he falls dead at his parents’ feet. Helen
takes him back to the dead with her.
Mephistopheles debates with a homunculus created by Faust's former pupil.
Faust and Mephistopheles attend a “classical Walpurgis night”.
They help the ageing Emperor win a battle; Faust is rewarded with a stretch
of coastal land, which he plans to win from the sea.
Faust is so delighted by his new endeavour that he utters the fatal words that
this moment should last for ever. He dies, and Mephistopheles seems to
have won his wager, but…
…female saints with Gretchen intervene to save him, taking him up into
heaven.
12. Is Faust theatre?
NO!
•It’s more an epic than a play.
•Goethe didn’t stage the play at the Weimar court theatre, of which he was
the director.
•Much of action of the play is almost unstageable.
•Stage action is usually described in a way that suggests an attempt to
compensate for the absence/impossibility of visual realization.
•It constantly makes allusions to and seems to align itself with some of the
major verse narratives of European literature: Virgil’s Aeneid, Homer’s Iliad,
Dante’s Divine Comedy, Milton’s Paradise Lost.
13. Is Faust theatre?
YES!
•The “No” case is predicated on a “naturalism fallacy”.
•Allegorical dramas that have a wide cosmic focus – heaven, earth, hell –
were still being widely performed across Europe in the seventeenth century
(including Calderon’s autos sacramenteles).
•Such dramas still staged in the German provinces in his own day. A Faust
play was performed by travelling players in Frankfurt in 1768.
•Faust ignores – indeed flagrantly abuses – the three unities (time, place,
action) of French neoclassical theory… but Goethe wrote many court
masques and libretti that did the same.
14. Goethe and the theatre
He wrote a number of plays, including:
• Stella (1775)
• Iphigenia in Taurus (1781/7)
• Torquato Tasso (1790)
• The Natural Daughter (1803)
He was director of the Weimar Court Theatre from 1791 to 1817:
• Under his leadership the Theatre achieved national importance.
• Established a repertoire and style founded on a classical aesthetic (anti-
naturalistic).
• Helped to train young actors.
• Collaborated with Schiller between 1795 and 1805.
• Rejected idea that drama should be preachy. Rather, saw it as an art that
enriched and ennobled those receptive to it.
• The repertoire was mixed and international, and included Voltaire,
• Goldoni, Aristophanes, Calderon, along with German authors such as
Lessing and Goethe himself.
15. Faust: major productions
1829 First public performance of Part I
(Brunswick).
1876 First production of both parts
together, by Otto Devrient (Weimar).
1933Max Reinhardt’s legendary
production of Part I at the Salzburg
Festival.
1938 World premiere of both parts,
unabridged (Dornach, Switzerland)
1957 Gustav Grundgens production in Hamburg (filmed in 1960).
2000 Peter Stein’s complete version for Expo 2000 (Hanover). Total length,
inc. intervals: 21 hours. (Image above)
16. Drama vs. literature?
Why might scholars want to talk about Faust as “literature” rather than as
“theatre”?
Why do scholars tend to distinguish the “literary” from the “dramatic”?
What’s with the problem with calling Faust a play?
Lyn Gardner, “Are plays proper literature?” (Guardian, 27 May 2010)
http://www.theguardian.com/stage/theatreblog/2010/may/27/are-plays-
proper-literature
“I suspect it's theatre's brazenly collaborative and transient nature that
spooks the literary gatekeepers. We may think of the literary experience as
essentially solitary: a lone reader's silent encounter with a momentous text.
It's a notion freighted with reverence, nudging literature into a secular
religiosity. Surely literature isn't – or isn't just – about contemplation, let alone
meditation. It's about engagement.”
17. Faust: a drama about theatre
Prelude on the Stage
DIRECTOR POET CLOWN
BUMS ON SEATS
•Wants only “to please the
mob” .
•Knows an audience want
“action”, “spectacle”,
“excess”.
•A play should be “all in
pieces” because the public
will “just fragment |It
anyway”
•Deeds not words.
ART AS TRANSCENDENT
•Wants “quietness”, “love
and friendship” .
•Believes in writing – in art
– for “posterity”, not for the
gratification of a paying
audience, “that motley
throng”.
•Yearns for his youth.
ENTERTAINMENT,
VARIETY, YOUTH
•Let’s entertain! Make the
audience laugh and cry.
•“Use real life and its rich
variety”.
•A theatre of variety will
attract the youth, who can
still be moved and pleased.
18. Faust: a drama about theatre
Prelude on the Stage
DIRECTOR POET CLOWN
BUMS ON SEATS
•Wants only “to please the
mob” .
•Knows an audience want
“action”, “spectacle”,
“excess”.
•A play should be “all in
pieces” because the public
will “just fragment |It
anyway”
•Deeds not words.
THE LORD?
ART AS TRANSCENDENT
•Wants “quietness”, “love
and friendship” .
•Believes in writing – in art
– for “posterity”, not for the
gratification of a paying
audience, “that motley
throng”.
•Yearns for his youth.
FAUST?
ENTERTAINMENT,
VARIETY, YOUTH
•Let’s entertain! Make the
audience laugh and cry.
•“Use real life and its rich
variety”.
•A theatre of variety will
attract the youth, who can
still be moved and pleased.
MEPHISTOPHELES?
19. Faust: a drama about theatre
Night
Faust, looking at the Sign of the Macrocosm:
“How great a spectacle! But that, I fear, | Is all it
is.” (Night, 454-5)
Wagner enters, believing he has heard Faust
“reading a Greek tragedy” (523). Faust then
attacks history as capturing not the “spirit” but
rather the “image” of the past (578):
At best a royal tragedy—bombastic stuff
Full of old saws, most edifying for us,
The strutting speeches of a puppet chorus. (583-
5)
20. Faust: a drama about theatre
Faust’s Study (I) & (II)
Theatre as distraction…
•Faust asks Mephistopheles, trapped in his study, to give him “an amusing
show” (1435).
•The show then puts Faust to sleep, allowing Mephistopheles to escape.
Theatre as metaphor…
•Mephistopheles on human pretension to greatness:
Wear wigs, full-bottomed, each with a million locks,
Stand up yards high on stilts or actor’s socks—
You’re what you are, you’ll still be the same man still. (1807-9)
21. Faust: a drama about theatre
Walpurgis Night
An “intermezzo”: a short piece introduced between the acts or scenes of a
larger work of dramatic or musical performance.
Faust describes the scene of Walpurgis Night as a “fairground” (4115).
All about the carnivalesque (think back to Bakhtin): licensed transgression and
excess; the celebration of bodies and sexuality.
MEPHIST [with an old witch] A naughty dream once came to me:
I saw a cleft and cloven tree.
It was monstrous hole, for shame!
But I like big holes just the same.
OLD WITCH: Greetings, Sir Cloven-Hoof, my dear!
Such gallant knights are welcome here.
Don’t mind the outsize hole; indeed
An outsize plug is what we need! (4136-43)
22. Faust: a drama about theatre
A Walpurgis Night’s Dream: “It’s actually a theatre.” (4213)
Already Walpurgis Night has the feel of a play-within-a-play. So “Walpurgis
Night’s Dream” is a play-within-a-play-within-a-play…
Theatre – the “show” – again a distraction here.
When Faust learns that Margareta has been arrested while he enjoyed the
entertainments, he lambasts Mephistopheles:
A prisoner! In utter ruin, delivered over to evil spirits and the
judgement of cold heartless mankind! And meanwhile you lull me with
vulgar diversions…” (A Gloomy Day. Open Country, <8-10>)
23. Faust: a drama about theatre
Martin Swales, “Goethe's Faust: theatre, meta-theatre, tragedy”
“Faust oscillates between wanting to be both on the stage of life and a
spectator
at it. Mephisto offers him life as a theatrical extravaganza – immensely
appealing, quick-fire experience, yet ultimately (in his, Mephisto’s, view)
tawdry and worthless.”
“Theatre is a key metaphor for human existence in Goethe’s Faust; and this
changes the way we receive the play in the theatre. It becomes allegorically
charged at every turn.”
In Goethe’s Faust: The Theatre of Modernity, ed. Hans Schulte, John Noyes, and Pia
Kleber (Cambridge: Canbridge University Press, 2011).
FAUST THE ACTOR:
Night, Study (II), the Gretchen scenes
FAUST THE SPECTATOR:
Study (I), A Witch’s Kitchen, Walpurgis Night, A Walpurgis Night’s Dream
24. Faust: a tragedy?
For
•Goethe entitles it “tragedy”.
•Faust in many ways like the classical tragic hero (e.g. Oedipus): the human
who would be more than human.
•There are a number of choruses: of angels, women, disciples (Night); of
villagers (Outside the Town Walls); of merrymakers (Auerbach’s tavern)…
Is there a change in tragic form across Faust? So we move from
classical tragedy (the scholar’s tragedy) to what bourgeois domestic
tragedy (the Gretchen tragedy)?
After the entrance of Margareta/Gretchen, the choral element almost disappears.
Goethe offers:
•The choir (A Cathedral). Not described as a “chorus”.
•A chorus of witches (A Walpurgis Night). Appears in a scene expressly positioned as an
interlude. And is this chorus tragic?
25. Faust: a tragedy?
Against
•Margareta/Gretchen is saved at the close of Part I: “She is redeemed”.
•Faust is redeemed at the close of Part II.
•Faust a mix of some many forms and allusions.
More complex than one side or the other…
“Faust is not an avoidance of tragedy; rather, it makes an issue of tragedy.”
(Martin Swales)
“The individual, Faust, is never the tragic target. It is essential that we
understand him as the representative of the human condition. Then suddenly
a new dimension opens up, tragedy fills the space, and we are part of it.”
(Peter Stein)