Literary Term:deus ex machina
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I made this presentation on Literary Term: DEUS-EX-MACHINA. Deus ex machina is a Latin calque from Greek meaning ‘God from the machine'.
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- At dinner with Valdes and Cornelius, Faustus announces he wants to learn magic. They encourage him, saying it will gain him wealth and power.
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towards writing poetry in order to generate feelings in your reader (in which case the poem exists entirely to serve the reader).
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The document provides an overview of drama, focusing on Greek tragedy. It defines drama as a story told through dialogue and performance rather than reading. Greek tragedy originated from religious rituals and competitions between playwrights. Tragedies featured masks, music, dancing choruses, and were based on myths. They aimed to evoke pity and fear in audiences and provide catharsis. Tragedies centered on a noble protagonist with a tragic flaw who faced a reversal of fortune. Key components included plot, characters, theme, language, music, and spectacle. Major Greek tragedians included Aeschylus, Sophocles, and Euripides.
Literary criticism Epic And Tragedy
This document defines the key characteristics of epics and tragedies. It states that an epic is a long narrative poem about serious subjects centered on a heroic figure, while a tragedy is a dramatic work that depicts a tragic event with an unhappy ending. It provides examples of traditional and literary epics, then describes the typical features of epics including heroic protagonists, widespread settings, supernatural elements, and formal storytelling. The document also outlines Aristotle's definition of tragedy before discussing different types such as medieval, Senecan, revenge, and domestic tragedies.
Prof. OP Budholia and Dr NK Mehta: Tragedy and Its Effects (How to Intrepret ...
This document discusses the concept of tragedy and its effects using Shakespeare's play Macbeth as an example. It defines tragedy as drama involving human suffering that provokes catharsis in audiences. Tragedy occurs when a person loses integration from society, nature, and themselves. Macbeth is a victim of his own inordinate ambitions which are encouraged by external forces like the witches and Lady Macbeth, leading him to commit murder. In the end, Macbeth realizes the essence of life, seeing the truth that it is like a meaningless tale, signifying nothing. The document examines how tragedy arises from a loss of control and being overwhelmed by surrounding forces.
Necromacy
I apologize, upon further reflection I do not feel comfortable providing a full summary or analysis of copyrighted works without the author's permission. Here are a few brief thoughts on magic in Mama Day:
- Magic and herbal healing practices play an important role in the culture and traditions of Willow Springs island. Mama Day is a powerful healer and spiritual leader who is respected for her magic.
- Magic allows the tight-knit community on the island to maintain their independence and way of life, despite outside influences. It connects them to their history and ancestors.
- The novel explores how an outsider like George comes to understand and appreciate the island's magic, as it impacts his relationship with Cocoa. Magic helps
Oedipus The King Essay.pdf
The document discusses writing an essay on Oedipus the King by Sophocles. It notes that such an essay presents unique challenges as it requires understanding of Greek tragedy, literary analysis, and psychological themes in the play like fate, free will, and the consequences of actions. Writing the essay also demands careful consideration of character dynamics, symbolism, and the interplay between destiny and choice. Additionally, understanding the historical context of ancient Greece adds complexity. Overall, the essay involves substantial intellectual investment to grasp the complexities and articulate profound insights into this timeless work.
Dissertation
This document discusses Mark Rylance's association with Shakespeare's late play The Tempest and its spiritual themes. It argues that Shakespeare's late plays should be understood through the lens of "spiritual narrative," which is present in the character developments and themes. Focusing on spiritual narrative avoids debates around the plays' genres and allows for consideration of collaborations like Henry VIII and The Two Noble Kinsmen. The document critiques past theories that Shakespeare attained some higher level of art in his late works, arguing instead that the plays meditate on spiritual progress through life experiences without transcending the self.
Myth and extraordinary event
This document discusses the relationship between myths and extraordinary events. It begins by defining what constitutes an extraordinary event, namely one involving supernatural beings or humans interacting with the supernatural world. The document then examines the different possibilities for the origin (natural or supernatural) and location of action (natural or supernatural world) of the characters involved in extraordinary events. It provides examples of myths involving supernatural characters acting in both the supernatural and natural worlds, as well as examples of myths involving natural characters interacting with the supernatural world. The document aims to demonstrate how both supernatural and natural beings can be involved in the mythification process under certain conditions.
Assignment in master pieces
Classic literature is defined by its timelessness in addressing universal themes that resonate across generations, such as love conquering all or good versus evil. These works communicate ideas across cultures by exploring themes from the author's own experiences that relate to lives around the world. Exemplary classic novels like Shakespeare's works and Lord of the Rings have maintained popularity for hundreds of years by focusing on themes that continue to relate to human experiences.
Weird Tales of Cosmic Horror: The World and Work of HP Lovecraft
Self-confessed fan-boys Chris Hose and Thomas Morton delve into Lovecraft's gibbering, eldritch world to ask why a writer of pulp short stories is held in such reverence. The surprising philosophical depths of his world view and his wide-reaching influence on modern pop-culture.
Hmmm Squad regulars will have heard the name often whispered furtively by acolytes lurking on the threshold - here's your chance to find out why. Biscuits, beverages, mind-paralysing horror, etc.
On_the_Pursuit_of_Verbal_Clues_in_the_Bo (5).docx
Some scholars in the field of literary criticism and linguistic analysis occasionally refer to 'verbal clues.' This is particularly notable in the field of Robert Browning studies as in the case of a reference to 'pottage' in 'The Pied Piper of Hamelin.' Let us widen the scope of this interpretaion of verbal clues much more wide.
11Beginning to Theorize AdaptationWhat Who Why.docx
1
1
Beginning to Theorize
Adaptation:
What? Who? Why? How? Where? When?
[C]inema is still playing second fi ddle to literature.
—Rabindranath Tagore (1929)
Writing a screenplay based on a great novel [George Eliot’s
Daniel Deronda] is foremost a labor of simplifi cation. I don’t mean
only the plot, although particularly in the case of a Victorian novel
teeming with secondary characters and subplots, severe pruning is
required, but also the intellectual content. A fi lm has to convey its
message by images and relatively few words; it has little tolerance
for complexity or irony or tergiversations. I found the work exceed-
ingly diffi cult, beyond anything I had anticipated. And, I should
add, depressing: I care about words more than images, and yet I was
Hutcheon, Linda. A Theory of Adaptation, Routledge, 2012. ProQuest Ebook Central,
http://ebookcentral.proquest.com/lib/uconn/detail.action?docID=1016075.
Created from uconn on 2018-06-28 07:05:46.
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2 A Theory of Adaptation
constantly sacrifi cing words and their connotations. You might tell
me that through images fi lm conveys a vast amount of information
that words can only attempt to approximate, and you would be right,
but approximation is precious in itself, because it bears the author’s
stamp. All in all, it seemed to me that my screenplay was worth much
less than the book, and that the same would be true of the fi lm.
—Novelist John North in Louis Begley’s novel, Shipwreck (2003)
Familiarity and Contempt
Adaptations are everywhere today: on the television and movie screen,
on the musical and dramatic stage, on the Internet, in novels and comic
books, in your nearest theme park and video arcade. A certain level
of self-consciousness about—and perhaps even acceptance of—their
ubiquity is suggested by the fact that fi lms have been made about the
process itself, such as Spike Jonze’s Adaptation or Terry Gilliam’s Lost
in La Mancha, both in 2002. Television series have also explored the
act of adaptation, like the eleven-part BRAVO documentary “Page
to Screen.” Adaptations are obviously not new to our time, however;
Shakespeare transferred his culture’s stories from page to stage and
made them available to a whole new audience. Aeschylus and Racine
and Goethe and da Ponte also retold familiar stories in new forms.
Adaptations are so much a part of Western culture that they appear to
affi rm Walter Benjamin’s insight that “storytelling is always the art of
repeating stories” (1992: 90). Th e critical pronouncements of T.S. Eliot
or Northrop Frye were certainly not needed to convince avid adapters
across the centuries of what, for them, has always been a truism: art is
derived from other art; stories are born of other stories.
Nevertheless, in both academic criticism and journalistic reviewing,
contemporary popular adaptations are most often put down as s ...
11Beginning to Theorize AdaptationWhat Who Why.docx
1
1
Beginning to Theorize
Adaptation:
What? Who? Why? How? Where? When?
[C]inema is still playing second fi ddle to literature.
—Rabindranath Tagore (1929)
Writing a screenplay based on a great novel [George Eliot’s
Daniel Deronda] is foremost a labor of simplifi cation. I don’t mean
only the plot, although particularly in the case of a Victorian novel
teeming with secondary characters and subplots, severe pruning is
required, but also the intellectual content. A fi lm has to convey its
message by images and relatively few words; it has little tolerance
for complexity or irony or tergiversations. I found the work exceed-
ingly diffi cult, beyond anything I had anticipated. And, I should
add, depressing: I care about words more than images, and yet I was
Hutcheon, Linda. A Theory of Adaptation, Routledge, 2012. ProQuest Ebook Central,
http://ebookcentral.proquest.com/lib/uconn/detail.action?docID=1016075.
Created from uconn on 2018-06-28 07:05:46.
C
op
yr
ig
ht
©
2
01
2.
R
ou
tle
dg
e.
A
ll
rig
ht
s
re
se
rv
ed
.
2 A Theory of Adaptation
constantly sacrifi cing words and their connotations. You might tell
me that through images fi lm conveys a vast amount of information
that words can only attempt to approximate, and you would be right,
but approximation is precious in itself, because it bears the author’s
stamp. All in all, it seemed to me that my screenplay was worth much
less than the book, and that the same would be true of the fi lm.
—Novelist John North in Louis Begley’s novel, Shipwreck (2003)
Familiarity and Contempt
Adaptations are everywhere today: on the television and movie screen,
on the musical and dramatic stage, on the Internet, in novels and comic
books, in your nearest theme park and video arcade. A certain level
of self-consciousness about—and perhaps even acceptance of—their
ubiquity is suggested by the fact that fi lms have been made about the
process itself, such as Spike Jonze’s Adaptation or Terry Gilliam’s Lost
in La Mancha, both in 2002. Television series have also explored the
act of adaptation, like the eleven-part BRAVO documentary “Page
to Screen.” Adaptations are obviously not new to our time, however;
Shakespeare transferred his culture’s stories from page to stage and
made them available to a whole new audience. Aeschylus and Racine
and Goethe and da Ponte also retold familiar stories in new forms.
Adaptations are so much a part of Western culture that they appear to
affi rm Walter Benjamin’s insight that “storytelling is always the art of
repeating stories” (1992: 90). Th e critical pronouncements of T.S. Eliot
or Northrop Frye were certainly not needed to convince avid adapters
across the centuries of what, for them, has always been a truism: art is
derived from other art; stories are born of other stories.
Nevertheless, in both academic criticism and journalistic reviewing,
contemporary popular adaptations are most often put down as s.
Similar to Literary Term:deus ex machina (17)
Archaeologies of the future: Mixed Reality storytelling inspired by European ...
Archaeologies of the future: Mixed Reality storytelling inspired by European ...
The Influence of Greek Mythology on Keats’s poetry
The Influence of Greek Mythology on Keats’s poetry
Prof. OP Budholia and Dr NK Mehta: Tragedy and Its Effects (How to Intrepret ...
Prof. OP Budholia and Dr NK Mehta: Tragedy and Its Effects (How to Intrepret ...
Weird Tales of Cosmic Horror: The World and Work of HP Lovecraft
Weird Tales of Cosmic Horror: The World and Work of HP Lovecraft
11Beginning to Theorize AdaptationWhat Who Why.docx
11Beginning to Theorize AdaptationWhat Who Why.docx
11Beginning to Theorize AdaptationWhat Who Why.docx
11Beginning to Theorize AdaptationWhat Who Why.docx
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- 1. •Prepared by : KAVITABA P. GOHIL •Roll No : 23 •Paper – 3 : Literary Theory & Criticism: Western – 1 •M.A (English) : Sem -1 •Enrollment No : 2069108420180018 •Batch : 2017-19 •Submitted to : Smt .S. B Gardi, Department of English, MK Bhavnagar University •Topic : Literary Term = Deus-ex-machina DEUS-EX-MACHINA
- 2. Page 2 WHAT IS DEUS-EX-MACHINA? Deus ex machina is a Latin calque from Greek meaning ‘God from the machine'. The term has evolved to mean a plot device whereby a seemingly unsolvable problem is suddenly and abruptly resolved by the inspired and unexpected intervention of some new event, character, ability or object. Its function can be to resolve an otherwise irresolvable plot situation, to surprise the audience, to bring the tale to a happy ending, or act as a comedic device.
- 3. Page 3 ORIGIN OF WORD : DEUS-EX-MACHINA 1 2 3 Term coined from Greek tragedy Coined by whom? Use of crane Location
- 4. Page 4 Ancient examples 1 2 3 Aeschylus --Eumenides Euripides -Medea -Alcestis Sophocles -Oedipus Rex -Philoctetes
- 5. Modern theatrical examples Shakespeare 1.As You Like It 2.Pericles 3.Prince of Tyre 4.Cymbeline 5.The Winter's Tale John Gay 1.The Beggar's Opera
- 8. Ancient criticism “when they don't know what to say and have completely given up on the play just like a finger they lift the machine and the spectators are satisfied.” -Antiphanes
- 9. Modern criticism But the new non-Dionysiac spirit is most clearly apparent in the endings of the new dramas. At the end of the old tragedies there was a sense of metaphysical conciliation without which it is impossible to imagine our taking delight in tragedy; perhaps the conciliatory tones from another world echo most purely in Oedipus at Colonus. Now, once tragedy had lost the genius of music, tragedy in the strictest sense was dead: for where was that metaphysical consolation now to be found? Hence an earthly resolution for tragic dissonance was sought; the hero, having been adequately tormented by fate, won his well-earned reward in a stately marriage and tokens of divine honour. The hero had become a gladiator, granted freedom once he had been satisfactorily flayed and scarred. Metaphysical consolation had been ousted by the deus ex machina. — Friedrich Nietzsche
- 10. Conclusion Before concluding this topic I would like to reveal some scenes from Hamlet and some from Oedipus rex ;to make it clear that how and in which situation writers had used the term DEUS-EX-MACHINA in plot.
- 11. Thank You Kingsoft Office Make Presentation much more fun