The document provides an overview of the different genres that Shakespeare's play The Winter's Tale could be classified under, including comedy, tragedy, romance, tragicomedy, and pastoral. It examines elements from each genre that are present in the play, such as the happy endings of couples but also the king's terrible error. The document also discusses challenges to authority figures in the play and themes of infection, magic, and the relationship between rulers and subjects.
Dryden was the first practitioner of comparison and analysis in the history of criticism. And therefore, it is not an exaggeration to say that English criticism evolved from Dryden.
Dryden was the first practitioner of comparison and analysis in the history of criticism. And therefore, it is not an exaggeration to say that English criticism evolved from Dryden.
Synopsis & Critical Study of Ernest Hemingway's A Farewell To Armsjitugohil
BA Sem-V Paper-CC509 American Literature Unit-3 Synopsis & Critical Study of Ernest Hemingway's A Farewell To Arms
This effort is to help students in their study
On the Sublime (Greek: Περì Ὕψους Perì Hýpsous; Latin: De sublimitate) is a Roman-era Greek work of literary criticism dated to the 1st century AD. Its author is unknown, but is conventionally referred to as Longinus (/lɒnˈdʒaɪnəs/; Ancient Greek: Λογγῖνος Longĩnos) or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
Synopsis & Critical Study of Ernest Hemingway's A Farewell To Armsjitugohil
BA Sem-V Paper-CC509 American Literature Unit-3 Synopsis & Critical Study of Ernest Hemingway's A Farewell To Arms
This effort is to help students in their study
On the Sublime (Greek: Περì Ὕψους Perì Hýpsous; Latin: De sublimitate) is a Roman-era Greek work of literary criticism dated to the 1st century AD. Its author is unknown, but is conventionally referred to as Longinus (/lɒnˈdʒaɪnəs/; Ancient Greek: Λογγῖνος Longĩnos) or Pseudo-Longinus. It is regarded as a classic work on aesthetics and the effects of good writing. The treatise highlights examples of good and bad writing from the previous millennium, focusing particularly on what may lead to the sublime.
Attached is the project for group 82.
Our project is on Oedipus the King.
People in group: Jaime Bolanos, Clayton Manchaca, Cody Nguyen, and Ricardo Sosa
Troilus and cressida -william shakespeare - ebookLibripass
Other William Shakespeare Books : [ http://bit.ly/1vsyURY ]
Troilus and Cressida is a tragedy by William Shakespeare, believed to have been written in 1602. The play (also described as one of Shakespeare's problem plays) is not a conventional tragedy, since its protagonist...
This is a study of the laughter of God and the many ways of explaining it by many authors. It deals with the sense of humor of God and also His serious judgment on unbelievers, It is worthy of a second book.
Laurel Stvan, Associate Professor of Linguistics, UT Arlington, presentation for “Using Digital Humanities Research Tools in the Classroom” at UT Dallas 2/27/13
Response to Presentations at “Using Digital Humanities Research Tools in the Classroom” by Spencer Keralis, Director for Digital Scholarship and Research Associate Professor with the Digital Scholarship Co-Operative at the University of North Texas
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
2. Comedy?
Classified with the comedies in the First Folio of
1623
Ends with couples
reunion of Leontes and Hermione
pending marriage of Paulina and Camillo
pending marriage of Perdita and Florizel
3. Tragedy?
King makes a terrible error and his line is
seemingly dead
―Infection‖ of the king by jealousy
Loyalties tested
Honor valued over obedience
4. Romance?
―stories of exotic adventure and
travel, shipwrecks, spiritual and/or moral
quests, romantic love, reunions of lovers
and families long separated, virtue tested
and proved triumphant, and nobility
hidden and then discovered – all
unfolding in a world familiar with
supernatural forces, wide-ranging
marvels, magic, and enchantment‖
(Snyder)
5. Tragicomedy?
John Fletcher:
―A tragicomedy is not so called in respect of
mirth and killing, but in respect it wants
deaths, which is enough to make it no
tragedy, yet brings some near it, which is
enough to make it no comedy: which must be
a representation of familiar people, with such
kind of trouble as no life be questioned, so
that a God is as lawful in this as in a
tragedy, and mean people as in a comedy.‖
6. Genre according to the
Shepherd
―thou met‘st with things dying, I with things new-
born‖ (3.3.109-110)
―This is fairy gold, boy, and ‗twill prove so‖
(3.3.117-118)
8. Pastoral
Court or city versus country
Country is often idealized
Good example: Christopher Marlowe‘s
―Passionate Shepherd to His Love‖ (1599)
Sheep shearing festival at 4.4
15. Leontes. Out!
A Mankind witch! Hence with her, out o‘ door!
A most intelligencing bawd! (2.3.66-68)
16. An Homily Against Disobedience
and Willful Rebellion (London
1570)
―kings and princes [. . .] do reign
by God‘s ordinance‖
―Whosoever therefore resisteth
the power, resisteth the
ordinance of God‖
17. James I on Absolute
Monarchy
―For kings are not only God‘s
lieutenants upon earth, and sit
upon God‘s throne, but even by
God himself they are called
gods.‖
18. James I on Absolute
Monarchy
―God has the power to create, or
destroy, make, or unmake at his
pleasure, to give life, or send death, to
judge all, and to be judged nor
accountable to none; to raise low
things, and to make high things low at his
pleasure, and to God are both soul and
body due. And the like power have
kings.‖
19. James I on
Just King vs. Tyrant
Just king obeys the law
―So as every just king in a settled kingdom is
bound to observe that paction [contract] made to
his people by his laws‖
Tyrant makes up the rules as he goes along
―And therefore a king governing in a settled
kingdom leaves to be a king, and degenerates
into a tyrant as soon as he leaves off to rule
according to his laws.‖
20. James I on Absolute
Monarchy
BUT subjects may not rebel
―so is it sedition in subjects to dispute what a king
may do in the height of his power. But just kings
will ever be willing to declare what they will do, if
they will not incur the curse of God.‖
From A Speech to the Lords and Commons
of the Parliament at Whitehall, March
21, 1610
22. Leontes as Absolute Monarch
Why, what need we
Commune with you of this, but rather follow
Our forceful instigation? Our prerogative
Calls not your counsels, but our natural goodness
Imparts this; which if you or stupefied,
Or seeming so in skill, cannot or will not
Relish a truth like us, inform yourselves
We need no more of your advice. The matter,
The loss, the gain, the ord‘ring on‘t, is all
Properly ours. (2.1.161-170)
23. Juan Luis Vives on the
Behavior of Women
―Thou hast broken, thou false woman, the
most holy band of temporal law, that is to
say, thy faith and thy truth, which once
given, one enemy in the field will keep to
another though he should stand in danger
of death, and thou like a false wretch doth
not keep it to thine husband, which ought
to be more dear unto thee by right than
thyself.
24. Juan Luis Vives on the
Behavior of Women
Thou defilest the most pure church, which
holp to couple thee; thou breakest worldly
company; thou breakest the laws; thou
offendest thy country; thou beatest thy father
with a bitter scourge; thou beatest thy
sorrowful mother, thy sisters, thy brethren,
thy kinfolk, alliances, and all thy friends; thou
givest unto the company once an example of
mischief and castest an everlasting blot‖
(The Instruction of a Christian Woman 112-113)
25. Paulina‘s ―Disobedience‖
Leontes. How?
Away with that audacious lady! Antigonus,
I charged thee that she should not come
about me;
I knew she would. (2.3.41-44)
26. Paulina‘s ―Disobedience‖
Antigonus. I told her so, my lord,
On your displeasure‘s peril and on mine
She should not visit you.
Leontes. What, canst not rule her? (2.3.44-
46)
27. Paulina‘s ―Disobedience‖
Paulina. From all dishonesty he can; in this,
Unless he take the course that you have
done—
Commit me for committing honour—trust it,
He shall not rule me. (2.3.47-50)
28. Paulina‘s ―Disobedience‖
Leontes. A gross hag!
And losel, thou art worthy to be hanged,
That wilt not stay her tongue.
Antigonus. Hang all the husbands
That cannot do that feat, you‘ll leave
yourself
Hardly one subject. (2.3.107-111)
29. Reading Paulina‘s
Witchcraft
Witchcraft excuses Paulina‘s transgression
Witchcraft pushes her to the margins of the play
30. Agnes Heard
Depositions focus on a series of domestic and
familial incidents.
Milk dish Spinning trouble
―she could no longer spin nor make thread to
hold‖ (94)
Borrowed money Spoiled
milk
―the next day, she would have skimmed her milk
bowl, but it would not abide the skimming‖ (95)
31. Counter-magical Remedies
―women who feared bewitchment were
also paradoxically enabled … to take
action against the witch, action which
might involve behaviours at variance with
the range of feminine ideals available to
women in the early modern period‖ (127).
32. Counter-magical Witchcraft
It was believed that ―illness or maleficium can be
drawn out of one body by another‖ (123).
Purkiss tells the story of a midwife who healed
sick people using the bodies of infants, claiming
that ―the breath of the children would suck the
spirits out of‖ (123) the sick person.
Paulina. The good queen, / … hath brought you
forth a daughter - / Here ‗tis (2.3.64-66)
33. Infection
Camillo. ―Who does infect her?‖ (1.2.306)
Leontes. ―How I am gall‘d‖ (1.2.316); ―I have
tremor cordis on me‖ (1.2.109); ―And that to the
infection of my brains‖ (1.2.144); ―I have
drunk, and seen the spider‖ (2.1.45)
Camillo. ―‖in rebellion with himself‖ (1.2.354)
Polixenes. ―then my best blood turn / To an
infected jelly‖ (1.2.416-417)
34. The Whole Kingdom is Ill
Paulina. I come to bring him sleep. ‗Tis such as
you
That creep like shadows by him and do sigh
At each his needless heavings, such as you
Nourish the cause of his awaking. I
Do come with words as medicinal, as true—
Honest as either—to purge him of that humour
That presses him from sleep. (2.3.33-39)
35. Paulina‘s ―Cure‖
Paulina. I dare be sworn.
These dangerous, unsafe lunes
I‘the‘King, beshrew them!
He must be told on‘t, and he shall; the office
Becomes a woman best. I‘ll take‘t upon me;
If I prove honey-mouthed, let my tongue blister,
…The silence often of pure innocence
Persuades when speaking fails. (2.2.28-32; 40-1)
36. Authority?
Paulina. I care not;
It is an heretic that makes the fire,
Not she which burns in it. I‘ll not call you tyrant;
But this most cruel usage of your Queen,
Not able to produce more accusation
Than your own weak-hinged fancy, something savours
Of tyranny, and will ignoble make you,
Yea, scandalous to the world.(2.3.115-20)
37. The Oracle
Officer. ‗Hermione is chaste, Polixenes
blameless, Camillo a true subject, Leontes a
jealous tyrant, his innocent babe truly
begotten, and the King shall live without an heir if
that which is lost be not found.‘
(3.2.130-134)
38. Leontes Denies
There is no truth at all i‘th‘ oracle. / The sessions
shall proceed; this is mere falsehood.
Apollo‘s angry, and the heavens themselves / Do
strike at my injustice.
(3.2.138-139; 144-145)
39. Leontes Cedes Power
Leontes. Thou didst speak well
When most the truth, which I receive much better
Than to be pitied of thee. (3.2.230-232)
41. Final Exam Information
1.5-hour Exam on eLearning
no excuses for technical difficulty, so start early
(email if crash & I can reset)
open from 12/14 at 8am until 12/17 at 5pm
3 IDs (45 minutes)
1 essay question (45 minutes)
contribute question/revision via eLearning before
12/10
drawn from the three you choose as a class on
12/12
42. Passage Identification
In your answers to these questions you must: 1.
Identify the name of the work; 2. Identify the context
of the passage (what happens before and after
and, where appropriate, the speaker); 3. Discuss the
significance of the passage in its context; 4. Discuss
the significance of the passage in terms of the larger
themes of the work in which it appears; and 5.
Discuss how each passage contributes to the
meaning of its work overall. You will earn the majority
of the points in this section for a thoughtful discussion
of the passage‘s significance supported by evidence
from the passage. Please pay specific attention to
the language of the passage in your discussion.
43. Essay
Questions should
be about works since the midterm;
ask the writer to draw connections across multiple
works;
and be complex enough to require 45 minutes to
answer.
44. Papers Due 12/10 by 5pm
I will be in my office 10-11:15am that day for last-
minute questions about your paper; please come
by or email.
Editor's Notes
Part of the genre problem is illustrated by Autolycus’s selling of broadside ballads at the sheepshearing festival. These cheap print items blended genres themselves and were widely read.
Broadside ballads are a good measure of early modern culture generally, if for no other reason than their proliferation. At the cost of about a penny, ballads were cheap enough to be bought on the street by people who made only meager wages, and they were remarkable enough to be collected by people as financially comfortable as Samuel Pepys. There were thousands of ballads printed and perhaps even millions circulated during the sixteenth and seventeenth centuries. Even when copies of the printed ballads were not being exchanged, they were often sung in alehouses, playhouses, and on the street. Ballads are therefore perfectly placed as documents of their times. In fact, John Selden famously claimed: “More solid things do not show the complexion of the time so well as ballads and libels.” The pervasiveness of ballads for reading, singing, buying, or hanging up—not to mention for more lowly uses such as pie lining or toilet paper—suggests that they were accessible to just about everyone. They were historical markers that showed “the complexion of the time,” and are therefore most important for understanding early modern culture.
Here is a title page from one of the many witchcraft trial narratives. This one is from 1613, and as you can see, the woodcut depicts punishment for the witch. Typically, when we encounter a witch in a text from the early modern period, we consider that witch to be the product of a coherent cultural narrative: a specific kind of witch—bad—who functions in a certain way in the text—as an outsider or other figure.
One example of the kinds of stories Purkiss looks at is that of Agnes Heard. For example,Bennet Lane lent Heard a dish of milk and when Heard didn’t return it, Lane asked her daughter to pick it up. Heard sent the dish back and Lane begins to have trouble completing her everyday spinning tasks. Another time, when Lane borrowed money from Heard, she discovered that she had trouble with her dairy. The case of Agnes Heard is indicative in that the anxieties seem to center around the household and food. Witches attacked the domestic sphere—the sphere of women.
The idea of infection runs throughout the play as a way of thinking about Leontes’s jealousy—it leads him to tyranny, which infects not just his body, but the whole kingdom.
