... dominant assumptions about how conflict and power work in the world. Violence is an important fact of life (Howitt 17). It is very much part of the human condition. The media cannot pretend that violence does not exist. Televised violence orients people to their environment. It helps them understand their world. It serves as a mirror in which people examine themselves, their institutions, and their values (Comstock 357). The exposure of children to televised violence is functional to the extent that it prepares them to cope with reality. Conflict is important for children to grow up with. It is part of their life. Kids should not be lead to think that not ...
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... purpose of clothing in `Macbeth' is the fact that these are not his garments. Therefore, Macbeth is uncomfortable in them because he is continually conscious of the fact that they do not belong to him. In the following passage, the idea constantly recurs that Macbeth's new honours sit ill upon him, like a loose and badly fitting garment, belonging to someone else: New honours come upon him, Like our strange garments, cleave not to their mould, But with the aid of use. (1.3.144) The second, most important chain of imagery used to add to the atmosphere is that of the imagery of darkness. In a Shakespearean tragedy a special tone, or atmosphere mus ...
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... cares and business from our age, Conferring them on younger strengths while we Unburdened crawl to death..." (Act I, Sc i, Ln 38-41) This gives the reader the first indication of Lear's intent to abdicate his throne. He goes on further to offer pieces of his kingdom to his daughters as a form of reward to his test of love. "Great rivals in our youngest daughter's love, Long in our court have made their amorous sojourn, And here are to be answered. Tell me, my daughters (Since now we will divest us both of rule, Interest of territory, cares of state), Which of you shall we say doth love us most? That we our largest bounty may extend where nature doth with me ...
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... along in her role as Helmer’s “little squirrel”. In Act 1 we also learn about Nora’s taste for macaroons. At the beginning of the scene she is eating some and hides the bag when Helmer enters the room. He later questions her as to whether or not she has been “breaking rules” by eating a macaroon or two, which she denies. This shows us that Helmer’s control over Nora goes so far as to include the forbidding of sweets. More importantly, it shows us that Nora willfully disobeys Helmer’s wishes. It is in this small exchange that we see a hint of Nora’s character and that perhaps she is more than she appears to be. Through Nora’s conversation with Mrs. Linde in A ...
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... there own free will. Fate can cause the fall of a protagonist without there consent or there control. The fate of a protagonist leads to a much more horrible conclusion then the mistake of a tragic protagonist do to there own freewill. Oedipus was born with a horrible prophecy told to his parents which led his parents to believe that Oedipus would kill his father and marry his mother. They soon had Oedipus taken up to a mountain, to leave him there to die. A shepherd saved his life and raised him, Oedipus soon went back to Thebes were he was born. Oedipus believed that he was traveling away from his home town, he soon found himself at a road where three corners ...
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... to Aristotle, the life and soul of tragedy is plot. Incidents in the plot have the best effect if they occur unexpectedly, and in consequence of one another. A great tragedy grips the audience with the plot. Aristotle also states that the sense of the inevitable must be present in tragedy. The tragic hero is also another important factor in an Aristotelian tragedy. The central character must be noble and have a higher stature than most men. The tragic hero must also have better qualities than secondary characters but must also exhibit flaws. The most important part of an Aristotelian tragic hero is the tragic flaw. The flaw is inborn to the person. He ...
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... when Macbeth becomes thane of Cawdor. The line, "What? Can the devil speak true?" showes Banquo's surprise at the realization of the prophecy. But, would the Witches' prophecy of Macbeth's royal promotion have come true had they not made Macbeth aware of the possibility? There was no reason to warn Macbeth of the fate in store for him, since it is most likely impossible for a person to alter their destiny. It is quite possible that the witches have no real power at all, beyond that of suggestion. They may have only planted the idea within Macbeth, feeding off his already present ambition. Perhaps the only true controlling power comes from Lady Mac ...
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... of the “predictions.” This is where the witches unexplainable powers come in with their knowing Lady Macbeth’s reaction of the news of Macbeth’s becoming king. Then it is reported that Duncan is coming to visit Macbeth’s castle. The thought of royalty for Macbeth and Lady Macbeth and the opportunity to have the king within striking distance appeal to both of them. This causes them to act against their king even though they were loyal to him. The events all occurred because the witches’ simple knowledge of what would happen if they told Macbeth that he would become king in the future. The witches use warning as “predictions” this time. They show apparitions to ...
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... hate create a dialogue and dialectic, a dynamic tension which powers the action and generates heat. When I noticed that the two plays this season had settings is Verona, I decided to find out a thing or two about the place. Reading the section on "climate" in Harold Rose's Yur Guide to Northern Italy, I noted that "Italy is a very hot place in the summer, also quite humid." After reading this I then realized that a great deal of the violence in Romeo and Juliet become more understandable; they're all short tempered because of the heat! This is even noted when Benvolio warns Mercutio that " The day is hot, and Capulets abroad/And if we meet we shall not scap ...
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... and complex—Hamlet appears insane, ostensibly over Ophelia, however, his madness is feigned—a cover for internal conflicts, rooted not in thwarted affection, but rather in desire to avenge his father's murder. Hamlet even goes so far as to say his apparent madness is an act when he says "I am but mad north-north-west; when the wind is southerly, I know a hawk from a handsaw"(667). Shakespeare often used madness, either feigned or actual, as a teaching tool or vehicle to advance his plot. Sometimes this madness was feigned, as evidenced by Hamlet and Edgar (the legitimate son of Gloucester in The Tragedy of King Lear), but other times it was genuine in ...
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