females, however, were given the comic roles, with Cordelia’s exceptionally written character given similar prominence to Lear’s fool. According to this analysis, Shakespeare’s point of view was “necessarily male,” and that there was a challenging other that was female. The gender divide among Shakespeare’s characters offer critics with a different analysis into the genre-bending Shakespeare, who is often described as one of the most gender-sensitive playwrights of his time. According to Bamber, Shakespeare’s
the purpose of drama is “to depict a conflict that will hold the attention of the audience and provoke a progressively strong emotional response within a relatively short period of time.” (Vitzthum) This method of pathos, or the emotional quality of the text (Hannah), has been used for one purpose, to help the reader relate the work to his or her own life. An interpretation of Sontag’s quote is put best by writer Phillip C. Kolin in his collection, Othello: New Critical Essays: drama “disturbs the
Arguments on Inner City Issues Andrew Burnside The Wire is a crime drama that takes place in Baltimore and explores the lives of both the criminal and police organizations. Yet what differentiates this television program from all the other police dramas, both past and present, is its emphasis on societal issues in America rather than the crimes themselves. Simon's main purpose for diverting from the traditional format of the cop drama is to address the issues of racism and poverty, and how they contributed
There is much emphasis in our days on the concept of dialogue. Most people simply equate the word with discussion and more and more we hear about how the Church should dialogue with the world; but what is dialogue? For someone it means to put aside one’s identity, or rather one’s faith, in the name of a lowest common denominator or the quiet living, a symbol of a Church that compromises with the world watering down its doctrine. In this work I have committed myself to try to demonstrate that dialogue
A critical study has been carried out in the earlier chapters to explore Flannery O'Connor's fictional works with respect to the study of human relationships and the nuances of the truth-seeking concerns exemplifying interesting realities. The study recorded in this thesis illustrates that there is a repetition of retreat patterns in human relationships on the canvas of the familial, societal and spiritual altitudes. In O’Connor’s fiction, human relationships are understood to be perverted and strange
Woman: God’s second mistake? Friedrich Nietzsche, a German philosopher, who regarded ‘thirst for power’ as the sole driving force of all human actions, has many a one-liners to his credit. ‘Woman was God’s second mistake’, he declared. Unmindful of the reactionary scathing criticism and shrill abuses he invited for himself, especially from the ever-irritable feminist brigade. The fact and belief that God never ever commits a mistake, brings Nietzsche’s proclamation dashingly down into the dust bin