desire, slaves did not have that. Beloveds ghost represents desire that can never be fulfilled. A metaphore for guilt and grief. Beloved becomes the ghost who haunts the whole american nation. The ghost of enslavement for the blacks. American Drama 08.05.2013 Quite late to emarge in America. Puritans thought that drama was dirty. Most themes were taken directly from european plays. Copyright laws. Gradually things started to change and in the 19c the majority of plays was mostly sentimental comedy and romantic tragedy and the war of independent, alot of political satire. Soon comedy of manners became quite prominent. Things got more interesting when melodrama became important. Melodrama depicts a simplyfying moral universe in which good and evil are clear cut and so we have a hero and a villain. There is often struggle for dominance between the hero and villain. The struggle is violent and sensational. Usually good wins. American melodrama in the 19c centers on
STYLISTICS 1. Style, stylistics, a survey of stylistic studies The term ,,style" is polysemantic. Latin ,,stilus"--a writing instrument used by the ancients for writing on waxed tablets. Soon, the meaning was extended to denote the manner of expressing one's ideas in written or oral form. Jonathan Swift said: ,, Style is proper words in proper places" Present day--half a dozen meanings: · the characteristic manner in which a writer expresses his ideas (Style of Byron) · the manner of expressing ideas characteristic of a literary movement or period (symbolism, romanticism) · the use of lg. typical of a literary genre (comedy, drama, novel) · the selective use of lg that depends on spheres of human activity. These are called functional styles or registers (fiction, newspaper) Stylist...
äkki peakas suhtumist muutms. Zaiid tormab selle peale uksest välja ja läinud ta ongi. +24 Koolis on J-l kummaline- üksteise järel käivad klassikaaslased tema käest vabandust palumas, mõne tahaks J pikalt saata, aga ei taha- pole mõtet enda elu keeruliseks teha ja vana vimma üles kiskuda. Vahetundidel astub ta üles uute koomuskikavadega. Neid mõtleb ta nüüd juba kodus välja, sest teab, et neid temalt oodatakse ja mõni skets on juba täiesti korraliku stan up comedy mõõtu ja võiks hakata sellega mööda Eesti väiklinnu tuuritama. Enamik tunde istub J nüüd Biankaga, neil on peale seda klubikülastust eriline side ja ühine saladus. Nad käivad seal edasi igal reedel. Kohus on läbi- see ei olnudki nii hirmus. Kohus on lihtsalt väikene koosolekusaal kus ta Ragnar Lehoga tõtt vaatas ja otsus ette loeti. J saab kogu talle kuuluva 10 tuhat krooni ja moraalse kahju eest 8 tuhat viissada krooni.
oral form. Jonathan Swift defined style as "proper words in proper places". In present day English the word "style" is used in about a dozen of principle meanings: 1. the characteristic manner in which a writer expresses his/her ideas (e.g. style of Byron) 2. the manner of expressing ideas, characteristic of a literary movement or period 3. the use of language typical of a literary genre (e.g. the style of a comedy, drama, novel). 4. the selective use of language that depends on spheres / areas of human activity (e.g. style of fiction, scientific prose, newspapers, business correspondence, etc.). STYLISTICS Stylistics is the study of style. The very term "stylistics" came in more common use in English only some 45 years ago. Stylistics is a part of style; it studies principles of selecting and using different linguistic means (grammatical and phonetic) that
reinterpreted in diverse cultural and political contexts throughout the world. Source: Wikipedia Also available on Feedbooks for Shakespeare: • Romeo and Juliet (1597) • Macbeth (1606) • A Midsummer Night's Dream (1596) • Julius Caesar (1599) • Othello (1603) • The Merchant of Venice (1598) • Much Ado About Nothing (1600) • King Lear (1606) • The Taming of the Shrew (1594) • The Comedy of Errors (1594) Note: This book is brought to you by Feedbooks http://www.feedbooks.com Strictly for personal use, do not use this file for commercial purposes. 3 Act I SCENE I. Elsinore. A platform before the castle. FRANCISCO at his post. Enter to him BERNARDO BERNARDO Who's there? FRANCISCO Nay, answer me: stand, and unfold yourself. BERNARDO Long live the king! FRANCISCO Bernardo? BERNARDO He
In present day English the word "style" is used in about a dozen of principle meanings: 1. the characteristic manner in which a writer expresses his/her ideas (e.g. style of Byron). 2. the manner of expressing ideas, characteristic of a literary movement or period (e.g. symbolism, romanticism, renaissance). 3. the use of language typical of a literary genre (e.g. the style of a comedy, drama, novel). 4. the selective use of language that depends on spheres / areas of human activity (e.g. style of fiction, scientific prose, newspapers, business correspondence, etc.). These are called functional styles or registers. Stylistics is the study of style. In spite of the variety of styles English Stylistics has not been discussed on the same scale as French or German stylistics; it has not been discussed thoroughly.
kaheks aastaks vangi. Siis kolis Prantsusmaale. Tema teosed olid realismist päris kaugel, kohati realismivastased. Varasemas loomingus komöödiad, menukaim ,,Salome" 1893. ,,Salomes" on kasutatud teemat vanast testamendist. Wilde ülistab armastust ja naudingut ning kuidas sellega kaasneb surm ja kannatus. Sajandivahetusel sai dändi prototüübiks. Tema looming ja teatrikirjutised tolleaegse realismi vastased. Kõige menukamad ühiskonnakomöödiad, mida nimetati comedy of manners: sellega taaselustas inglise dramaturgia, andis komöödiale tagasi rahvusliku koloriidi. ,,Lady Windermere'i lehvik" 1892, ,,Tähtsusetu naine" 1983, ,,Ideaalne abikaasa" 1895, ,,Kui tähtis on olla tõsine" 1895. Tegelasteks kitsas suletud ring, kõrgem seltskond, teemaks sageli peenutsevate tegelaste võltsmoraali ja silmakirjalikkuse paljastamine. Hea stiil, keelekasutus ja dialoogi tehnika. See andis inglise komöödiale originaalse nüansi
TARTUFFE A COMEDY CHARACTERS MADAME PERNELLE, mother of Orgon ORGON, husband of Elmire ELMIRE, wife of Orgon DAMIS, son of Orgon MARIANE, daughter of Orgon, in love with Valere CLEANTE, brother-in-law of Orgon TARTUFFE, a hypocrite DORINE, Mariane's maid M. LOYAL, a bailiff A Police Officer FLIPOTTE, Madame Pernelle's servant The Scene is at Paris ACT I SCENE I MADAME PERNELLE and FLIPOTTE, her servant; ELMIRE, MARIANE, CLEANTE, DAMIS, DORINE MADAME PERNELLE
expression, for political careerism, economic mismanagement and mass executions. The new era was named “the thaw of Khruschev”. Intellectuals felt relief and hoped for a better future. Khruschev allowed Alexander Solzhenitsyn’s story One Day in the Life of Ivan Denisovich to be published in the literary magazine Novyi Mir in 1962. Estonian writers and artists obtained some freedom of expression, but certainly not the freedom in the Western sense. In literature satire and comedy were revived and international relationships began to develop again. A new generation of writers rose to prominence (Lehte Hainsalu, Uno Laht and Jaan Kross). Jaan Kross (1920-2008), renowned today for his historical novels1, was originally noted for his poetry, his collection Söerikastaja (The Coal Enrichment Facility Worker, 1957) though primarily satirical, critical of the times and intellectual, promoted not only poetry but also helped refresh the literary climate
Those execu- tives know precisely what they are doing. With the mystery of the widespread use of laugh tracks solved, we are left with a more perplexing question: Why does canned laughter work on us the way it does? It is no longer the television executives who appear peculiar; they are acting logi- cally and in their own interests. Instead, it is the behavior of the audience that seems strange. Why should we laugh more at comedy material afloat in a sea of mechanically fabricated merriment? And why should we think that comic flotsam funnier? The executives aren't really fooling us. Anyone can recognize dubbed laughter. It is so blatant, so clearly counterfeit, that there can be no confusing it with the real thing. We know full well that the hilarity we hear is irrelevant to the humorous quality of the joke it follows, is created not spontaneously by a genuine
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induced trance. Your attention would, therefore, no longer be totally held captive by the images on the screen. The content of the program, if there is a certain quality to it, can to some extent counteract and sometimes even undo the hypnotic, mind- numbing effect of the medium of TV. There are some programs that have been extremely helpful to many people; have changed their lives for the better, opened their heart, made them more conscious. Even some comedy shows, although they may be about nothing in particular, can be unintentionally spiritual by showing a caricature version of human folly and the ego. They teach us not to take anything too seriously, to approach life in a lighthearted way, and above all, they teach by making us laugh. Laughter is extraordinarily liberating as well as healing. Most of television, however, is as yet controlled by people who are totally controlled by the ego, and so the
brilliant idea of a literal key, he created the modern concept of polyalphabetic substitution. It is clear that a key that changes with each message provides more security than one that is used over and over for several messages. The ultimate, of course, is a key that changes with each message. Several men devised an exceedingly clever way to ensure this change: use the message itself as its own key. This is called an "autokey." The comedy of errors and neglect that constitutes so much of the historiography of cryptology reached a climax of irony when it came to the inventor of the first really acceptable autokey system. It ignored this important contribution and instead named a regressive and elementary cipher for him though he had nothing to do with it. And so strong is the grip of tradition that, despite modern scholarship, the name of Blaise de Vigenere remains firmly attached to what has become the archetypal system of
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