T. S. Eliot, The Jew of Malta: Farcical and symbolical elements, anti-christian elements, anti-muslim elements, dramatic technique PDF Download
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Author: Katharina Eder
Publisher: GRIN Verlag
ISBN: 3640915046
Category : Literary Criticism
Languages : en
Pages : 15
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Book Description
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2, University of Vienna, language: English, abstract: The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the “ludicrous” and the “terrible”. T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was “terribly serious”. According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play ́s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36). Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal doubledealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue. An example of this can be found in II.iii when Barabas is talking to Lodowik: “The diamond that I talk of, ne ́er was foiled”. The diamond will be foiled though when he touches it. Another example can be found in Act I.ii, when Barabas and Abigail are preparing for the retrieval of gold and money from their former home, now confiscated by the governor and turned into a nunnery.
Author: Katharina Eder
Publisher: GRIN Verlag
ISBN: 3640915046
Category : Literary Criticism
Languages : en
Pages : 15
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Book Description
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2, University of Vienna, language: English, abstract: The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the “ludicrous” and the “terrible”. T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was “terribly serious”. According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play ́s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36). Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal doubledealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue. An example of this can be found in II.iii when Barabas is talking to Lodowik: “The diamond that I talk of, ne ́er was foiled”. The diamond will be foiled though when he touches it. Another example can be found in Act I.ii, when Barabas and Abigail are preparing for the retrieval of gold and money from their former home, now confiscated by the governor and turned into a nunnery.
Author: Katharina Eder
Publisher: GRIN Verlag
ISBN: 3640915011
Category :
Languages : en
Pages : 33
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Book Description
Seminar paper from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2, University of Vienna, language: English, abstract: The Jew of Malta is often amusing and it would be possible to regard it simply as a brilliant theatrical entertainment intended to make one laugh rather than think. The problem here is to maintain the right balance of the "ludicrous" and the "terrible". T.S.Eliot was aware of this problem. Even though he preferred to classify the play as a farce rather than as a tragedy, he was careful to emphasise that its humour was "terribly serious". According to Bawcutt, the Jew of Malta is a harsh and disturbing comedy, near to ridicule, not the cheerful laughter which relaxes and heals. It should not distract one from the play ́s seriousness, but intensify it, by making us aware of the ludicrous instability of our attitudes and the absurdity of our pretensions to moral superiority. The play may seem at times a parody of normal human behaviour; even so, it is the kind of parody that is uncomfortably close to reality. (Bawcutt 1978:36). Several asides in the main plot of The Jew of Malta assume comic function and devices of double entendre (double meaning) are applied. Several asides are unspoken thoughts of a character or confidentially and silently uttered messages addressed to another character, but most of the asides are examples of dramatic irony, in the way that they reveal the innermost thoughts of the characters in contrast to what they actually say. They may reveal doubledealing and the hypocrisy in this way but sometimes also the true honesty and virtue of a speaker. (cf. Abigail, III.iii). They also may function as a dramatic device to raise suspense, anticipating a forthcoming event, such as for example murder or intrigue. An example of this can be found in II.iii when Barabas is talking to Lodowik: "The diamond that I talk of, ne ́er was foiled". The diamond will be foiled though when he touches it. Another
Author: Anthony Julius
Publisher:
ISBN:
Category : Antisemitism
Languages : en
Pages : 308
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Book Description
Author: Pia Witzel
Publisher: GRIN Verlag
ISBN: 3640904966
Category :
Languages : en
Pages : 53
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Book Description
Seminar paper from the year 2002 in the subject English Language and Literature Studies - Literature, grade: 1,0, University of Dusseldorf "Heinrich Heine" (Institut für Anglistik und Amerikanistik), course: Elizabethan Stage Villains - Shakespeare and Marlowe, language: English, abstract: "Marlowe's Jew of Malta is a most puzzling play" in different respects. Firstly, there is the question of its genre: It is the one play of Marlowe's that strains most obviously against its apparent classification as a tragedy. Secondly, there are many different readings of the play. Is The Jew of Malta analogically a "serious farce", a "comedy of evil", a "tragic farce"or plainly an "ambiguous sort of drama"?3 Furthermore, a question which has often been raised, is, whether the text we have today is corrupt, and if it was written by someone else from the second act onwards. The reason behind all those questions and the play's ambiguity seems to be the protagonist Barabas. His character, one could argue, is not easy to analyze, nor is his motivation or disposition, as this is what was the focus of analysis in the past. The difficulty in explaining this character might result from different common suggestions what "kind of protagonist" he is or what his dramatic function might be respectively. Thus Barabas is a conglomerate of stereotypes - as Jew, devil, Machiavel, and a dramatic persona fulfilling different narrative and conventional functions - as villain, Vice and protagonist, etc. The three most frequent characterizations are to be considered: the Vice figure, the stereotyped Jew and the stage Machiavel. While the Vice and the stereotyped Jewishness are often mentioned merely as aspects of Barabas's character, the Machiavellian is the most common and distinctive interpretation. For the sake of completeness the aspect of Machiavellianism is discussed very briefly in chapter 2, but a more detailed discussion of the topic follows in part 3 and 4 of this paper. It will be analyzed
Author: Melissa Grönebaum
Publisher: GRIN Verlag
ISBN: 3656587639
Category : Literary Criticism
Languages : en
Pages : 3
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Book Description
Essay from the year 2013 in the subject English - Literature, Works, grade: 2,0, National University of Ireland, Galway, language: English, abstract: Barabas is a very rich but never as a citizen of Malta accepted Jew, who is hated for being rich and for being a Jew. He therefore is more or less alienated from Malta’s Christian society although he is quite important for the people. Barabas, however, seems to accept his social position; in fact, he even prefers to be hated, but rich, successful, and Jewish instead of being "pitied in a Christian poverty." At the beginning of the play, Barabas is displayed as a wealthy and shrewd but also very selfish and intelligent man, whose motivation is money only. During the story Barabas undergoes a change of personality and presents his evilness more and more.
Author: Beatrice Groves
Publisher: Cambridge University Press
ISBN: 1316419185
Category : Literary Criticism
Languages : en
Pages : 283
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Book Description
This book explores the fall of Jerusalem and restores to its rightful place one of the key explanatory tropes of early modern English culture. Showing the importance of Jerusalem's destruction in sermons, ballads, puppet shows and provincial drama of the period, Beatrice Groves brings a new perspective to works by canonical authors such as Marlowe, Nashe, Shakespeare, Dekker and Milton. The volume also offers a historically compelling and wide-ranging account of major shifts in cultural attitudes towards Judaism by situating texts in their wider cultural and theological context. Groves examines the continuities and differences between medieval and early modern theatre, London as an imagined community and the way that narratives about Jerusalem and Judaism informed notions of English identity in the wake of the Reformation. Adopting an interdisciplinary approach, this volume will interest researchers and upper-level students of early modern literature, religious studies and theatre.
Author: Nicholas Monsarrat
Publisher: Hachette UK
ISBN: 1780224451
Category : Fiction
Languages : en
Pages : 464
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Book Description
'One of the most memorable characters of post-war fiction' Daily Express A classic novel set in the siege of Malta 1940-1942 from the bestselling author of The Cruel Sea Father Salvatore was a simple, lumbering priest, a Kappillan serving the poor Valetta, when war came out of the blue skies to pound the island to dust. Now amid the catacombs discovered by a chance bomb, he cared for the flood of homeless, starving, frightened people who sought shelter from the death that fell unceasingly from the sky. His story, and the story of Malta, is told in superbly graphic pictures of six days during the siege. Each of those days brought forth from the Kappillan a message of inspiration to keep them going - the legendary tales of six mighty events of Malta's history which shone through the centuries and gathered them together in a fervent belief in their survival.
Author: Edna Nahshon
Publisher: Cambridge University Press
ISBN: 110816160X
Category : Literary Criticism
Languages : en
Pages : 457
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Book Description
Shakespeare's The Merchant of Venice occupies a unique place in world culture. As the fictional, albeit iconic, character of Shylock has been interpreted as exotic outsider, social pariah, melodramatic villain and tragic victim, the play, which has been performed and read in dozens of languages, has served as a lens for examining ideas and images of the Jew at various historical moments. In the last two hundred years, many of the play's stage interpreters, spectators, readers and adapters have themselves been Jews, whose responses are often embedded in literary, theatrical and musical works. This volume examines the ever-expanding body of Jewish responses to Shakespeare's most Jewishly relevant play.
Author: Harold Bloom
Publisher: Penguin
ISBN: 157322751X
Category : Literary Criticism
Languages : en
Pages : 769
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Book Description
"The indispensable critic on the indispensable writer." -Geoffrey O'Brien, New York Review of Books A landmark achievement as expansive, erudite, and passionate as its renowned author, this book is the culmination of a lifetime of reading, writing about, and teaching Shakespeare. Preeminent literary critic-and ultimate authority on the western literary tradition, Harold Bloom leads us through a comprehensive reading of every one of the dramatist's plays, brilliantly illuminating each work with unrivaled warmth, wit and insight. At the same time, Bloom presents one of the boldest theses of Shakespearean scholarships: that Shakespeare not only invented the English language, but also created human nature as we know it today.
Author: Thomas Sowell
Publisher: Basic Books
ISBN: 0465096778
Category : Business & Economics
Languages : en
Pages : 576
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Book Description
In Wealth, Poverty, and Politics, Thomas Sowell, one of the foremost conservative public intellectuals in this country, argues that political and ideological struggles have led to dangerous confusion about income inequality in America. Pundits and politically motivated economists trumpet ambiguous statistics and sensational theories while ignoring the true determinant of income inequality: the production of wealth. We cannot properly understand inequality if we focus exclusively on the distribution of wealth and ignore wealth production factors such as geography, demography, and culture. Sowell contends that liberals have a particular interest in misreading the data and chastises them for using income inequality as an argument for the welfare state. Refuting Thomas Piketty, Paul Krugman, and others on the left, Sowell draws on accurate empirical data to show that the inequality is not nearly as extreme or sensational as we have been led to believe. Transcending partisanship through a careful examination of data, Wealth, Poverty, and Politics reveals the truth about the most explosive political issue of our time.
