Erotic Language As Dramatic Action in Plays by Lyly and Shakespeare
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The Art of Thinking Clearly
For Sabine The Art of Thinking Clearly Rolf Dobelli www.sceptrebooks.co.uk First published in Great Britain in 2013 by Sceptre An imprint of Hodder & Stoughton An Hachette UK company 1 Copyright © Rolf Dobelli 2013 The right of Rolf Dobelli to be identified as the Author of the Work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of binding or cover other than that in which it is published and without a similar condition being imposed on the subsequent purchaser. A CIP catalogue record for this title is available from the British Library. eBook ISBN 978 1 444 75955 6 Hardback ISBN 978 1 444 75954 9 Hodder & Stoughton Ltd 338 Euston Road London NW1 3BH www.sceptrebooks.co.uk CONTENTS Introduction 1 WHY YOU SHOULD VISIT CEMETERIES: Survivorship Bias 2 DOES HARVARD MAKE YOU SMARTER?: Swimmer’s Body Illusion 3 WHY YOU SEE SHAPES IN THE CLOUDS: Clustering Illusion 4 IF 50 MILLION PEOPLE SAY SOMETHING FOOLISH, IT IS STILL FOOLISH: Social Proof 5 WHY YOU SHOULD FORGET THE PAST: Sunk Cost Fallacy 6 DON’T ACCEPT FREE DRINKS: Reciprocity 7 BEWARE THE ‘SPECIAL CASE’: Confirmation Bias (Part 1) 8 MURDER YOUR DARLINGS: Confirmation Bias (Part 2) 9 DON’T BOW TO AUTHORITY: Authority Bias 10 LEAVE YOUR SUPERMODEL FRIENDS AT HOME: Contrast Effect 11 WHY WE PREFER A WRONG MAP TO NO -
Quantitative Methods
Empirical Methods Empirical Methods t= a +b Research Landscape • Quantitative = Positivist/post-positivist approach – Evaluate hypotheses via experimentation • Qualitative = Constructivist approach – Build theory from data Overview: Empirical Methods • Wikipedia – Any research which bases its findings on observations as a test of reality – Accumulation of evidence results from planned research design – Academic rigor determines legitimacy • Frequently refers to scientific-style experimentation – Many qualitative researchers also use this term Positivism • Describe only what we can measure/observe – No ability to have knowledge beyond that • Example: psychology – Concentrate only on factors that influence behaviour – Do not consider what a person is thinking • Assumption is that things are deterministic Post-Positivism • A recognition that the scientific method can only answer question in a certain way • Often called critical realism – There exists objective reality, but we are limited in our ability to study it – I am often influenced by my physics background when I talk about this • Observation => disturbance – We can’t test everyone and everything • We are just accumulating evidence. Implications of Post-Positivism • The idea that all theory is fallible and subject to revision – The goal of a scientist should be to disprove something they believe • The idea of triangulation – Different measures and observations tell you different things, and you need to look across these measures to see what’s really going on • The idea that biases can creep into any observation that you make, either on your end or on the subject’s end Experimental Biases in the RW • Hawthorne effect/John Henry effect • Experimenter effect/Observer-expectancy effect • Pygmalion effect • Placebo effect • Novelty effect Hawthorne Effect • Named after the Hawthorne Works factory in Chicago • Original experiment asked whether lighting changes would improve productivity – Found that anything they did improved productivity, even changing the variable back to the original level. -
The Plays of John Lyly Bachelor’S Diploma Thesis
Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Petra Spurná The Plays of John Lyly Bachelor’s Diploma Thesis Supervisor: Mgr. Pavel Drábek, Ph.D. 2009 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature 2 Acknowledgement: I would like to thank my supervisor Mgr. Pavel Drábek, Ph.D. for his valuable guidance and advice. 3 Table of Contents 1. Introduction.................................................................................................................5 2. The Life of Johny Lyly...............................................................................................7 3. Lyly‟s Work..............................................................................................................12 3.1 Specific Conditions...........................................................................................12 3.2 Inventions..........................................................................................................14 4. The Plays...................................................................................................................18 4.1 Introduction to the Eight Plays..........................................................................18 4.2 Allegory.............................................................................................................25 4.3 Sapho and Phao.................................................................................................28 -
Medical References in the Dramas of John Lyly
MEDICAL REFERENCES IN THE DRAMAS OF JOHN LYLY By ALICE WILLCOX NEW YORK MONG the members of Lyly’s must be stopt, or puld out.”1 Most /yk dramatis personae there is often it was “puld out.” The third func yyk only one practitioner of tion of a barber, the one which added ™ medicine. This is Motto, the “surgeon” to his title, was to let blood barber-surgeon in “Midas.” Lyly rep and dress wounds. Lyly does not repre resents him primarily as a comic char sent Motto as performing these duties acter. He is, moreover, a stupid man, but Dello declares that his master is a easily outwitted by two court pages and “Barber and a Surgeon.”2 not beneath deliberately lying about his Lyly also makes a thrust at the ethics abilities in order to gain his ends. of the trade. Motto demands of Dello, The comic relief in “Midas” centers in return for all he has taught him, only in Motto’s struggle with Licio and Pe that he keep secret the plot to regain tulus, court pages, for possession of the the beard. Dello replies, “O sir, you golden beard which the barber shaved know I am a Barber, and cannot tittle from Midas’ chin. Petulus stole it. tattle, I am one of those whose tongues Motto, naturally, wants it back. He are swelde with silence.”3 But Licio hears Petulus complaining of the tooth knows better. He declares that “it is as ache to his friend Licio. When he is hard for a barber to keepe a secrete in certain Petulus can overhear him he his mouthe, as a burning coale in his discusses with his apprentice, Dello, a hand.”4 It is this very loquacity that remarkable cure he has performed on brings about Motto’s downfall. -
Linguistic Diversity: a Qualitative Analysis of Foreign Language Teachers' Category Assembly
Linguistic Diversity: A qualitative analysis of foreign language teachers' category assembly Melinda Dooly Owenby TESI DOCTORAL DIRIGIDA PER DRA. LUCI NUSSBAUM DEPARTAMENT DE DIDÀCTICA DE LA LLENGUA, LA LITERATURA I LES CIÈNCIES SOCIALS UNIVERSITAT AUTÒNOMA DE BARCELONA ABRIL 2005 Acknowledgments The list of people to whom I owe infinite gratitude for their help and support during the conception, development and finalizing of this research is much too long to include here. Hopefully each and every one of them are aware of how grateful I am to them. Particular thanks must be given to my family. Their unflagging encouragement and patience have been the basis of my survival during the years spent on this research. Special mention goes to my mother for her infinite patience, emotional and mental support and superior baby-sitting skills. Also I must thank my father for all his time, energy, effort and boundless wit. He has gone far beyond the call of duty, providing me with excellent suggestions and intriguing ideas and challenges. Needless to say, a special thanks must go to Pablo and Joel for all their patience with me. And of course, I owe a special note of thanks to Luci; without her insight, timely comments and criticisms this never would have been written. She has often been responsible for raising new issues and helping to relate theory to practice so that I might clearly see my way to the end of this project. Needless to say, I alone am responsible for errors and omissions which can be found herein. Seek first to understand and then to be understood. -
Native Witchcraft and the Cunning Woman on the Stage
International Journal of Literature and Arts 2014; 2(5): 130-141 Published online September 10, 2014 (http://www.sciencepublishinggroup.com/j/ijla) doi: 10.11648/j.ijla.20140205.11 ISSN: 2331-0553 (Print); ISSN: 2331-057X (Online) Witches which never flew: Native witchcraft and the cunning woman on the stage Shokhan Rasool Ahmed English Department, University of Sulaimani, Sulaimani-Kurdistan, Iraq Email address: [email protected] To cite this article: Shokhan Rasool Ahmed. Witches which Never Flew: Native Witchcraft and the Cunning Woman on the Stage. International Journal of Literature and Arts. Vol. 2, No. 5, 2014, pp. 130-141. doi: 10.11648/j.ijla.20140205.11 Abstract: In early modern England cunning men and women (often older people on the fringes of society) became easy targets for gossip within rural communities. I will examine some figures of the cunning woman in this period and show how they appear in different senses: the cunning woman as a healer, nurturer, fortune-teller and domestic manager. Mother Sawyer, in The Witch of Edmonton by William Rowley, Thomas Dekker and John Ford (1621), complains of the community of Edmonton that she has been convicted because she is ‘poor, deform’d, and ignorant’ (II.i.3). 1 Sawyer has been abused because she is old and ugly and does not have any means by which to make her living. She is physically portrayed as a contemporary English witch. However Sawyer is not a witch from the beginning of the play, and not presented as one until her community accuse her of witchcraft. After she realizes that there is nothing left to lose, she makes a pact with the devil and thus her identity changes from an old woman into a real witch. -
The Purpose of This Research Was to Study Expectations of Elementary School Children in Two Ways: Experimentally and Observationally
DOCUMENT RESUME ED 102 437 CG 009 427 AUTHOR Entwisle, Doris R.; And Others TITLE 'Expectation Theory in the Classroom. Final Report. INSTITUTION Johns Hopkins Univ., Baltimore, Md. Dept. of Social Relations. SPONS AGENCY Office of Education (DHEN) , Washington, D.C. BUREAU NO 1-0034 PUB DATE Jun 74 GRANT OEG-3-71-0122 NOTE 437p. EDRS PRICE MP-$0.76 HC-$22.21 PLUS POSTAGE DESCRIPTORS *Behavior Development; Elementary Education; *Elementary School Students; *Expectation; Grades (Scholastic); *Individual Development; *Performance; Research Projects; Theories ABSTRACT The purpose of this research was to study expectations of elementary school children in two ways: experimentally and observationally. Expectations may be roughly defined as a child's ideas of his own ability at a particulartask. From the data it appears that childrens'expectations could be raised experimentally by a suitable adult and high expectations in one area generalize into other unrelated areas. The experiments aresummarized in a number of published articles reproduced herein andlisted in the bibliography. The observational data focus on children infirst and second grades in a white middle-class school and in anintegrated lower class school. From the time they enterschool individual children are followed to see how their expectations fortheir own performance in reading, arithmetic, and conductdevelop. Their expectations, and their parents' expectations for them, are repeatedly measured. Children in both places have, onthe average, very high expectations for themselvesbefore they get a report card, higher than their parents..These expectations do notdiminish much when marks are lower than expected; in fact forthe majority, expectations are maintained over first grade. Childrenwhose marks improve are likely to be those whose expectations exceededmarks. -
Characters and Characterization in John Lyly's Endymion: the Man In
International Journal of English Literature and Social Sciences Vol-6, Issue-3; May-Jun, 2021 Journal Home Page Available: https://ijels.com/ Journal DOI: 10.22161/ijels Peer-Reviewed Journal Characters and characterization in John Lyly’s Endymion: The Man in the Moone Mufeed Al-Abdullah Associate Professor, Jerash University, Jordan Received: 28 Mar 2021; Received in revised form: 01 May 2021; Accepted: 16 May 2021; Available online: 12 Jun 2021 ©2021 The Author(s). Published by Infogain Publication. This is an open access article under the CC BY license (https://creativecommons.org/licenses/by/4.0/). Abstract— This paper studies the characters and the methods of characterization John Lyly uses in his euphuistic court play Endymion: The Man in the Moon (1591). The characters gather mythological, allegorical, and historical significance and are arranged in a hierarchy from the moon down to earth. The techniques the writer uses include the traditional methods of characterization through speech and action. And since the events in the play do not reach the level of a plot in the Aristotelian definition, which prevailed in the Renaissance, the writer underplays the method of character depiction through action. He, however,gives a lot of attention to portraying the characters through their utterance. This results from the fact that the characters spend most of the time talking about their attitudes, their relationships, and the few events that take place in the play. Lyly also uses the less traditional method of juxtaposition and social positioning. Juxtaposition is generated from the binary nature of Endymion and the crowd of antithetical pairs of characters that populate the drama. -
Robert Johnson from Wikipedia, the Free Encyclopedia
Robert Johnson From Wikipedia, the free encyclopedia Background information Birth name Robert Leroy Johnson Born May 8, 1911 Hazlehurst, Mississippi Died August 16, 1938 (aged 27) Greenwood, Mississippi Genres Delta blues Occupation(s) Musician, songwriter Instruments Guitar, vocals, harmonica Years active 1929 – 1938 Notable instruments Gibson L-1 Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American singer-songwriter and musician. His landmark recordings in 1936 and 1937, display a combination of singing, guitar skills, and songwriting talent that has influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including the Faustian myth that he sold his soul at a crossroads to achieve success. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson had little commercial success or public recognition in his lifetime. It was only after the reissue of his recordings in 1961, on the LP King of the Delta Blues Singers that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Mississippi Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived." Johnson was inducted into the Rock and Roll Hall of Fame as an early Influence in their first induction ceremony in 1986. In 2010, David Fricke ranked Johnson fifth in Rolling Stone′s list of the 100 Greatest Guitarists of All Time. Life and career Early life Robert Johnson was born in Hazlehurst, Mississippi possibly on May 8, 1911, to Julia Major Dodds (born October 1874) and Noah Johnson (born December 1884). -
Dramatic Space and a Willingness to Let the Spectators Get Involved in the Play in Various Ways
Space in Early Modern English Drama Allan Folkestad Space in Early Modern English Drama The Literary Dramaturgy of Space in the Comedies of John Lyly Doctoral Dissertation at the University of Agder University of Agder Faculty of Humanities and Pedagogy 2012 Abstract The present dissertation investigates the literary dramaturgy of space in the comedies of John Lyly (1564-1606), i.e. the ways in which various textual elements contribute to the establishment of both local settings and wider worlds within the plays. Previous readings of Lyly’s literary dramaturgy have tended to focus on the relationship between the stylistic device of the antithesis and the structure of the dramatic worlds, whereas I argue that deeper insight into the literary dramaturgical techniques of Lyly can be achieved by deploying the conceptual framework of semiotics of drama. Rather than comparing Lyly’s dramaturgy to that of Shakespeare, the dissertation adopts a historical perspective where Lyly’s dramatic oeuvre is examined on the background of the dramaturgy of a selection of middle and early sixteenth-century plays. In the final chapter, however, the perspective changes where Lyly’s only urban play, Mother Bombie, is compared to Shakepeare’s Comedy of Errors. Using lists of all the spatialising utterances in a play as my main analytic tool and then sorting these utterances according to certain parameters reveals that whwn compared to the somewhat mechanical declamatory quality of the spatialising utterances of earlier plays, Lyly’s literary dramaturgy of space unfolds more organically from the dialogue and is better integrated with aspects of characterisation. Moreover, to a higher degree than earlier playwrights Lyly allows minor characters to contribute significantly to the spatial dramaturgy of a play in their speeches. -
Was Shakespeare a Euphuist? Some Ruminations on Oxford, Lyly and Shakespeare Sky Gilbert
Brief Chronicles V (2014) 171 Was Shakespeare a Euphuist? Some Ruminations on Oxford, Lyly and Shakespeare Sky Gilbert or Oxfordians, the fact that John Lyly was Oxford’s secretary for fifteen years makes him a significant literary figure. Some Oxfordians have suggested Fthat Lyly’s plays are the works of a young Shakespeare written under a pseudonym. Oxford patronized two theater companies during the 1580s, Oxford’s Boys, and Oxford’s Men. Oxford’s Boys were based at the Blackfriar’s Theatre as well as Paul’s Church. Oxford transferred the boy’s company to Lyly, and Lyly went on to write many plays for them, including Endymion, Sapho and Phao, Gallathea, and Love’s Metamorphosis. John Lyly was born in 1553 or 1554. His grandfather was the noted grammarian William Lyly, famous for having written a widely utilized grammar textbook as well as for founding St. Paul’s School in London. Lyly attended Oxford but left before graduating, finding life more suitable as a poet. In 1579 he published his first novel, Euphues or the Anatomy of Wit. Apparently Lyly’s goal was to become Master of Revels, and he dedicated himself mainly to playwriting after the publication of his first novel. It is significant that Oxford and Lyly were (and are) linked as “Italianate” figures. Alan Nelson, in his biography of the Earl of Oxford, Monstrous Adversary, makes it abundantly clear that Oxford’s trip to Italy and his subsequent return to court flaunting his Italian clothes and manners branded him as not only Italianate, but superficial and effeminate: “His braggadocio is unmatched by manly deeds. -
Fairies in Early Modern English Drama: Fictionality and Theatrical Landscapes, 1575-1615
Fairies in Early Modern English Drama: Fictionality and Theatrical Landscapes, 1575-1615 Kaitlyn Culliton Submitted in fulfillment of the requirements for Doctorate of Philosophy School of English Trinity College Dublin 2019 Contents Summary ..................................................................................................................................................... iii Acknowledgements ..................................................................................................................................... v A Note on the Texts ..................................................................................................................................... v Approximate Composition Dates of Dramatic Works, 1575-1615 ....................................................... vii Introduction ................................................................................................................................................. 1 Chapter One: Elizabethan Entertainments, 1575-1591 ......................................................................... 52 Chapter Two: Early Modern English Stage Plays, 1588-1593 ............................................................ 122 Chapter Three: Demythologization and Composite Landscapes, 1595-1603 .................................... 172 Chapter Four: Counterfeit Fairies and Indoor Landscapes ............................................................... 235 Epilogue: The Afterlife of Fairies .........................................................................................................