Reflections on Shakespeare's Julius Caesar Stephen A
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Blake Snyder's Beat Sheet
NYC Screenwriters Collective Blake Snyder’s Beat Sheet - Explained The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your overall story. Below is an explanation of each beat. The page numbers are not strict, they are approximations of where the beats should occur in a 110 page screenplay. THE BLAKE SNYDER BEAT SHEET (aka BS2) Opening Image (1) – A visual that represents the central struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins. Often mirrors the Closing Image. Set-up (1-10) – Expand on the opening image. Present the main character’s world as it is, and what is missing in their life. Stasis = Death, the “before” life of the protagonist is such that if it stays the same, he or she will figuratively die. In addition, the main character’s flaw, his problem that needs fixing over the course of the story, is revealed. (In many stories, it is not the main character’s flaw, but another central character’s flaw that is presented for him to resolve over the course of the story – for the character to ‘arc’) Theme Stated (5) (during the Set-up) – The message, the truth you want to reveal by the end of your screenplay. What your story is about in a larger sense. Usually, it is spoken to the main character or in their presence, but they don’t understand this truth…not until they go on the journey to find it. -
Mark Antony's Oration from Julius Caesar
NAME: ______________________________________ Mark Antony’s Oration from Julius Caesar In William Shakespeare’s play, Julius Caesar, Caesar has been assassinated in front of the Senate by a group of Roman offi cials, including his friend, Brutus. After the murder, Brutus speaks to the gathered crowd. He convinces them that the conspirators killed Caesar to save Rome. Mark Antony is another Roman offi cial and friend to Caesar who did not participate in the murder. Antony promises Brutus that he will not blame the conspirators if he is allowed to make a speech also. Act III Scene II Friends, Romans, countrymen, lend me your ears; When that the poor have cried, Caesar hath wept: I come to bury Caesar, not to praise him. Ambition should be made of sterner stuff: The evil that men do lives after them; Yet Brutus says he was ambitious; The good is oft interred with their bones: And Brutus is an honourable man. So let it be with Caesar. The noble Brutus You all did see that on the Lupercal Hath told you Caesar was ambitious: I thrice presented him a kingly crown, If it were so, it was a grievous fault; Which he did thrice refuse: was this ambition? And grievously hath Caesar answer’d it. Yet Brutus says he was ambitious; Here, under leave of Brutus and the rest,— And, sure, he is an honourable man. For Brutus is an honourable man; I speak not to disprove what Brutus spoke, So are they all, all honorable men,— But here I am to speak what I do know. -
Augustus Go to and Log in Using Your School’S Log in Details
Timelines – Augustus Go to www.worldbookonline.com and log in using your school’s log in details: Log-in ID: Password: Click on Advanced Type in Augustus in Search box Click the article titled Augustus Read the article and answer the questions below. 1. What date was Octavian (Augustus) born? ___________________________________________________________________________ 2. In which year did Octavian take the name Gaius Julius Caesar Octavianus? ___________________________________________________________________________ 3. Octavian defeated Mark Antony, who had taken control of Rome following Caesar’s death, in which year? ___________________________________________________________________________ 4. Octavian and Mark Antony formed a political alliance, known as the Second Triumvirate, with Markus Aemilius Lepidus (chief priest of Rome). In which year were Marcus Junius Brutus and Gaius Cassius Longinus, Caesar’s chief assassins, defeated at Philippi in Macedonia? ___________________________________________________________________________ 5. What year was another threat, Sextus Pompey (son of Pompey the Great), defeated by Antony and Octavian? ___________________________________________________________________________ 6. In what year did the Triumvirate disintegrate? ___________________________________________________________________________ 7. In what year did Mark Antony and Cleopatra (Queen of Egypt) become lovers? ___________________________________________________________________________ 8. In what year did Octavian go to war against -
Judges in the Classroom the Republic of Rome V. Marcus Brutus
Judges In The Classroom The Republic of Rome v. Marcus Brutus Mock Trial Source: Written by Margaret Fisher. Staff at the Washington State Administrative Office of the Courts (AOC) edited the lesson. For more information, contact AOC Court Services, 1206 Quince Street SE, PO Box 41170, Olympia, WA 98504-1170. For an electronic copy of this lesson, or to view other lesson plans, visit Educational Resources on the Washington Courts Web site at: www.courts.wa.gov/education/. Objectives: 1. Students will conduct a mock trial, follow the sequence of steps in a trial, and employ good techniques for each role. 2. Students will make complex, prepared oral presentations as attorneys and witnesses. 3. Students will demonstrate skills in listening, rapid critical analysis, and extemporaneous speech. 4. Students will gain an understanding of the rules of evidence and procedure. 5. Students will demonstrate knowledge of the law applicable to the case. Grade Level: Grades 6-8 Time: One class period (approximately 50 minutes) Materials: Mock trial packet for the judge (mock trial agenda, stipulated facts, sworn statements, and evidentiary information as included in this lesson). The teacher will prepare all other materials for students ahead of the trial date. Note: This lesson assumes the class completed a multi-disciplinary unit on mock trial preparation. They studied legal concepts and procedures, analyzed the trial process, reviewed historical issues, and prepared for this specific case. Now, the parties are ready to proceed to trial, with you as the judge. Judges in the Classroom Brutus Mock Trial Mock Trial Agenda Procedures: 1. Begin the class by introducing yourself and setting the students at ease. -
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin Text, Study Aids with Vocabulary, and Commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119
INGO GILDENHARD Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary CICERO, PHILIPPIC 2, 44–50, 78–92, 100–119 Cicero, Philippic 2, 44–50, 78–92, 100–119 Latin text, study aids with vocabulary, and commentary Ingo Gildenhard https://www.openbookpublishers.com © 2018 Ingo Gildenhard The text of this work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the text; to adapt the text and to make commercial use of the text providing attribution is made to the author(s), but not in any way that suggests that they endorse you or your use of the work. Attribution should include the following information: Ingo Gildenhard, Cicero, Philippic 2, 44–50, 78–92, 100–119. Latin Text, Study Aids with Vocabulary, and Commentary. Cambridge, UK: Open Book Publishers, 2018. https://doi. org/10.11647/OBP.0156 Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. In order to access detailed and updated information on the license, please visit https:// www.openbookpublishers.com/product/845#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www. -
Performance and Rhetoric in Cicero's Philippics * in Recent Years, the Idea Of
Performance and Rhetoric in Cicero's Philippics * In recent years, the idea of 'performance' has become a more and more important concept for the analysis of literary texts, even if the notion of 'performance' in literary criticism still does not denote a single agreed theory, but is a collective term referring to a number of different aspects and methods. The performance approach seems obvious for some literary genres, like drama and also oratory, for which performance is an essential char acteristic. In the case of orations, in antiquity already a detailed doctrine of the perfect performance was established, both in theory and practice. Building on this knowledge and trying to recover the quintessential context of a speech, people have successfully attempted to explore a Roman orator's potential and to contexrualize Roman orations by reconstructing the delivery of sample speeches.' However, there are further levels of performance to be looked at in a Roman speech if the term 'performance' is understood in a more specific way: there is not only the actio that determines the performance of a complete speech; the texts of transmitted speeches also exhibit passages where the wording shows that the orator bases his argument on the performance situation, particularly by making use of the active participation of the audience. Reactions from the audience are deliberately elicited by the orator, for instance by taking on certain roles; these techniques stem from his rhetorical training (for example, ethopoiia); however, considering and commenting on these reactions subsequently yield a performative dialogue with the audience, mirrored in the text. That opens up the opportunity to reconstruct a performance situation which goes beyond identifying how rhetorical techniques have been realized by the orator. -
English Department Handbook 2021-2022
English Department Handbook 2021-2022 EDH 2019-2020 page 2 Table of Contents I. General Policies and Criteria 5 A. Criteria for Composition Grades 5 B. Grading Philosophy 6 C. Graduated Expectations for Evaluating Composition 6 D. Plagiarism 6 E. Quoting, Paraphrasing, and Acknowledging Sources _________________ 6 F. Credible Sources/Computing & Information Technology 7 G. TurnItIn.com 8 H. Policy on Supplementary Sources 9 I. Rationale for Summer Reading 10 J. Philosophy for Text Selection 10 K. Reading is Foundation 11 "A Comment About Censorship" 13 "Teaching Offensive Literature" 13 II. Critical Writing 15 A. Reading the Literature 15 B. Defining Your Audience 16 C. Developing a Good Thesis for Literary Criticism 16 D. Communicating Effectively 18 III. Rules of Form for Formal Assignments 21 A. Title Page Format 22 SAMPLE Title Page 22 B. Page Format 23 C. Outline Page 22 SAMPLE Outlines 24 D. Citation Introduction/Examples 27 SAMPLE Works Cited 29 E. SAMPLE Middle School Essay 31 F. SAMPLE Upper School Essay 34 EDH 2019-2020 page 3 IV. Common Correction Symbols 42 V. Errors Resulting in Major Deductions 43 VI. Glossary of Literary Terms 45 EDH 2019-2020 page 4 I. General Policies and Criteria A. Criteria for Composition Grades A paper earning a grade of A has the following characteristics: 1. Originality in handling a significant topic 2. Logical development of a central idea with thorough supporting evidence 3. Effective organization with strong transitions and unity 4. Variety in sentence structure 5. Appropriate and lively diction 6. No major errors in grammar or expression (Major errors include, but are not limited to, the following: fragment, run-on sentence, comma splice, incorrect subject-verb or pronoun-antecedent agreement, incorrect verb or pronoun usage) A paper earning a grade of B has the following characteristics: 1. -
Hesitancy As an Innate Flaw in Hamlet's Character: Reading Through a Psychoanalytic Lens
Vol.11(2), pp. 21-28, April-June 2020 DOI: 10.5897/IJEL2020.1330 Article Number: C39C39A63540 ISSN 2141-2626 Copyright © 2020 Author(s) retain the copyright of this article International Journal of English and Literature http://www.academicjournals.org/IJEL Review Hesitancy as an innate flaw in Hamlet's character: Reading through a psychoanalytic lens Abdul Mahmoud Idrees Ibrahim Department of English Language, Thadiq College, Shaqra University, Saudi Arabia. Received 29 January, 2020; Accepted 18 March, 2020 This paper concentrated on hesitancy as a character's flaw from the Freudian psychoanalysis focal point. Hamlet's uncertainty is especially identified with his natural complex which frames his oblivious love for his mom and his lethal abhor for his dad. Freud's ideas of man's concealed want for annihilation and eradication may shape the reason for understanding Hamlet's craving for death and suicide as demonstrated by his popular monologs. Ridiculousness and agnosticism in Hamlet's activities mirror the intrinsic human conduct and flaw. The paper suggests that Hamlet's play ought to be remembered for cutting edge writing courses for its lavishness in examples of general human conduct, for example, the recurrence that is natural to human activities on different events. Educators should expand under study's attention to the nearness of hesitancy and uncertainty as a flaw that can prompt pulverization as Hamlet does. Key words: Character, critics, flaw, Freudian psychoanalysis, Hamlet play, hesitancy, tragedy. INTRODUCTION Hamlet is one of the most astounding and awesome bolsters the idea of the flaw of Hamlet's character and the plays. -
Orson Scott Card's <I>Ender's Game</I>
Cedarville University DigitalCommons@Cedarville Department of English, Literature, and Modern English Seminar Capstone Research Papers Languages 4-15-2013 The eH roic Fallacy: Orson Scott aC rd’s Ender’s Game and the Young Adult Reader Shawn L. Buice Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ english_seminar_capstone Part of the English Language and Literature Commons Recommended Citation Buice, Shawn L., "The eH roic Fallacy: Orson Scott aC rd’s Ender’s Game and the Young Adult Reader" (2013). English Seminar Capstone Research Papers. 17. http://digitalcommons.cedarville.edu/english_seminar_capstone/17 This Capstone Project is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in English Seminar Capstone Research Papers by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Shawn Buice Dr. Deardorff Senior Seminar 15 April 2013 The Heroic Fallacy: Orson Scott Card’s Ender’s Game and the Young Adult Reader Buice 1 This paper was an opportunity to connect my education as a student of literature with my past experience as a reader. I was always more comfortable reading young adult, science fiction or fantasy novels, perhaps because this is what I read growing up. Interestingly, a trend of the past decade in British literary criticism has been to study crossover literature. This includes books that have been widely read by both adults and children. The case for studying adolescent fiction intersects with studies of crossover fiction. Individuals for whom reading was a formative part of their upbringing, by taking a closer look at adolescent fiction can peer into the past and try to understand the events and experiences that shaped the yet unmolded identity. -
Civil War in Rome and the End of the Roman Republic
Civil War in Rome and the End of the Roman Republic © Student Handouts, Inc. www.studenthandouts.com Tiberius Gracchus and Land Reform The lower classes (plebeians) were suffering. 133 BCE – Tiberius Gracchus was elected as tribune He promised land reform of the plebeians Tiberius Gracchus told the people: “You fight and die to give luxury to other men…but you have not a foot of ground to call your own.” Wanted to limit the Wanted to rebuild the The patricians were not Tiberius Gracchus and amount of land each farming class by pleased with Tiberius hundreds of his followers person could own redistributing land Gracchus were murdered Gaius Gracchus and Reform Gaius was elected tribune in 122 BCE, about ten He also wanted land Gaius wanted even more years after his brother reform. than land reform. was murdered. Gaius wanted the Gaius proposed that Gaius wanted a public government to sell grain landless Romans be works program to employ to the poor at reduced settled in the provinces. the poor. prices. Gaius wanted to reform Riots erupted. In 121 the way that taxes were Gaius wanted to decrease BCE, he was killed along collected by publicans in the Senate’s power. with thousands of his the provinces. supporters. Differing Parties Continued to Argue Optimates Populares • Senatorial party • People’s party • Wanted to maintain • Had its strength in the position and the Comitia power of the (Assembly) wealthy patrician • Wanted reforms class Military Dictators Come to Power • Why did military dictators come to power? – Constant fighting in Rome between the rich and poor – Restlessness in the provinces – Slave rebellions (e.g., Spartacus) – Barbarian invasions (though not as serious as they became during the era of the Roman empire) – The people needed strong leadership Gaius Marius (ca. -
Cleopatra VII: How Modernity Altered One of Egypt's Most Infamous
Phi Alpha Theta Pacific Northwest Conference, 8–10 April 2021 Isabeau Newbury, Carroll College, undergraduate student, “Cleopatra VII: How Modernity Altered One of Egypt’s Most Infamous Pharaohs” Abstract: In the course of history, many people are fascinated by the “other” but this fascination stems from works that are not factual depictions of an event or person. If the personification of historical figures is continuously perpetuated in fictional works, how we interpret the evidence can then be affected by these works. This is especially true of the ancient women in power in Ancient Egypt, but specifically in the case of Cleopatra VII, who was the last Pharaoh of Egypt. This study is designed to look at how desire vs fact changes the narrative, and how we need to be cautious about exotifying the “other.” Cleopatra VII’s image in modernity has been shaped by her portrayal in Shakespeare and Dante, as well as in Renaissance and contemporary artwork (including film). By keeping this in mind, it is not wrong to be fascinated by the “other” but it raises the question of how much of a historical person’s character can we really know if the facts we perceive to be true are affected by fictional manipulations of them. Cleopatra VII: How Modernity Altered One of Egypt’s Most Infamous Pharaohs Isabeau Newbury Carroll College Omega-Eta Undergraduate 2 Cleopatra VII: How Modernity Altered One of Egypt’s Most Infamous Pharaohs Women throughout ancient history have been portrayed by those who write it as the damsel in distress, the snake, the jealous and enraged, and as the seductress. -
Jordan Segall This Article Considers the Impact of Labor Market
MASS INCARCERATION, EX‐FELON DISCRIMINATION, & BLACK LABOR MARKET DISADVANTAGE Jordan Segall ABSTRACT This Article considers the impact of labor market discrimination against ex-felons on both the life chances of individual criminal defendants and the systemically unequal American labor market as a whole. I argue that there is an immediate relationship between employment discrimination against ex-felons and the black-white unemployment gap, and that hiring discrimination on the basis of previous criminal record is a form of racial discrimination—not just because of the overrepresentation of black defendants in the criminal justice system but also because employers systematically disfavor black ex-felons compared to whites with identical criminal records. The Article then considers the limited effectiveness of legal antidiscrimination remedies to the problems posed by ex-felon discrimination, and concludes that a vigorous antidiscrimination regime aimed at promoting the hiring of ex-felons cannot be rooted in either contemporary antidiscrimination jurisprudence or in laws that seek to conceal criminal records from employers. Instead, such an effort would require substantial new legislation, predicated on accommodationist antidiscrimination norm and reflecting a new national consensus about how to weigh the benefits of post-prison social reintegration against the rationality of discrimination against ex-felons. INTRODUCTION .....................................................................................................................