scholarly journals WOLLSTONECRAFT AND FRIEDAN�S THEORIES HIGHLIGHT THE WOMEN STRUGGLES IN JULIUS CAESAR

2015 ◽  
Vol 13 (2) ◽  
pp. 187
Author(s):  
Ekawati Marhaenny Dukut ◽  
Farhana Malik
Keyword(s):  
William Shakespeare ◽  
Julius Caesar ◽  
Ancient Rome ◽  
Female Characters ◽  
Historical Events ◽  
Roman Women ◽  
Condition Of Women

For centuries, women have been struggling to establish their place in the society and fight for their rights as becoming an equal to men. This article, presents an analysis on the female characters - Portia and Calpurnia of Rome, in Julius Caesar. The play was written by William Shakespeare who based his story on the historical events of Ancient Rome. Making use of Wollstonecraft and Friedans theories, this article aims at examining to what extent the struggles of women are reflected and presented in the play. The struggles of the female characters are intrinsically concerned with the play and extrinsically relates to the condition of women in Ancient Rome. Upon analyzing, it becomes clear that Roman women had less rights and privileges than men and were considered inferior to men. Women in Roman were seen as weak, feeble and unworthy. Although feminism is not even heard of in Shakespeares time, through studying Wollstonecraft and Friedans theories, Portia and Calpurnias struggle can be considered as the springing of feminists actions.

Lesse Greeke? Homer in Jonson and Shakespeare

2016 ◽  
Vol 23 (1) ◽  
pp. 101-126 ◽  
Author(s):  
Robert S. Miola
Keyword(s):  
William Shakespeare ◽  
Free Will ◽  
Ben Jonson ◽  
Dark Side ◽  
Julius Caesar ◽  
Troilus And Cressida ◽  
English Translations ◽  
Love's Labor's Lost ◽  
And Function

Throughout their careers both Jonson and Shakespeare often encountered Homer, who left a deep impress on their works. Jonson read Homer directly in Greek but Shakespeare did not, or if he did, he left no evidence of that reading in extant works. Both Jonson and Shakespeare encountered Homer indirectly in Latin recollections by Vergil, Horace, Ovid and others, in English translations, in handbooks and mythographies, in derivative poems and plays, in descendant traditions, and in plentiful allusions. Though their appropriations differ significantly, Jonson and Shakespeare both present comedic impersonations of Homeric scenes and figures – the parodic replay of the council of the gods (Iliad 1) in Poetaster (1601) 4.5 and the appearance of “sweet warman” Hector (5.2.659) in the Masque of the Nine Worthies (Love's Labor's Lost, 1588–97). Homer's Vulcan and Venus furnish positive depictions of love and marriage in The Haddington Masque (1608) as do his Hector and Andromache in Julius Caesar (1599), which features other significant recollections. Both Jonson and Shakespeare recall Homer to explore the dark side of honor and fame: Circe and Ate supply the anti-masque in the Masque of Queens (1609), and scenes from Chapman's Iliad supply the comical or tragical satire, Troilus and Cressida (c. 1601). Both poets put Homer to abstract and philosophical uses: Zeus's chain and Venus's ceston (girdle), allegorized, appears throughout Jonson's work and function as central symbols in Hymenaei (1606); Homer's depiction of the tension between fate and free will, between the omnipotent gods and willing humans, though mediated, inflects the language and action of Coriolanus (c. 1608). Ben Jonson and William Shakespeare practice a kind of inventive imitatio which, according to classical and neo-classical precept, re-reads classical texts in order to make them into something new.

Et tu, Brute ? – Editorial 1/2018

2018 ◽  
Vol 66 (1) ◽  
Keyword(s):  
William Shakespeare ◽  
Julius Caesar

An den Iden des März 44 vor Christus wurde Julius Cäsar von einer Gruppe Senatoren mit dem Dolch ermordet. Mit dabei Cäsars Verbündeter und Mitstreiter Brutus. Auch Du, Brutus? Diese letzten Worte legte William Shakespeare 1599 in seinem Drama «Julius Caesar» dem Sterbenden in den Mund, als auch Brutus mit dem Dolch zustach. Auch Du hast mich verraten. Wir Schweizer Sportmediziner wurden am 30. Januar 2018 aufgeschreckt. Ein Schweizer «Sportarzt» wurde mit versteckter Kamera überführt, wie er aktiv einem Sportler verbotene leistungsfördernde Medikamente (Doping) empfahl und abgab. Et tu, Brute!

scholarly journals PRZESTĘPSTWO DEZERCJI U SCHYŁKU OKRESU REPUBLIKAŃSKIEGO

2016 ◽  
Vol 11 (1) ◽  
pp. 91
Author(s):  
Tomasz J. Banyś
Keyword(s):  
Julius Caesar ◽  
Ancient Rome ◽  
General Lack ◽  
Republican Period ◽  
Military Equipment ◽  
Left Behind ◽  
Military Unit ◽  
Early Republican ◽  
Military Law

DESERTION AS A STANDALONE CRIME IN ANCIENT ROMESummary Desertion as a standalone crime in ancient Rome was penalised since the early republican period. While there are a limited number of sources available, certain characteristics of the act of desertion can be established, and so it can be stated to a certainty that absence from the signs or banners of a given military unit without proper authorisation, abandoning an officer, one’s post or the standard, or fleeing from combat were all considered desertion. The pressures of the later republican period demanded increased discipline in the army; therefore Gaius Julius Caesar began to treat the act of abandoning military equipment (weapons) as a form of desertion and introduced proper policy to counter such behavior, encouraging the troops to adorn their equipment so it would seem too precious to be left behind. This very form of desertion has long been considered to have emerged in later times, during the principate, however accounts given by Suetonius and Polyaenus on Caesar’s policy seem to imply the contrary, despite the general lack of development of military law during that time.

scholarly journals Comparative Analysis of Intelligent Devil Villains in W. Shakespeare’s Tragedies: Macbeth, Julius Caesar and Othello

2020 ◽  
Vol 6 (4) ◽  
pp. 527-531
Author(s):  
M. Tursunova
Keyword(s):  
Comparative Analysis ◽  
William Shakespeare ◽  
Julius Caesar ◽  
Similarities And Differences

This article compares three prominent villains — Macbeth, Brutus and Iago in three famous tragedies: Macbeth, Julius Caesar and Othello by William Shakespeare according to the terms of intelligence and devilry. These two main aspects are considered for the analysis to find the main similarities and differences and categorize their villainy on the basis of devilry.

scholarly journals Characterization in William Shakespeare’s Julius Caesar

2020 ◽  
Vol 6 (2) ◽  
pp. 66
Author(s):  
Esmeralda Subashi
Keyword(s):  
High School ◽  
William Shakespeare ◽  
World Wide ◽  
School Curriculum ◽  
Julius Caesar ◽  
Special Focus ◽  
Moral Choice ◽  
High School Curriculum ◽  
Political Implications ◽  
English Speaking

Julius Caesar, one of Shakespeare finest tragedies, has baffled readers, critics and scholars alike for centuries. It still remains one of the most read plays written by William Shakespeare and it has been part of high school curriculum in many English speaking countries world-wide. One of the most important features of it is the ambiguous and ambivalent portrayal of its characters and this paper endeavors to elaborate on the kaleidoscopic characterization in Julius Caesar by exploring its main characters with a special focus on the two tragic heroes of this play: Caesar and Brutus. Also, the paper will deal with some other important aspects of the play such as its political implications, its characteristics as a problem play and a tragedy of moral choice by building upon a wide corpus of critical criticism on Julius Caesar, and finally it will attempt to work out the play’s relevance to the 21st century readers and audiences.

scholarly journals A influência de Shakespeare em Grande sertão: veredas – as Três Mulheres e os Três Metais / Shakespeare’s Influence in Grande sertão: veredas – The Three Women and the Three Metals

2021 ◽  
Vol 30 (2) ◽  
pp. 100
Author(s):  
Daniel Cavalcanti Atroch
Keyword(s):  
William Shakespeare ◽  
Precious Metals ◽  
King Lear ◽  
The Novel ◽  
Female Characters ◽  
Gold Silver ◽  
True Love ◽  
Joao Guimaraes Rosa ◽  
The Right

Resumo: Este artigo aborda como é atualizado, no Grande sertão: veredas, um motivo fundamental para a tragédia Rei Lear: a escolha amorosa envolvendo três mulheres relacionadas ao ouro, à prata e ao chumbo. A simbologia subjacente aos metais é determinante para a caracterização das personagens femininas tanto do romance quanto da tragédia, analisadas, aqui, em perspectiva comparativa. Em Rei Lear, os metais preciosos, o ouro e a prata, estão associados a Goneril e Reagan, as filhas más que herdam o reino, enquanto Cordélia, a filha bondosa e preferida do rei, é representada pelo chumbo e acaba deserdada. Em Grande sertão: veredas, o ouro e a prata figuram na caracterização de Nhorinhá, a prostituta por quem Riobaldo se apaixona, e Otacília, sua esposa, enquanto Diadorim, o verdadeiro amor, está relacionado ao chumbo e permanece sublimado. Assim, os metais preciosos simbolizam, em ambas as obras, o equívoco amoroso, enquanto o chumbo guarda a mulher certa – Cordélia na tragédia, e Diadorim no romance. Diadorim e Cordélia possuem, ainda, outras analogias: ambas são filhas de grandes líderes, dedicam fidelidade irrestrita ao pai, possuem ligação com o arquétipo da donzela-guerreira e suas mortes representam momentos de anagnórisis para Riobaldo e Lear.Palavras-chave: literatura comparada; Grande sertão: veredas; João Guimarães Rosa; Rei Lear; William Shakespeare.Abstract: This article discusses how it is updated, in Grande sertão: veredas, a fundamental theme for the tragedy King Lear: the love choice involving three women related to gold, silver and lead. The symbology related to the metals is decisive for the characterization of the female characters of both the novel and the tragedy, analyzed here, in a comparative perspective. In King Lear, the precious metals, gold and silver, are associated with Goneril and Reagan, the evil daughters who inherit the kingdom, while Cordelia, Lear’s kind and preferred daughter, is represented by lead and ends up disinherited. In Grande sertão: veredas, gold and silver emerge in the characterization of Nhorinhá, the prostitute with whom Riobaldo falls in love, and Otacília, his wife, while Diadorim, the true love, is related to lead, and remains sublimated. Thus, the precious metals, in both works, symbolize the loving mistake, while the lead keeps the right woman – Cordelia, in the tragedy, and Diadorim in the novel. Diadorim and Cordélia also have other analogies: both are daughters of great leaders, dedicate unrestricted fidelity to their father, have a connection with the warrior-maiden archetype, and their deaths represent moments of anagnorisis for Riobaldo and Lear.Keywords: comparative literature; Grande sertão: veredas; João Guimarães Rosa; King Lear; William Shakespeare.

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