scholarly journals Teacher Man

2008 ◽  
Vol II (2) ◽  
pp. 1-2
Author(s):  
Frank McCourt
Keyword(s):  
William Shakespeare ◽  
Julius Caesar ◽  
The One ◽  
Sales Clerk

I went to O'Mahony's Bookshop to buy the first book in my life, the one I brought to America in the suitcase. It was The Works of William Shakespeare: Gathered into One Volume, published by the Shakespeare Head Press, Oldhams Press Ltd. and Basil Blackwood, MCMXLVII. Here it is, cover crumbling, separating from the book, hanging on through the kindness of tape. A well-thumbed book, well marked. There are passages underlined that once meant something to me though I look at them now and hardly know why. Along the margins notes, remarks, appreciative comments, congratulations to Shakespeare on his genius, exclamation marks indicating my appreciation and befuddlement. Inside the cover I wrote, 'Oh, that this too, too solid flesh, etc.' It proves I was a gloomy youth. When I was thirteen/fourteen I listened to Shakespeare plays on the radio of Mrs. Purcell, the blind woman next door. She told me Sheakespeare was an Irishman ashamed of what he came from. A fuse blew the night we listened to Julius Caesar and I was so eager to find out what happened to Brutus and Mark Antony I went to O'Mahony's Bookshop to get the rest of the story. A sales clerk ...

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 Deconstruction of the Construction: Derridean Study of Selected Shakespeare’s Comedies

2020 ◽  
Vol 23 (4) ◽  
pp. 90-120
Author(s):  
Seyyedeh Zahra Nozen ◽  
Pegah Sheikhalipour
Keyword(s):  
William Shakespeare ◽  
The Other ◽  
Literary Texts ◽  
Cultural Norms ◽  
Merchant Of Venice ◽  
Twelfth Night ◽  
The Merchant Of Venice ◽  
As You Like It ◽  
Historical Figure ◽  
The One

Since it was first introduced by Jacques Derrida in the late 1960s, deconstruction, as a method of reading, has been applied to literary texts by critics to reveal the hidden messages of texts and provide opportunities to rethink textual and cultural norms and conventions. While the western tradition has always prioritized tragedy over comedy due to its elegance and graveness, this research tends to focus on comedy as an entity in itself. Tragedy, especially in the Shakespearean sense of the word, has been considered by critics as a “construction” that is well-wrought and perfect in nature. Comedy, on the other hand, is notable for laughing at the laughable and mocking the unfit. Put differently, there has always been a latent, freewheeling “deconstruction” within comedy, especially the Shakespearean. There is, thus, an attempt here to prove, on the one hand, how comedy can be put forth not as an inferior genre but as a supplement to tragedy and, on the other, how comedy moves toward deconstruction and how it tends to subvert or deconstruct the constructions. Investigating a selection of Shakespeare’s comedies including As You Like It, The Merchant of Venice, and Twelfth Night, this study compares and contrasts Shakespearean comedy in light of some Derridean concepts. Along with it, Shakespearean ideas and concepts which are interconnected with those of Derrida are introduced and are buttressed through some meticulously chosen excerpts. Bearing in mind that Derrida is in a habit of deconstructing the so-called established creeds, Shakespeare’s texts are exposed to a deconstructive reading to examine how deceptively simple ideas are dealt with in his selected comedies. Also, as numerous enigmas have for years revolved around the personality of William Shakespeare, this study also aims to take up certain critical idioms of the Derridean canon, elaborate on them and then relate them to the selected plays from the Shakespearean oeuvre in order to disclose some personal aspects of Shakespeare’s personality as a historical figure.

scholarly journals The grammatical treatise "De Analogia" and linguistic conservatism of Julius Caesar in the context of the ancient "language policy"

2019 ◽  
Vol 13 (1) ◽  
pp. 315-329
Author(s):  
Roman V. Svetlov ◽  
Denis A. Fedorov
Keyword(s):  
Language Policy ◽  
Julius Caesar ◽  
Latin Language ◽  
Roman Culture ◽  
The One

In this article are examine certain philological beliefs of Julius Cesar in the context of the “Language Politic” of Roman expansionism. Based on the remaining fragments of the grammatical tract De Analogia, the authors come to the conclusions that Cesar wanted to create a language norm that is free from vulgarities and distortions, the one that adhere to strict grammatical rules, which correspond to the spirit of traditional Roman culture, religion and government. We think that in this treatise Cesar shows himself not only as a jealous defender of linguistic antiquarianism but also as an active political reformer, who corrects and transforms the Latin language, infected, in his view, by the illness of barbarization.

Troas

2003 ◽  
Author(s):  
Clyde E. Fant ◽  
Mitchell G. Reddish
Keyword(s):  
Julius Caesar ◽  
Western Coast ◽  
Alexander The Great ◽  
The Road ◽  
Greco Roman ◽  
Ancient City ◽  
New City ◽  
The One ◽  
The City ◽  
Trees And Shrubs

Called Alexandria Troas to distinguish it from other cities named Alexandria, the city is often referred to simply as Troas. (“The Troad” is the name used for the area around the ancient city of Troy.) What was once a large and important city on the western coast of Asia Minor has today been reduced to a few ruins overgrown by trees and shrubs, receiving only a cursory visit from a small number of sightseers. Troas was an important city in antiquity because of its location. Situated on the Aegean coast almost directly opposite the island of Tenedos (modern Bozcaada), the city became a major trading center. To reach the site of ancient Troas, take highway E87/550 to Ezine. In Ezine turn west onto the road marked for Geyikli and Odunluk Iskelesi. In Geyikli turn south toward Odunluk Iskelesi. The ruins of Alexandria Troas are by the highway that continues south to Gülpinar. Troas was founded circa 310 B.C.E. by Antigonus I Monopthalmus (“the One-Eyed”), one of the successors of Alexander the Great. Antigonus created the new city by forcing the residents of several smaller neighboring towns and communities to move to the new location. Antigonus named the new settlement after himself, giving it the name Antigonia. When Antigonus was killed in 301 by the Macedonian king Lysimachus at the battle of Ipsus in Phrygia, Lysimachus took control of the city and renamed it Alexandria in honor of Alexander the Great. Because of its proximity to Troy, the city became known as Alexandria Troas. With its artificial harbor, the city grew as a commercial and transportation center, becoming the leading city of the Troad during Hellenistic times. Eventually Troas developed into one of the most important cities in the Greco-Roman world due to its command of the western entrance to the Hellespont. Claims were made in the ancient world that Julius Caesar considered moving the capital of the empire to Troas, as also reportedly did Augustus (and, even later, Constantine). Whether true or not, that such ideas circulated in the Roman era and were believed by some people indicates the importance of the city.

in a cognitive environment if the environment provides sufficient evidence for its adoption, and as we all know, mistaken assumptions are sometimes very well evidenced. Anything that can be seen at all is visible, but some things are much more visible than others. Similarly, we have defined ‘manifest’ so that any assumption that an individual is capable of constructing and accepting as true or probably true is manifest to him. We also want to say that manifest assumptions which are more likely to be entertained are more manifest. Which assumptions are more manifest to an individual during a given period or at a given moment is again a function of his physical environment on the one hand and his cognitive abilities on the other. Human cognitive organisation makes certain types of phenomena (i.e. perceptible objects or events) particularly salient. For instance, the noise of an explosion or a doorbell ringing is highly salient, a background buzz or a ticking clock much less so. When a phenomenon is noticed, some assumptions about it are standardly more accessible than others. In an environment where the doorbell has just rung, it will normally be strongly manifest that there is someone at the door, less strongly so that whoever is at the door is tall enough to reach the bell, and less strongly still that the bell has not been stolen. The most strongly manifest assumption of all is the assumption that the doorbell has just rung, the evidence for which is both salient and conclusive. We will have more to say, in chapter 3, about the factors which make some assumptions more manifest than others in a given situ-ation. For the moment it is the fact rather than the explanation that matters. Our notion of what is manifest to an individual is clearly weaker than the notion of what is actually known or assumed. A fact can be manifest without being known; all the individual’s actual assumptions are manifest to him, but many more assumptions which he has not actually made are manifest to him too. This is so however weakly the terms ‘knowledge’ and ‘assumption’ are construed. In a strong sense, to know some fact involves having a mental representation of it. In a weaker sense, to say that an individual knows some fact is not necessarily to imply that he has ever entertained a mental representation of it. For instance, before read-ing this sentence you all knew, in that weak sense, that Noam Chomsky never had breakfast with Julius Caesar, although until now the thought of it had never crossed your mind. It is generally accepted that people have not only the know-ledge that they actually entertain, but also the knowledge that they are capable of deducing from the knowledge that they entertain. However, something can be manifest without being known, even in this virtual way, if only because some-thing can be manifest and false, whereas nothing can be known and false. Can something be manifest without being actually assumed? The answer must again be yes. Assumptions are unlike knowledge in that they need not be true. As with knowledge, people can be said to assume, in a weak sense, what they are capable of deducing from what they assume. However, people do not assume, in any sense, what they are merely capable of inferring non-demonstratively – that is, by some creative process of hypothesis formation and confirmation – from what they assume. Although it presumably followed non-demonstratively from what you

2005 ◽  
pp. 147-147
Keyword(s):  
Mental Representation ◽  
Cognitive Abilities ◽  
Weak Sense ◽  
Sufficient Evidence ◽  
Julius Caesar ◽  
Hypothesis Formation ◽  
Noam Chomsky ◽  
The Moment ◽  
The One ◽  
Cognitive Environment

The Memory of Jesus' Death and the Worship of the Risen Lord

1998 ◽  
Vol 91 (4) ◽  
pp. 335-350 ◽  
Author(s):  
Helmut Koester
Keyword(s):  
Civil War ◽  
Roman Republic ◽  
Julius Caesar ◽  
New Period ◽  
The One

On the Ides of March of the year 44 BCE, the dictator of Rome, Julius Caesar, was assassinated. Nobody knew whether this would reconstitute the Roman Republic of old or would only usher in a new period of civil war like the one that had devastated not only Rome and Italy but also the provinces for many decades before Caesar's ascendancy to sole power.

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 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.

Sign in / Sign up

Export Citation Format

Share Document