A detailed study of Act III, Scene II of 'The Duchess of Malfi' (until Ferdinand's exit)
A detailed study of Act III, Scene II of 'The Duchess of Malfi' (until Ferdinand's exit) The scene in question is a particularly pivotal scene in terms of plot and character development, as it entails the last meeting between the Duchess and her husband Antonio, as well as a major brawl between the Duchess and her brother Antonio. The scene also brings out the true essences of the Duchess' relationship with both Antonio and Ferdinand, as in each case all characters are exposed through either immense love, or hatred. One of the main themes developed in this scene is female empowerment through the Duchess. This is shown through her dominant nature in her relationship with Antonio, and her brave and profound response when she is verbally threatened by Ferdinand. The scene is clearly divided into two; the Duchess' meeting with Antonio and Cariola, followed by her encounter with Ferdinand. It begins with the Duchess and Antonio having a light-hearted conversation, with a somewhat sexual tone. Tied in with the theme of secrecy throughout the play, this event proves the success of their love to the audience. This secret that they have kept has put the Duchess under much scrutiny, as well as jeopardising both of their lives for several years, and yet they still manage to sustain a loving relationship. "I must lie here. Must? You are a lord of misrule. Indeed, my rule is only in
Dream Sequences
Dream Sequences in Rudolfo Anaya's BLESS ME, ULTIMA There are always some reasons behind the election of one or another topic about which is going to be focused an essay of these characteristics. It is because of this that it seems to me proper to begin with a sort of explanation of why I felt attracted by the theme of dreams in this Anaya's novel. Something that will drive me to the latter analysis and development of dreams; their function, meaning, evolution and finally a conclusion that would synthesize this theme within the whole novel. The reasons were maybe very common: I thought that there was something hidden behind these dreams, that they could have a function, that it might be that Anaya used them influenced by some psychological movement (like Freud, for instance). So I was interested in answer all these questions and prove all my founded suspicions. Some of them were more or less clear just at the beginning of the book (it was obvious that the first Antonio's dreams have some meaning, at least for him, because they foreshadow the future or offered a clear vision of the past) While other of my suspicions were not so clear and needed some investigation to be done. The fact is that I was only at the beginning. And I knew I was going to find more dreams. Were they going to be like the first?. So from these inquiries arose my research process, and the result is
Critical assessment of Trevor Nunn's Twelfth Night and Michael Radford's The Merchant of Venice
Critical assessment of Trevor Nunn's Twelfth Night and Michael Radford's The Merchant of Venice In this essay I will critically assess two adaptations of Shakespeare plays; Twelfth Night directed by Trevor Nunn (1996) and The Merchant of Venice directed by Michael Radford (2004). Both performances use famous British and American actors. Both plays confront the idea of girls dressing as boys, which was common theme in Shakespeare's plays also used in As You Like It and used in Shakespeare in Love as a fictional a basis for Shakespeare's Twelfth Night. This essay will explore the character representation and mise-en-scene of each film. Twelfth Night was directed by Trevor Nunn and made in 1996. It was filmed entirely in Cornwall. The costume and set it simple there is little to distracted the viewer from the story. The music used in Twelfth Night is quite varied there are military extracts used for Sebastian and when Sir Andrew picks a fight with Cesario and more romantic parts for Olivia. All of the non-diegetic sound is instrumental but songs sung by Feste, the fool are also used onscreen as diegetic music. Viola is, in this film played by Imogen Stubbs, represented as a rather weak character. In the play I believe she is meant to be a conventional Shakespearean strong female character, because of the weakness of her character, Cesario is more effeminate than I believe