Justification of Death in Hamlet Beginning with the Greeks, tragedy has been an essential form of entertainment. Although it has changed slightly over time due to different religious and social values, it is still written and performed to this day. Perhaps the most well known tragedy of all time is Shakespeare's Hamlet. Hamlet is perhaps the epitome of all tragedy. Not only does the tragic hero Hamlet meet his demise, but all the main characters in the play at some point due to some flaw in their character, or some fatal decision, also meet the same fate. It is because of their character flaw and/or their fatal decision at some time during the play that their death can be justified. Polonius, the lord Chamberlain, a counsel to the king, is the first character to be killed. As the play opens up, Polonius is depicted as a rather good person, with noapparent flaws. However, as the play progresses, Polonius possess a flaw in his character, which becomes increasingly evident throughout the play; he is extremely nosy and scrutinizing. Many times during the play Polonius is either seen spying on other characters, or arranging for characters to be spied upon. The first such incident of this occurs when his son Laertes is going off to Paris. He instructs his servant Reynaldo to spy on his while in Paris. Polonius tells him: 'And in part him, but', you may say, 'not well, but if't it be he I mean, he's very wild, Addicted, so and so'. And there put on him What forgeries you may please; marry none so rank As may dishonor him. Take heed of that. But, sir, such wanton, wild, and usual slips As are companions noted and most known To youth and liberty (II.I, 17-24). ... ... middle of paper ... ... Inc., 1973. Mack, Maynard. "The World of Hamlet." Yale Review. vol. 41 (1952) p. 502-23. Rpt. in Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare's Women. N.p.: n.p., 1981. Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html West, Rebecca. "A Court and World Infected by the Disease of Corruption." Readings on Hamlet. Ed. Don Nardo. San Diego: Greenhaven Press, 1999. Rpt. from The Court and the Castle. New Haven, CT: Yale University Press, 1957. Wilson, John Dover. What happens in Hamlet. New York: Cambridge University Press, 1959.
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Pitt, Angela. “Women in Shakespeare’s Tragedies.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from Shakespeare’s Women. N.p.: n.p., 1981.
A picture is more than just a piece of time captured within a light-sensitive emulsion, it is an experience one has whose story is told through an enchanting image. I photograph the world in the ways I see it. Every curious angle, vibrant color, and abnormal subject makes me think, and want to spark someone else’s thought process. The photographs in this work were not chosen by me, but by the reactions each image received when looked at. If a photo was merely glanced at or given a casual compliment, then I didn’t feel it was strong enough a work, but if one was to stop somebody, and be studied in curiosity, or question, then the picture was right to be chosen.
Jorgensen, Paul A. “Hamlet.” William Shakespeare: the Tragedies. Boston: Twayne Publ., 1985. N. pag. http://www.freehomepages.com/hamlet/other/jorg-hamlet.html
Goldwater, Robert and Marco Treves (eds.). Artists on Art: from the XIV to the XX Century. New York: Pantheon Books, 1945.
Art is such an eternal concept and part of our lives. It lives on through generations, transcending many periods, and can speak through many mediums. Art is a way of expression, when nothing else can capture, but is something that can be interpreted in many ways. I chose photography—that which best portrays mankind, in that it hides nothing and only shows what is there to begin with. “It is the language most readily understandable to all and our most important form of communication among nations and cultures.”(Schuneman; Koner 59-60) Two excellent representations of this is a street photographic piece by Garry Winogrand called American Legion Convention- Dallas, Texas 1964 and a piece by George Krause called Skip, Philadelphia 1962.
In Photography and Representation, Scruton advances the view that photography cannot be described as a representational art form in the same sense as painting, and that the photograph is unworthy of aesthetic appreciation in and of itself. Indeed, Scruton suggests that it is not even possible to have an aesthetic interest in the photograph, as such interest is necessarily directed towards its subject. In this sense, photography is merely a facilitator of seeing. It is no more a representational art form than viewing a scene through a pair of spectacles, or observing an object through a magnifying glass. It is a simply a tool for seeing-through, and what one perceives in a photograph is quite literally the object
Gender identity is one’s self perception, sense of belonging to being woman, man or a genderqueer (both
Among so many other mediums, it is of particular interest to note that the practice of photography is not simply bound to one side of the spectrum of creative expression. As much as it can be perceived as an emotional piece of art, a photo can also very well be seen as a showcase of the current social world through an objective lens. What it is that truly defines a photo as being either an artistic endeavor or a means for documentation, however, is the context in which it is meant to be viewed by a particular audience. One single picture, after all, could appear drastically different alongside an article in a newspaper than it would if it were to be framed and hung alongside other photos on a museum wall. This idea is especially prevalent in the pieces shown in the exhibition Freedom Now! Forgotten Photographs of the Civil Rights Struggle, wherein several photos are both seen as a standalone piece, as well as how they appeared in magazines or journals on the Civil Rights movement. Through comparing and contrasting several sets of these pictures, each displaying two vastly different ways in which they can be observed, the importance of context in regards to photography comes into full view, giving a larger perspective on what it is that gives a specific piece a certain meaning.
With so many different terms, it is hard to keep up with the language and understanding of the complex idea of Gender Identity Disorder. If “sex” is a biological term, and “gender” is a sociological term, and “gender identity” is an individual’s self-conception whether or not one's gender matches up with one’s biological sex, where do we draw the line? How can we determine whether or not a person’s gender identity matches their sex? The answer is not an easy one. Gender identity is personal; it is not something that anyone else can determine for you. Therefore it is not up to science or other to say whether or not an individual's gender identity equals their chromosomes and genitalia.
Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html