Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
Biography of henry ford in 150 words
Renaissance In Italy
Rise of the Renaissance
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: Biography of henry ford in 150 words
Tis’ a Pity She’s a Whore was written by John Ford during the reign of King Charles I. During this time, England faced decline in its economy and mannered society. The theatre was less attended and theatre companies were surviving at the mercy of their patrons. The government censorship was pushing theatre productions to follow the neoclassic rules once again. However, Ford was able to manage fashioning the last few Jocabean, Carolinean masterpieces before the Reformation took place. He challenged the English society to view scandalous events and characters he neither condoned nor condemned, especially in his most famous play ‘Tis a Pity She’s a Whore.
English playwright John Ford was born during the year 1586 in Ilsington, Devon, England. Ford lived through the Jacobean and Carolinean Period (1603-1660) as well as the Renaissance Period (1500-1660). On March 26, 1601, before Ford’s sixteenth year, he was admitted to the Exeter College, Oxford. When he was sixteen, Ford attended the Middle Temple, an institution known to have a prestigious law school as well as a strong focus on literary and dramatic activity. He was expelled from the Middle Temple due to financial difficulties in 1606. Ford was able to overcome this dilemma with the success of his first published works Fame’s Memorial and Honour Triumphant. He secured enough money to be readmitted to the Middle Temple by June 1608 and continued to publish his works.
Ford focused on writing non-dramatic literature prior to becoming a playwright in 1620. After 1620, Ford collaborated with experienced playwrights including Thomas Dekker, William Rowley and John Webster to produce dramatic literary pieces including The Witch of Edmonton and The Sun’s Darling. He later moved on to wo...
... middle of paper ...
... reveals Ford was able to successfully give past as well as future audiences a very unique show that is on par with the great playwrights.
John Ford managed well during England’s transitioning eras. He modeled himself after the great writers and playwrights who came before him during the Elizabethan era. However, he turned himself into a unique literary figure by mixing his interests in abnormal psychology into his plays. His tragic play ‘Tis a Pity She’s a Whore demonstrates through five acts how a brother and sister’s fixation to reach an unattainable love leads to everyone’s ruin. Ford’s name continues to gain popularity as audiences seek to understand the psychological truths of human nature revealed through his characters Giovanni and Annabella. Thus, ‘Tis a Pity She’s a Whore still remains a classical, controversial beloved piece of Carolinean era literature.
Neely, Carol Thomas. “Shakespeare’s Women: Historical Facts and Dramatic Representations.” Shakespeare’s Personality. Ed. Norman N. Holland, Sidney Homan, and Bernard J. Paris. Berkeley: University of California Press, 1989. 116-134.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
McGlinn addresses the third dialectic taking hold of Blanche: illusion versus reality. McGlinn points out that, like all the women in Williams’s plays between 1940 and 1950, Blanche “refuses to accept the reality of her life and attempts to live under illusion.” [Tharpe, 513]. Although McGlinn is accurate in noting Blanche’s conflict between gentility and promiscuity, the result of which is “self-defeat instead of survival” [Tharpe, 513], she fails to see that Blanche lives in both illusion and reality simultaneously, and it is this dialectic that is the slow poison which destroys her. This death-instinct gives us the fourth and last dialectic in Blanche: her struggle between death and desire.”
... comedies rather than tragedies in their source form the original characters from the source plays are revealed. Strong, ‘masculine’ women of the source are only revealed through the intertextuality of genre and the reassigned direct quotes from Shakespeare’s iconic plays. The feminist perspective of Shakespeare’s plays, which was there all along, could only be revealed by the strong use of intertextuality in MacDonald’s play. MacDonald relies on the iconic meta-theatre and intertextuality to magnify the feminist perspective within the Shakespearean plays. When turned in upon itself, Shakespeare’s plays reveal their distinct feminist perspective that could not be uncovered without the extensive and brilliant use of intertextuality such as that of Ann Marie MacDonald. Therefore the metatheatre’s intertextuality reinforces and supports the traits of the feminine.
From this slender evidence, along with liberal and dubious readings of the plays and sonnets, scholars have created a robust portrait of the Shakespeares' unhappy domestic life - a "marriage of evil auspices," as one scholar put it. Rather than inhibiting biographers, the lack of information seems to have freed many of them to project their own fantasies onto the relationship. The prevailing image of Ann Hathaway is that of an illiterate seductress who beguiled the young Shakespeare, conceived a child and ensnared him in a loveless union.
John Ford was an American motion-picture director. Winner of four Academy Awards, and is known as one of America’s great film directors. He began his career in the film industry around 1913. According to Ellis, Ford’s style is evident in both the themes he is drawn toward and the visual treatment of those themes, in his direction of the camera and in what’s in front of it. Although he began his career in the silent film area and continued to work fruitfully for decades after the thirties, Ford reached creative maturity in the thirties. Ford, unlike other directors continued to do some of his finest work after the nineteen thirties. Nevertheless, he shaped his art into personal and full expression during those precedent-setting years. (Pg.200)
Fineman, Joel. 1980. 'Fratricide and Cuckoldry: Shakespeare's Doubles.' In Representing Shakespeare: New Psychoanalytic Essays, edited by Coppelia Kahn and Murray M. Schwarz. Baltimore and London: The Johns Hopkins Press, 70-109.
In Tennessee William’s pays, the Southern Gothic style of literature is primarily used to portray the interactions between a character that is fixated in the past overcoming this fixation and moving on. William’s plays generally tend to feature a familial unit at their center, be it a conflict between husbands and their wives, the children and parents, conflict between siblings, or even between in-laws (Davis 1). Popkin takes this basic conflict and expands further on the specific style of William’s plays. He states that in most of William’s plays, there is commonly a conflict between a male and female, and one of them, generally the male, will play the role of a strong and confident “Adonis”, while the other will be the “Gargoyle” characterized by a fading beauty, desperation, scheming and cunning, or a disability to let go of the past (Popkin 45-47).
Although William Shakespeare is considered to be one of the most revered and well-renowned authors of all time, controversy surrounds the belief that he actually produced his own literary works. Some rumors even go so far as to question the reality of such a one, William Shakespeare, brought on by paralleling the quality of his pieces with his personal background and education. With such farfetched allegations, it persuaded others to peek into the person we all are taught to learn as “Shakespeare”, but who is actually the person behind these genius works of literary promise and enlightenment? To some, Shakespeare is as much accredited to his works as frequently as you see his name placed. To others, Shakespeare is a complex enigma into which we the people are supposed to unravel; the true author behind a falsely-given pseudonym. The debate pertaining to the true authorship of William Shakespeare’s works are still questioned in today’s society.
"Shakespeare, William 1564–1616 English Writer." Renaissance: An Encyclopedia for Students. Ed. Paul F. Grendler. Vol. 4. New York: Charles Scribner's Sons, 2004. 83-89. Gale Virtual Reference Library. Web. 26 Mar. 2014.
What is so interesting about Shakespeare's first play, The Comedy of Errors, are the elements it shares with his last plays. The romances of his final period (Pericles, Cymbeline, The Winter's Tale, The Tempest) all borrowed from the romantic tradition, particularly the Plautine romances. So here, as in the later plays, we have reunions of lost children and parents, husbands and wives; we have adventures and wanderings, and the danger of death (which in this play is not as real to us as it is in the romances). Yet, for all these similarities, the plot of The Comedy of Errors is as simple as the plots of the later plays are complex. It is as though Shakespeare's odyssey through the human psyche in tragedy and comedy brought him back to his beginnings with a sharper sense of yearning, poignancy, and the feeling of loss. But to dismiss this play as merely a simplistic romp through a complicated set of maneuvers is to miss the pure theatrical feast it offers on the stage - the wit and humor of a master wordsmith, the improbability of a plot that sweeps...
In the 1960’s women roles were changing they were getting more involved in the American society. While working as a journalist Susan Glaspell reported a case of a murder which influenced her to write the play Trifles. In the play, Trifles the women are being presented as weak and powerless, a murder has been committed by Minnie Wright. There are a total of five characters in the play, three of them are men and the other two are females. The males are the county attorney, sheriff, and a neighbor farmer. The women are Mrs. Peter and Mrs. Hale. The men are searching for clues to convict Minnie of the crime, while the women find the most important pieces to the crime. In the play “Trifles” by Susan Glaspell, the author demonstrates feminist stereotypes, representations of genders during the era when women had less power.
Tennessee Williams was known for his work because he openly addressed topics considered taboo for the time and was criticized harshly for it. Later in his life Williams began drinking heavily before beginning to write about his addiction and homosexuality. Due to Williams’s drive for writing against the norm of society, he put various ideas of queer and gender normality within “And Tell Sad Stories of the Death of Queens.” In the play Candy, a transvestite queen looking for companionship, tries to find it in Karl, an ill rooted man looking only for money, and their many exchanges throughout the story ends up leading Candy to his death. A queen being a man who finds comfort and more natural being dressed and acting more feminine. In “And Tell Sad Stories of the Death of Queens” one can see various instances of a queer and gender theory such as gender performance, heteronormativity, gender stereotypes,
The title page offers an immediate insight into the patriarchal constraints placed on women in early modern England. Although The Tragedy of Mariam is the first known English play to be authored by a woman, the fact that Cary is unable to give her full name is indicative of the limitations on women writers of the period. This semi-anonymous authorship...
Wrought with double irony and an overall sense of mock-pastoral, English playwright John Gay’s The Beggar’s Opera (1728) has its forefront of irony vividly expressed between the dynamic of the central characters Macheath and Peachum. Even the names of the characters comically resemble their occupations within the play, Peachum’s being a play on the word “peach” which means to bring one to trial, while Macheath’s meaning “son of heath” and being a play on the heaths of London, which were prime places worked on by highwaymen (Tillotson, et al.). While both characters were used as a political satire towards Jonathan Wild and the then Prime Minister Robert Walpole (after all, The Beggar’s Opera was a political satire first and a potential literary