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    The Moor in the Works of William Shakespeare

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    The Sources and Representations of the Moor in the Works of Shakespeare One theme consistently reemployed throughout Shakespeare's plays is that of the Other. The Other is usually characterized as a character that is somehow separated, stigmatized, or noted as being different from the mainstream ideal. For the Elizabethan England of Shakespeare's time, it may have been a self-defensive maneuver against the encroachment of something which threatened too close to home (Bartels 450). Bryant lists

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    Extreme Jealousy in Othello, the Moor of Venice Aristotle's Poetics laid out the definition of tragedy: unlike comedy, the purpose of tragedy is not merely to instruct and delight an audience. Rather, its aim is to allow a cathartic release as a result of the heightened emotional state caused by the events of the tragedy. This idea assumes that the average person can experience these intense emotions vicariously. In Psyche and Symbol in Shakespeare , Alex Aronson contends that the characters

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    The Impact of Tourism on North York Moors National Park In this study I will investigate the impact of tourism on two honeypot sites in the North York Moors National Park. I will also investigate whether or not tourism in the area is sustainable. Background Information National Parks are areas of beautiful and relatively wild countryside. In 1949 ten national parks were set up by an act of parliament. They were chosen because of their beauty and popularity. There are currently 12 National

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    Meagan Moor

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    the theme very obvious and very clear for readers. I think this book was really well written and the theme is a very good theme for kids to read. James writes a story that keeps you wanting more and gives put a good lesson. Works Cited Meagan Moor Mr. Hyde English Pre-AP, P2 3/10/14

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    Shakespeare's Definition of Dissimilarity

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    guilelessness, credulity and easily aroused passions” (1). Understanding the Elizabethan preconceptions about Moors will permit a deeper understanding of the black characters that Shakespeare created. Works Cited Cowhig, Ruth. “Blacks in English Renaissance Drama.” The Black Presence in English Literature. Ed. David Dabydeen. Manchester: Manchester University Press, 1985. D’Amico, Jack. The Moor in English Renaissance Drama. Tampa: University of South Florida Press, 1991. Jones, Eldred. Othello’s

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    Othello: True Love and Self-love

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    manifests the virtue of love in all its variegated types through the assorted good and bad characters interacting with each other. H. S. Wilson in his book of literary criticism, On the Design of Shakespearean Tragedy, discusses the love of the Moor for his beloved even at the time of her murder: And when he comes to execute justice upon Desdemona, as he thinks, he has subdued his passion so that he is a compound of explosiveness tenderness. Utterly convinced of Desdemona’s guilt and of

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    may be grazed over by the average reader when reading the poem for the first time. There, of course, is a greater significance than ten English words. These lines explain that Dickinson knows she is ignorant and naïve; she has never happened across a Moor or the sea, nor has she set out to find and see these things for herself. Why would she admit this? This seems to be a strange confession that she wanted to relay to the reader before any other groundwork was set. These two statements are followed

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    The Extraordinary Leech Gatherer Wordsworth straightforwardly explained the theme of the poem in its title, Resolution and Independence. He ran into an old man, when he was wandering on the moors. To some extent, Wordsworth saw the silhouette and even the image of himself on the old leech gatherer. At the same time, Wordsworth made this old man his role model, when he thought of himself without any more ambitions and courage in the end. The spirits of this hard working and noble man would save himself

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    of Renaissance women as silent, she condemns Othello for his false accusations against her mistress, Desdemona. Later in the play, after finding Desdemona killed, Emilia challenges silence again: "As ignorant as dirt! Thou hast done a deed-... / The Moor hath killed my mistress!" (5.2. 171,174). Although Othello tells Emilia that it would be "best" for her to remain silent, she ignores his request and ridicules him for killing "sweet" Desdemona (5.2. 169). Secondly, Emilia mentally challenges the

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    into paying him for something he hasn't even done yet. Roderigo who is obviously weak and simple has asked Iago to help him woo Desdemona in exchange for money, he thinks Iago has not done this because Desdemona is now at this moment marrying the moor. Yet Iago manages to convince Roderigo of his sheer hatred for Othello and swindle him out of his money. As he later exerts in his soliloquy at the end of Act I.3  ' thus do I ever make my fool my purse' this shows his attitude to Roderigo he is

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