¡Descarga Shakespeare's Theory of Drama and Renaissance Theatre: Terms Definition and Analysis y más Exámenes en PDF de Idioma Inglés solo en Docsity! 2014-15 Introduction 30.1.2015 YOUR NAME PART A (1 point) — GIVE A BRIEF DEFINITION OF TWO OF THESE TERMS/CONCEPTS FROM THE THEORY OF DRAMA AND THE RENAISSANCE THEATRE, OR (WHEN POSSIBLE) PROVIDE AN EXAMPLE FROM SHAKESPEARE’S THE TEMPEST. 1. Romance 2. Soliloquy 3. Unities 4. Dramatic irony 5. Metatheatre 6. Patronage PART B (3 points) — GIVE BRIEF ANSWERS TO THE FOLLOWING QUESTIONS. 1. What relationship can you draw between Shakespeare and one of these contemporaries/near contemporaries: Thomas More; Christopher Marlowe; Ben Jonson? 2. What is meant when Renaissance drama is described as non-naturalistic? 3. What implication(s), for literary criticism, can you identify of the fact that a Shakespeare play may have survived in different print versions? PART C (3 points) — CHOOSE ONE OF THESE OPTIONS. ANSWER IN ONE PAGE. 1. The major characters in The Tempest have been described by critics with the phrases I have copied below. What historical developments of Shakespeare’s age can you identify based on those descriptions? (Prospero) “empire builder”; “caring/despotic patriarch”. (Caliban) “symbol of opressed minority”; “humanoid”. (Miranda) “obedient/rebellious daughter”. (Ariel) “malignant/grateful spirit”. 2. Robe" Eaglestone (in Doing English; 2000) gives the two accounts below to outline differences in the critical assessments of Shakespeare made by “traditionalists” and “cultural materialists” (=modern, politically-oriented critics). In your own words, explain these two positions, and suggest some of their implications (if possible, with reference to The Tempest). “For the traditionalists, Shakespeare’s plays are like a star: beautiful, remote, independent of the earth and worldly concerns, to be wondered at and admired. Yet, like medieval sailors navigating by the night sky, we are given direction by the star. It gives us core values, and by studying Shakespeare we learn those values. (...) For the cultural materialists, it is impossible to get to a ‘real’ Shakespeare. Moreover, Shakespeare the Institution is never innocent or neutral. More than any other name, more than any other series of literary texts, Shakespeare is used. On top of this, he has not even always been considered ‘the best’ and his plays may only have survived because of historical chance.” PART D (1 point) — BASED ON THE STANZAS BELOW, HOW IS EACH OF THE POEMS CHARACTERISTIC OF ITS LITERARY PERIOD/STYLE? ANSWER BRIEFLY. (Note: for reasons of space I have replaced line breaks by ///.) 1. Now therefore, while the youthful hue /// Sits on thy skin like morning dew, /// And while thy willing soul transpires /// At every pore with instant fires, /// Now let us spo" us while we may, /// And now, like amorous birds of prey, /// Rather at once our time devour /// Than languish in his slow-chapped power. /// Let us roll all our strength and all /// Our sweetness up into one ball, /// And tear our pleasures with rough strife /// Through the iron gates of life: /// Thus, though we cannot make our sun /// Stand still, yet we will make him run. 2. I wander through each cha"ered street, /// Near where the cha"ered Thames does flow. /// And mark in every face I meet /// Marks of weakness, marks of woe. ////// In every cry of every Man, /// In every Infant’s cry of fear, /// In every voice, in every ban, /// The mind-forged manacles I hear. PART E (2 points) — READ THE QUOTATION (FROM B.K. MUDGE; 1989) AND ANSWER THE QUESTIONS BELOW. ANSWER BRIEFLY. Although traditionally the Gothic has been divided by gender into two separate and supposedly equal generic strands (…), that distinction is somewhat misleading. It obscures (…) two impo!ant facts: first, the majority of Gothic novels that appeared between 1770 and 1840 were wri"en (as well as read) by women; and, second, Gothic novels, pa!icularly during the 1790s, were feminized — disparaged in gender-specific ways by a critical establishment outraged by both the passion and the widespread popularity of the form. (…) Because the debate over the Gothic novel also concerned the boundaries between high and low literature, the poIemicists’ use of gender makes clear the degree to which literary argumentation pa!icipated fully in a series of larger cultural issues. 1. What are the “two generic strands” mentioned in the first line, and what are their two major representatives? 2. In what “gender-specific ways” was the Gothic a#acked by early critics? 3. What “larger cultural issues” did this critical a#ack pa"icipate in?
