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Symbols in Farewell to Arms

By: Christine Merklein

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Seminar paper from the year 2003 in the subject American Studies - Literature, grade: good, University of Würzburg (American Studies), course: American Novels of the 1920s, 13 entries in the bibliography, language: English, abstract: The novel A Farewell to Arms by Ernest Hemingway, which was published in the late 1920 ́s in Great Britain, represents a perfect example of Hemingway ́s unique style. On the one hand you can read A Farewell to Arms as a tragic lovestory, in which Fredric Henry, a young American, and Catherine Barkley, a British nurse, who both volunteer for the Italian Army in World War I, fall in love with each other. The lovestory ends in a tragic scene because Catherine Barkley dies after she has born their dead child. On the other hand you can read this novel as a thrilling war drama that takes place in Italy and Switzerland and lets the reader take part in the life of the young Lieutenant Henry, who tells us about the war and what he experiences there. The plot of the novel shows perfectly the unique style of Hemingway: He succeeds in combining the two contradictory items love and war, which actually do not fit together. The problem with my task, which is to discuss the symbols in A Farewell to Arms is that you can find a wide range of symbols in Hemingway ́s work. But it is almost entirely up to the reader which one of them he considers as important or relevant to discuss. Because of this it has to be decided which symbols are the most important ones without tangling up by irrelevant ones. As a matter of fact completeness is not the sense of my work, I will rather try to point my view on those symbols of whom I think are important such as the rain, the water, the mountains and the plains.

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GRIN Verlag

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ISBN 10

3638180301

ISBN 13

9783638180306

The Moor in Elizabethan England: Exoticism in Othello

By: Christine Merklein

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The Moor in Elizabethan England: Exoticism in Othello

By: Christine Merklein

Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 1-, University of Würzburg (Anglistik- Literaturwissenschaft, Kulturwissenschaft, Didaktik), course: Shakespeare-Seminar, 14 entries in the bibliography, language: English, abstract: In his introduction to The Moor in English Renaissance Drama,Jack D’Amico mentions that “as an opposite in race, religion, and disposition, the Moor can be used to confirm the superiority of Western values”. This is a clear statement about the position of Moors, but to a rather unclear topic: As will be shown below, the term ‘Moor’ was not clearly defined in Elizabethan England and is even in today’s criticism left to some discussion. Although it was not unusual in 16th-century England to see Moors acting on stage, it was indeed unusual to portray them like Shakespeare did inOthello.He draws a very special and unique picture of the Moor, not only in comparison to contemporary stage portrayals of Moors, but also compared to the other characters of the play. Othello is exotic because of many reasons. His origin, his complexion and his values are only some of them. All together they determine his exoticism. The blackness of his skin is the visual signifier of his otherness and exoticism, and plays an important role, wherefore it is an important topic of this work. When taking a closer look at this exoticism, racism is an important topic: “no analysis of Othello ‘can be adequate if it ignores the factor of race.’”. The aim of this work is not to answer the question whetherOthellois a racist play or not, but because “black/white oppositions permeate”3the tragedy, racism in the sense of people’s reactions and attitudes towards exotic foreigners will inevitably be a topic here. This essay is divided in two main parts. One of them is discussing the term ‘Moor’, its meaning in Elizabethan England, and the stereotype which is connected with it. The other is taking a closer look at the exoticism portrayed in Othello itself. The conclusion at the end tries to bring these two parts together, although many links between them are made throughout.

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GRIN Verlag

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3638493504

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9783638493505

Montanism

Gender, Authority and the New Prophecy

By: Christine Trevett

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Montanism

Gender, Authority and the New Prophecy

By: Christine Trevett

This study of Montanism is the first in English since 1878. It takes account of a great deal of scholarship of the nineteenth and twentieth centuries and refers to the epigraphical evidence. Dr Trevett questions some of the most cherished assumptions about Montanism. She covers the origins, development and slow demise, using sources from Asia Minor, Rome, North Africa and elsewhere and pays particular attention to women within the movement. The rise of Montanism was important in the history of the early church. This prophetic movement survived for centuries after its beginnings in the second half of the second century and was a challenge to the developing catholic tradition. Christine Trevett looks at its teachings and the response of other Christians to it. To an unusual degree Montanism allowed public religious activity and church office to women.

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320

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Cambridge University Press

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ISBN 10

0521528704

ISBN 13

9780521528702

Symbols in Farewell to Arms

By: Christine Merklein

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Symbols in Farewell to Arms

By: Christine Merklein

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GRIN Verlag

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3638180301

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9783638180306

Shakespeare's “Othello” and “Antony and Cleopatra”. The transformation of their main sources “Gli Hecatommithi” and “The Life of Marcus Antonius”

By: Christine Merklein

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Shakespeare's “Othello” and “Antony and Cleopatra”. The transformation of their main sources “Gli Hecatommithi” and “The Life of Marcus Antonius”

By: Christine Merklein

Essay from the year 2004 in the subject English Language and Literature Studies - Literature, grade: 2 (B), University of Warwick (English Department), course: Shakespeare-Seminar, language: English, abstract: Cinthio and Plutarch ́s The Life of Marcus Antonius In her essay The Common Liar1, Janet Adelman deals with Shakespeare’s influences while composing Antony and Cleopatra2. She focuses on the history of the two title characters and their long tradition, which was and still is very popular. This is an obvious derivation of this play, but due to the amount of similarities between many of Shakespeare’s works and other texts it is also extremely obvious, that the dramatist cited various kinds of literature in search of material. Therefore it is generally agreed between commentators of the plays I will deal with here, that the playwright used Plutarch’s The Live of Marcus Antonius3 as the main source for Antony and Cleopatra, just as he consulted Batista Giraldi Cinthio’s Gli Hecatommithi4 before composing Othello5. Consequently I will focus on these two immediate sources as the material Shakespeare consulted while composing the plays, rather than on the history and tradition of their plots and characters like Janet Adelman does. Unlike Adelman’s interpretation of sources already mentioned above, the traditional understanding I am going to follow highlights the difficulty of stating, whether Shakespeare took parts of the supposed sources on purpose, or if the analogies are only accidental. But due to the vast similarities between Cinthio’s tale and Othello, and Plutarch ́s biography and Antony and Cleopatra, which I will Further primary text quotations all refer to The Norton Shakespeare; Act, scenes and lines are stated in brackets following the quotations come to later, one can take for granted, that the dramatist not only read these stories, but furthermore turned to them with the intention of utilising them in his plays. [...] 1 Adelman, Janet. „The Common Liar: Tradition as a Source in Antony and Cleopatra“. The Common Liar. 53-101. 2 Shakespeare, William. “Antony and Cleopatra“. The Norton Shakespeare. Ed. Stephen Greenblatt et al. 2619-2708. Further primary text quotations all refer to The Norton Shakespeare; Acts, scenes and lines are stated in brackets following the quotations 3 Plutarch. “The Live of Marcus Antonius” Shakespeare’s Plutarch: The Lives of Julius Caesar, Brutus, Marcus Antonius and Coriolanus in the translation of Sir Thomas North. Ed. T.J.B. Spencer. 174-295. 4 Bullough, Geoffrey, ed. Narrative and Dramatic Sources of Shakespeare. 239-252. 5 Shakespeare, William. “Othello“. The Norton Shakespeare. Ed. Stephen Greenblatt et al. 2091-2174.

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GRIN Verlag

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ISBN 10

3638274721

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9783638274722

The Moor in Elizabethan England: Exoticism in Othello

By: Christine Merklein

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The Moor in Elizabethan England: Exoticism in Othello

By: Christine Merklein

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GRIN Verlag

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3638493504

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9783638493505

Book's by Christine Merklein

Symbols in Farewell to Arms

Symbols in Farewell to Arms

The Moor in Elizabethan England: Exoticism in Othello

The Moor in Elizabethan England: Exoticism in Othello

Montanism

Montanism

Symbols in Farewell to Arms

Symbols in Farewell to Arms

Shakespeare's “Othello” and “Antony and Cleopatra”. The transformation of their main sources “Gli Hecatommithi” and “The Life of Marcus Antonius”

Shakespeare's “Othello” and “Antony and Cleopatra”. The transformation of their main sources “Gli Hecatommithi” and “The Life of Marcus Antonius”

The Moor in Elizabethan England: Exoticism in Othello

The Moor in Elizabethan England: Exoticism in Othello

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