Essay from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 2,3, University of Wuppertal (Geistes- und Kulturwissenschaften), course: Literaturwissenschaftlicher Grundkurs, language: English, abstract: Shakespeare's sonnets are a collection of 154 poems. Sonnets 153 and 154 do not belong to the real collection because they are adaptations of classical antic verses about Cupid and therefore distinguished from the first 152 poems because Shakespeare treated the Patriarchal convention of the sonnets in his own way. Shakespeare treats these themes in his own, distinctive fashion—most notably by addressing the poems of love and praise not to a fair woman but instead to a young man; and by including a second subject of passion: a woman of questionable attractiveness and virtue. The sonnets, taken together, are frequently described as a sequence, and this is generally divided into two sections. Shakespeare Sonnets 1-126 focus on a handsome young man and the speaker's emotional friendship with him that could sometimes be interpreted either as asexual or sexual. The nature of this friendship is treated as ideal love as in the Patriarchal convention. Sonnets 127-152 focus on the speaker's relationship with a woman the so-called ‘dark lady’ who is the counterpart of the innocent beautiful maid in Patriarchal sonnets. The lyrical I has an “obsessive”1 sexual love affair with her. I compare sonnets numbered 60 and 144 because the first one deals with the universal concerns of time and its passing and the second took note of the speaker ́s seperation of physical love and more down-to-earth sensations connected with it. Moreover it is the only sonnet that explicitly refers to both the Dark Lady and the young man. This sonnets are neatly organized following the structure of the Shakespearean sonnet and its common rhyme scheme abab,cdcd,efef,gg with a iambic pentameter. ---Bibliographie > Hühn, Peter. (1995). Geschichte der englischen Lyrik 1. Francke: Tübingen. > Kerrigan, J. (1986). Introduction In:William Shakespeare. The sonnets and A Lovers ́s Complaint. Penguin Classics, Harmondsworth. > Senna, C. (2000). Shakespeare ́s Sonnets. Hungry Minds. Inc. New York.
Essay from the year 2007 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Wuppertal (Fachbereich A), course: The British Novel in the Late 18th and Early 19th Century, language: English, abstract: An important component of fiction is characterisation. But what does characterisation do for a story? It allows the reader to create a picture of the characters in a story in his mind and to empathise with the protagonist and secondary characters. Moreover characterisation moves the story of a literary text onward because fascinating characters and their actions are interdependent to the whole plot. This essay will look into the structural design of characterisation and how the principle of characterisation is significant in the unfold of the story. The dramatis personae in The Castle of Otranto can be separated into primary characters, secondary characters and minor characters. The main characters occupy Manfred, the illegitimate Prince of Otranto, the villain; Matilda, his daughter; Isabella, the intended wife of his son, Manfred ́s foster daughter, and Theodore, first a mysterious stranger and later revealed as the real Prince of Otranto. These characters are the most important characters because they appear frequently in the narrative and their actions and behaviours keep the plot in motion. The important secondary characters include Hippolita, Manfred ́s devoted wife; Jerome, the friar and Frederic, the believed to be death Marquis of Vicenza, Isabella ́s father. Minor characters, but nevertheless quite interesting and important ones for the outcome of the story, are the servants Diego and Jaquez and last but not least, the chambermaid Bianca. Additional characters like Conrad, the son of Manfred, and Alfonso ́s ghost will not be considered in the essay. The first one dies in the beginning and never appears alive but he has to be mentioned because his death triggers the story off. The second one functions as kind of watchdog who reminds and threatens mostly Manfred and the domestics by causing supernatural events in the castle. ---Bibliographie >Mandell, Laura (ed.). 2007. The Castle of Otranto by Horace Walpole [1764] and The Man of Feeling by Henry Mackenzie [1771]. New York: Longman. >Napier, Elizabeth. 1984. The Failure of Gothic. Problem of Disjunction in an Eighteenth-century Literary Form. New York: Oxford University Press. >Pfister, Manfred. 1994 [1988]. Das Drama. Theorie und Analyse. München: Wilhelm Fink Verlag. >Nünning, Vera & Ansgar. 2004. An Introduction to the Study of English and American Literature. Stuttgart: Klett.
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