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أكـاديـمـي نــشـط
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رد: third year english student second term
اقتباس:
المشاركة الأصلية كتبت بواسطة D R E A M E R
وانا بعد نفس الحاله بالذات سكشبير عندي تعارض معاه واحس اني باكلها يومها 
ياليت الي توصلها حل الاسئله بأسرع مايكون تسدحها هناااااا |
هدا من صفحات الي قبل ماعرف ارفعمهم بنسخهم لكم
what are the modern techniques of the non-traditional element in the play?
1-You talk about defamiliarization and Victor Shklovsky.
2-You talk about violating the unity of time.
3- Using the Baroque technique (using many subplots).
4-Metatheatrical technique.
5- gendermandering.
6-Symbolism.
7 – expressionism
8 - surrealism
9 - Dadaism
10 – cubism
11 – intertextuality : parody – classical allusion
William Shakespeare is a head of his time because he employs modern techniques in the 16th century which are used later in the 19th century.
Shakespeare appeals to ‘defamiliarization’, a modern technique that is defined by Victor Shklovsky in the 19th century. He defamiliarizes the real by replacing England with Athens for the setting of the play. He mentions ‘Athens’ but the characters act and react as English people. They describe the English countryside (forest) with its plants and flowers. The real ‘Athens’ is far from any forests in reality. Similarly, Shakespeare uses few French words in the English conversation like ‘adieu’ which means ‘farewell’ for the sake of defamiliarization as well.
This is the technique of defamiliarization.
What is familiarization?
Familiarization= الاعتياد
Defamiliarization= كسر الاعتياد
When you study 19th century literary criticism, you will study the Russian Formalism School; school of literary criticism. It says that the form in any text is very important because it shows the meaning. A reader receives the meaning from the form of a text. From this school, there was Victor Shklovsky. And there were Roman Jakobson and Victor Shklovsky and others. In the 19th century, Victor Shklovsky comes up with the term defamiliarization and he defines it. Let us know what the meaning of defamiliarization is. I remember I told you before last semester about familiarization and defamiliarization. There is s proverb called ‘familiarity breeds contempt’. What is the meaning? When you get used to something too much, it becomes very bad. For example, If a couple; a husband and a wife, if they get used to each other so much, they started calling each other names swearing because they are very familiar, like cursing each other. They show not respect. To avoid this, we have to defamiliarize our mood of behavior/ our manners/ our life. So, that is why Victor Shklovsky discovered that defamiliarization is very important to us in life. How do we defamiliarize our lives? By putting red lines. For example, Do not allow anybody whoever he is, like your father/ mother/ husband/ fiancé to call you names or to swear. In my house I put furniture in a certain way but I get used to it, I feel bored and I start hating the place and I want to change. So, every month I start changing the places of the furniture even if they do not look nice. So, you have to make changes no matter whether it is symmetrical or not. Change is important for our souls/ for our spirits.
What about literature? How do you defamiliarize what is there? If you use traditional techniques, this is familiar/ boring. For example, if a play is to be judged in a festival/ if it is traditional, it never wins. We say it is bad play because it is traditional. How does William Shakespeare make defamiliarization in the play? By moving the setting from England to a foreign country, like Athens, France, and Illyria. This is for the sake of defamiliarization and he is talking about England, the English people, their traditions, and their habits. He is criticizing them, the plants/ the flowers in England. He does something else. He uses few French words in the English conversation, like ‘adieu’ instead of ‘farewell’. This is a problem with the 16th century audience because they are not cultured. But what is about the modern audience? They must be cultured. They must know some French. So, they must understand what is there.
What is defamiliarization?
De= كسر – familiarization= something familiar. So, it is breaking what is familiar. The Russian Victor Shklovsky came up with the term defamiliarization
When Titania and Bottom fall asleep, King Oberon informs Puck that he has already taken the Indian boy from Titania. King Oberon tells Puck that he went to Titania and he taunted her for loving an ass and sleeping with an ass. And she was ashamed of herself and she begged him to forgive her because it is very shameful. So, he asks her to take the Indian boy and she submits to his will; she gives the Indian boy away. So, now Oberon wants to restore order in the forest. He wants to remove the charm from Titania because he has already taken the Indian boy.
He tells Puck to go and transform Bottom to his human shape; to take off his donkey head. Then he says he will go to Titania to put a magic juice on her eye, so that when she wakes up, she is recovered from the charm. (Of course I am talking about the theme of order and disorder. He is a figure of order, he is restoring order to the forest, he is in charge of the forest, and he is the king of the forest). Oberon says when Titania and the ass wake up, they will thing that what has happened to them is just the fierce vexation of a dream).
From the very beginning, does William Shakespeare keep the unity of time? From the very beginning, William Shakespeare shows us that he is not going to preserve the unity of time. Theseus tells Hippolyta that they have to wait four whole days until they make their wedding party. This is a proof that there is no unity of time. Is this a modern element or a traditional element? It is a modern element.
The modern elements:
1-defamiliarization.
2-violating the unity of time.
There is somebody in the play called Egeus. He is an old man. He goes to Theseus and Hippolyta. He talked to Theseus; duke of Athens, and he complains to him from his daughter. He has a beautiful daughter called Hermia. He complains from her because she disobeys him. He wants to marry her to a young man called Demetrius but she refuses because she loves somebody called Lysander. She loves another person called Lysander. All of them are young people like teenagers/ young lovers. Theseus is supposed to judge among them. All those people are front of Theseus and he supposed to judge. Theseus is a figure of order. He listens to them. Egeus accuses Lysander in front of the duke that he has bewitched his daughter by writing love poems to her and giving her love-tokens. (Love-tokens are given from the lovers to their beloveds) and by sending messenger every now and then carrying letters, poems, and love-token things. Lysander defends himself and he tells Theseus that he loves Hermia and he does not understand why Egeus is against him. He is from a noble family and his family is wealthy is equal to Demetrius. He does not understand why Egeus prefers Demetrius to him. Theseus listens to Hermia and Hermia says that she disagrees with her father and she has chosen Lysander and she wants to marry him.
HERMIA: My good Lysander!
I swear to thee, by Cupid’s strongest bow,
By his best arrow with the golden head,
HERMIA starts to swear to Lysander that she is coming. I swear I am coming. Do not give me any time for thinking. I already made my decision. I am coming with you. So, now she swears by Cupid. Who is Cupid? He is the god of love. He is like an angel. He has wings. He is a naughty child. He has a bow and he shoots invisible arrows to the heart of lovers and makes them suffer from the agony of love. She swears by Cupid. This is classical allusion.
If you a question on the classical elements in the play, you talk about the classical allusion and you mention the Greek names of some characters. You mention Hippolyta; figure from Greek mythology and you mention Hermia swears by Cupid; the god of love, and she also swears by Venus and somebody called Dido. She swears by those three people.
So, Cupid is the god of love. He is a naughty boy with bow and arrows and he shoots his arrows to the heart of young people and makes them suffer from the agony of love.
She swears also by Venus. Venus is goddess of love and she is the mother of Cupid.
She also swears by Dido. Dido is the queen of carthage who burnt herself in grief when her lover Aeneas was abroad far away from her.
This is in mythology. All these examples are classical allusions.
And therefore is wing’d Cupid painted blind: دائما يرسموا كيوبيد أعمى
Cupid is always painter either blind or having his eyes bandaged. And she says why? He does not need his eyes. Lovers do not need their eyes. Lovers love with their minds, not with the eyes. This is very true. She wants to say that Demetrius is bewitched by Hermia. He loves her by his mind; not by the eyes. She believes that this is good for him. If he sees reality, she fits him/ she is good him/ she loves him. She can give him more. Hermia rejects him. Just before this quotation, Hermia tell her friend Helena that she curses Demetrius/ she frowns to him and he loves her more. He does not see that she hates him. He loves her through the mind. He is bewitched. This is what she says. This is true again because when young people love, they are bewitched because everybody believes that the one day choice is not the right one. He does not suit them, but they still live him and they do not see the truth after their relationship goes very bad.
Quince swears that the play they are making is the most lamentable comedy because it talks about misfortune of the lovers. Two lovers meet their fate. أكتر كوميديا فيها مأساة. It seems that the actors are foolish. They mistake a tragedy for a comedy.
Is it appropriate to perform a play about misfortunate lovers in the wedding party of the duke and the duchess?
It is inappropriate to create a play about unfortunate lovers in a wedding party.
Quince says that the play is about Pyramus and his beloved Thisbe. Pyramus is the male protagonist and Thisbe is the female protagonist of his play. Quince tells Bottom to play Pyramus. And Flute will play Thisbe. Flute objects. He says the he has a growing beard. He wants to take another role but Quince tells him that it does not matter because he is going to wear a mask. They are discussing theatrical affairs. This is a Metatheatrical technique. It is a modern technique. William Shakespeare employs Metatheater in his play. He makes a group of workers or craftsmen make a play. It is a play-within-a play. Moreover, the characters discuss theatrical affairs. Where is ‘the theatrical affairs’ here? It is when Flue objects and he wants to change his role. He does not want to play the woman/ the female protagonist because he has a growing beard. Quince tells him that it does not matter because he is going to wear a mask. This is reality in the 16th century. So, Quince is discussing theatrical affairs with Flute.
Starveling; the tailor, takes the role of Pyramus’s father. Quince will play the father of Thisbe. Snug will play the lion’s part. He says that he wants to change his role but Quince tells him, you will do nothing, just roaring.
. So, he is guiding them to view the play from a certain angle or to consider some important matters while viewing the play. So, what Bottom is saying is realistic theatrical affair. They are preparing for a classical prologue for the play. What do we call this technical? It is metatheatrical technique. So, we say that Shakespeare has employed metatheatrical technique in this part for two things. 1-“Pyramus and Thisbe” is a play-within-a play.
2-because the characters are discussing theatrical affairs.
HERMIA: My good Lysander!
I swear to thee, by Cupid’s strongest bow,
By his best arrow with the golden head,
She starts to swear to him that she is coming. I swear I am coming. Do not give me any time for thinking. I already made my decision. I am coming with you. So, now she swears by Cupid. Who is Cupid? He is the god of love. He is like an angel. He has wings. He is a naughty child. He has a bow and he shoots invisible arrows to the heart of lovers and makes them suffer from the agony of love. She swears by Cupid. This is classical allusion.
If you a question on the classical elements in the play, you talk about the classical allusion and you mention the Greek names of some characters. You mention Hippolyta; figure from Greek mythology and you mention Hermia swears by Cupid; the god of love, and she also swears by Venus and somebody called Dido. She swears by those three people.
So, Cupid is the god of love. He is a naughty boy with bow and arrows and he shoots his arrows to the heart of young people and makes them suffer from the agony of love.
She swears also by Venus. Venus is goddess of love and she is the mother of Cupid.
She also swears by Dido. Dido is the queen of carthage who burnt herself in grief when her lover Aeneas was abroad far away from her.
This is in mythology. All these examples are classical allusions.
William Shakespeare is always brings classical allusions in his plays because he is a renaissance writer. Theseus is a Greek name. He is using Greek names for some of his characters like Theseus and the one he loves; Hippolyta. Hippolyta is the Queen of the Amazons. So, Theseus; the duke of Athens, loves Hippolyta; the Queen of the Amazons, and they are going to get married. How are the Amazons? A tribe of women living by themselves in the forest. They do not allow the company of men. It is said that they used to cut off one of their breasts so that they could more easily draw to draw their swords in the face of any enemy. This is from Greek mythology. This is classical allusion. From the beginning, we find classical allusion in the play. There is a reference to Greek Mythology. William Shakespeare brings the character of Hippolyta from Greek Mythology and it is a Greek name as well.
HELENA: The wildest hath not such a heart as you.
Run when you will, the story shall be changed:
Apollo flies, and Daphne holds the chase;
This is a classical allusion. She compares herself to Daphne and she compares him to Apollo. Apollo is the sun god and Daphne is his beloved. So, she says the situation is reversed. Apollo flies and Daphne is chasing him. As if Helena and Demetrius are lovers.
This play is full of stories and you can call them subplots. Is not it strange? Usually in any Shakespearian play, there is one main plot and one subplot and they met at the end; they intermingle. But this play is different. As ‘Hamlet’ is the modernist of Shakespeare’s tragedies. ‘A Midsummer Night's Dream’ is the modernist of Shakespeare’s comedies. He wrote many comedies, but this is the modernist. What do I mean by the modernist? I mean by the modernist the most non-traditional one/ the most experimental. It has different points and there is a technique for that and I will tell you about it later. This is experimental technique. It is confusion. It has many characters and different stories.
Shakespeare employs the Baroque technique in ‘A Midsummer Night's Dream’. The technique became popular in the 16th century up to the 18th century in Europe. A literary work encompasses various plots each with definite beginning and ending.
This technique appears in the 16th century in Europe (France, Italy and England). I told you before that any literary technique has its origin in painting. The movements always occur in painting and then it moves to literature, architecture and music.
If you check the internet and you write the Baroque technique in painting, you will find pictures or paintings of several people standing. And they are telling you something from the way they look, from the way they dress, from the way they stand or sit. You feel that there are stories beyond every character or beyond every two characters. You feel relationship between one character and another or you feel they are separated, but you feel stories. When you see the picture, you read it. And there must be something grotesque/ weird.
If we go to literature, how do we find about this technique in literature? You find too many character and too many stories. It is confusing for the audience and for the readers. You can call them plots or subplots or stories. According to this technique, the stories are either separate or interrelated and the actions move in circles.
(move in circles)= It means that there is beginning and ending to the story. Theseus loves Hippolytaand at the end they will marry. Hermia loves Lysander and at the end they will marry. Helena loves Demetrius and they will marry at the end. The craftsmen are preparing a play and they will perform the play. Oberon and Titania are quarreling and maybe they will reconcile at the end. So, the action moves in circles and these circles are either separate or interrelated.
So, Shakespeare employs the Baroque technique in ‘A Midsummer Night's Dream’. The technique became popular in the 16th century up to the 18th century in Europe. A literary work encompasses various plots each with definite beginning and ending. The events of every story move in a circle. The circles either intersect or remain separate from one another. Writers or artists who employ this technique often involve the grotesquery in their work.
I’ll follow thee and make a heaven of hell,
To die upon the hand I love so well.
I will follow you and if you kill me, I will be happy because my lover will be my killer. So, she was not serious when she told him go to hell, I will not keep following you. Then she follows him into the forest.
King Oberon is listening to them. He is unseen by them.
There is a technique here. A woman is chasing a man. It is a reversed situation. This technique is called a gendermandering technique.
There is something you have studies it. It is Courtly love tradition. Courtly love tradition is a tradition that goes back to the Middle-Ages. In southern France, this tradition appears. According to that tradition, a knight chases a married woman. A knight falls in love with a married woman in the court and he keeps begging her to accept his love, but she is always rejecting his love at the beginning and keeps him away. He writes love poetry to her and he humiliates and degrades himself. He stays under her balcony crying and begging and doing everything to show that he has no dignity even she swears/ even she scolds and chides him. He is just happy to hear her voice. So, he keeps on begging and following her until she accepts his life. And later he discovers that she betrays him with another man. This is the courtly love tradition.
In this play, we see the opposite. So, the situation is reversed. And this is the technique of gendermandering.
Shakespeare employs the technique of gendermandering in ‘A Midsummer Night's Dream’. It is affiliated with the courtly love tradition, but it highlights a gender role reversed. It is a non-traditional technique (experimental/modern technique).
Helena takes the role of the courtly love who is supposed to be a man. She is chasing Demetrius in the forest, and Demetrius plays the role of the lady who rejects and chides/ scolds. So, the last story is reversed.
Oberon overhears all what happened. He says something.
At the end of the act, we find Hermia waking up screaming because she has a bad dream. She wakes up and says: where is Lysander? She does not find Lysander; he is gone. And she is left by herself alone. And she talks about her dream. She dreamed that a serpent has eaten her heart away. So, she wakes up and she screams and she goes to Lysander. What is this technique? Whenever you find a dream, you know that it is symbolic. It is the technique of symbolism. So, there is a symbol beyond this dream.
What is the significance of the serpent? The serpent lives in the forest. So, it talks about Hermia situation in the forest. And why the serpent eats the heart in specific? Because the heart stands for her love to Lysander. So, it means that in the forest Hermia is going to lose Lysander. This is the meaning of the symbol. And this technique is called symbolism.
Bottom misuses the words, however, he is wise. He makes sense when he talks. What he says about the prologue is really making sense. He is not stupid. Bottom says that there must be a wall with a chink. Bottom thinks how they make the hole. So, he says that a man might wear cast. Is this a traditional technique? No, it is a modern technique. We call this dadism. It is something called “Dada”. It appeared early in the 20th century. The dadist manifesto was early in the 20th century in France and Italy. They announce that beginning of a movement. William Shakespeare was ahead of his time. He experiments dadism without knowing that it is dadism. All the movements are coined in the modern age. However, Shakespeare has been experimented with this modern technique in the 16th century. So, this idea of making a man wear a cast is a dadist technique. There are different features of dadism. We will not take them. We only know when a man is wearing a shape and he stays with that shape from the beginning of the play until the end, so we call this dadism.
Expressionism التعبيريةis a movement that appeared early in the 20th century. Shakespeare was ahead of his time. He used it in the 16th century before it has been coined.
(It is also an element of grotesquery.) When something is grotesque, this means it is scaring and humorous.
[Expressionistic drama tackles a miserable plot and it is often satirical of society and people. A character in an expressionistic play like Bottom is divested and reduced to a flat shadowy character who says strange and comic things. This abstract character stays in an abstract place. For example, Bottom experienced an absurd dreamlike meaningless unrealistic like when the fairies force him to stay in Titania’s bedroom. It can be said that Shakespeare adopts theriomorphic characterization to satirize Bottom.]
Lysander is assuring Helena that he loves her and Demetrius is doing the same thing. So, the two men decide to look for a place off stage to fight together/ to fight for Helena’s love. And the winner in the fight will win Helena. They do not say dueling. I imagine that they will fight with the hands. Hermia clings to Demetrius. She tries to hold him back. She wants him to stay with her and not to go fight for Helena. So, he pushes her away and he curses her. He calls her ‘Ethiopian’, ‘serpent’, ‘Tartar’, ‘loathedmedicine’ and ‘hatedpotion’. This is a verbal fight. We neverfind a fight that is more humorous than violence. This is a surrealism technique.
[Shakespeare employs the Surrealistic technique to incarnate Hermia’s verbal fight with Lysander and Helena. Surrealism is an anti-realistic technique that was coined at the beginning of the 20th century. It’s used in drama to make an oppressed character fight for her freedom against a totalitarian force. The fight is like a nightmare in the play. André Breton (he is a surrealistic leader who announced the manifesto of surrealism at the beginning of the 20th century) says that violence should be confined to the language only and this is what happens in the play. However, the other surrealist leader Antonin Artaud believes that violence be shown in both; language and action. It is worth mentioning that the surrealistic fight is humorous, not painful. Hermia feels she is oppressed by Lysender for forsaking her and by Helena for betraying her and stealing her lover. Lysander tells Hermia that he really hates her but he will not harm her.]
يا بنات ترى ما كتبت شيء عن parody لأنكم بتأخذونه من السؤال الأول
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