In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land
(Aristophanes, "Lysistrata," retrieved on 6 November 2004 from Exploring World Cultures Website, 1997) As observed by Bill Hemminger, a classical scholar on Exploring World Cultures Website "a culture includes both the dominant tradition and its transgression," in other words, both dramas and comedies such as these two validate cultural values such as male dominance, a dislike of foreigners, and military prowess, and also subvert them through humane and humanizing characterizations of the feminine and the feminine plight of dependence upon men for status and protection. (Hemminger, 1997) True, asserting that Euripides' characterization of Medea as a positive and sympathetic character may seem a more dubious proposition, on the outset
As such, many theater productions began implementing multi-faceted strategies which included the combination of several genres in order to provide a flexibility that would both sadden and humor. Here, the research suggests that these plays prompt "us at one moment to objectivity and laughter and at the next moment to empathy and profound sad feeling; or in which the clauses are written to multiply, on top of one another and having an equal or near-equal weight, producing that suspenseful, odd, grotesque response of neither happy-nor-sad, a twist, a painful wringing" (Fearnow 52)
The play was incredibly engaging with the audience, as it uses the audience as participants in the actual labor movement. The play relies on audience participation, "let's hear what the red boys gotta say!" (Odets 6)
The company Mr. Zero works in is a nameless corporation that is meant to resemble the major conglomerates that all dominated society and politics in a modern capitalist era (Rice 34)
The Mercury Theater was a major player in the 1930s theater scene. The group was originally formed by two founders, John Houseman and Orson Wells in 1937 (Scarborough 1)
.to actual life understanding of what the world is, and what it ought to be" (Jones, 1966, p
'If something doesn't happen or change by the end of this month, I don't see Theatre Bristol remaining in operation. We're running out of time'" (Brown)
The missing link to make an electric device, like a computer, to think is the emotional component- these devices have no ability to have nuances in emotions, a byproduct of being able to think at a level that society understands. Some may argue that robots, a more complex computing system, have the ability to think and express themselves in a more complex and human like manner; to that end, researchers in Japan have unveiled a new robot that has the ability to display seven human emotions (Barnett, 2009)
It is true that thinking is more or less processing the information that is perceived by the brain, and that the symbols that are being perceived are the images and relationships in the outside world; but, there is additional layer of thinking that also contributes to the overall concept, which is the emotional aspect. Rene Descartes, famously wrote in his work The Discourse on Method, "I think, therefore I am" (Skirry, 2008)
Those with the most to give to others are most often the people who are the least likely to share them with the less fortunate. To reward Shen Te and test the nature of her goodness, the gods give her a small amount of money with which she opens a tobacco shop in her village (Brecht)
Hedda Gabbler is more concerned with the question of self-aggrandizement than goodness. The main protagonist of the piece is a woman who has just returned from her honeymoon and is already dissatisfied with her marriage (Ibsen)
Needless to say, however, at a cinema one may often choose either/or. Still, Umberto Eco states that "according to traditional standards in aesthetics, Casablanca is not a work of art, if such an expression still has meaning" (Eco 197)
Understanding the difference between a film that was meant to entertain and enlighten and a film that was meant merely to entertain through spectacle helped me see that while going to the cinema was a pop cultural event, it could sometimes translate into a high culture exercise. Richard Hamilton defined pop art as being mass-produced for a mass-audience, transient, expendable, low cost, youthful, witty, sexually gimmicky, glamorous, and big business (Johnson 723)
But that is not the only difference: King observes that while Harry Potter teaches values about growing up and learning to deal with reality and having to struggle with our own good and evil natures, Twilight, he argues, is simply about sex: "Harry Potter is about confronting fears, finding inner strength and doing what is right in the face of adversity. Twilight is about how important it is to have a boyfriend" (Serper)
If popular culture scholars are compelled to give such a definition, it may be because "high culture" descended into the ranks of popular culture through the works of such artists as Richard Hamilton, Jaspar Johns, and Andy Warhol. This idea may help explain why John Storey theorizes that it is difficult to separate popular culture from high culture, since there are many works of high culture that are also popularly admired and thus a part of popular culture (Storey 4)
In fact, the latter can be determined by the former. Body and name are associated with the issue of identity as the actor assumes a new role by lending his body to the new identity created by the literary text (Fischer-Lichte: 5)
Any definition or general understanding of tragedy as a whole depends first and foremost on an understanding of Greek tragedy in particular." (Silk: 3) From Ancient to modern scholars one of the few constants in their area of study has been Greek tragedy
Greek comedies were rediscovered during the Renaissance, the point of origin of comedy as we know it today. Furthermore, the Renaissance brought two major developments to the comedy: the commedia dell'arte, and plot developments and defined archetypal characters (Storey: 407)
Shakespeare was a shareholder in "The Globe" and his name has become linked forever with the theater as it staged most of his plays over the next several years and became the finest theater in London. (Malvasi, para No