Here it is in its entirety: The most widely regarded view is that Shakespeare used the model of tragedy set up by Aristotle. There are some problems with this, however. Aristolean Tragedy The model of an Aristotelian tragedy begins with the protagonist tragic hero.
Such recollections can range from the depths of boredom and anguish to the heights of sublime joy and intellectual awakening. But regardless of our opinion of Shakespeare, we speak his language everyday. It is estimated that Shakespeare added around new words to the English language. Studying Shakespeare benefits students in a myriad of ways.
If children can understand Shakespeare they can understand anything. Some may argue that this is a reason not to teach Shakespeare in schools.
But students gain strength, Catharsis in hamlet and the capacity to deal with minor hardships like forgetting your lines on stage by studying, memorising and performing Shakespeare. Obviously they need to be taught in an appropriate manner with support and understand and not be pushed too far too quickly.
Performing a Shakespeare play also builds class unity. Students learn to rely on one another and learn that they themselves need to be reliable, and that others are relying on them.
You only need to miss your cue once in a performance to learn what it is like to let people down. Acting also takes students out of their small circle of friends and forces them to connect with and cooperate with all members of their class. My own experience of taking a number of classes through Shakespeare performances is that by the evening of the final performance the class has been transformed and there is a magical sense of unity, happiness and lightness.
The simple fact of compulsory cooperative action seems to bring about these qualities. It may be argued that the advantages, of character building and class unity would accrue from the performance of any dramatic work.
But Shakespeare has an added benefit. There is greatness about Shakespeare which cultivates the spirit and raises one to a level of transcendent reflection and pure sentiment. A study of Shakespeare connects the students to their cultural heritage, and equips them, in time, to make their own contribution.
The experience for the student acting out a play is much stronger than say a lesson on morality or a discussion on human nature.
The play involves them for that period of time in that space together. Vicariously the students experience what life would be like if they enacted those motivations which are driving the characters.
They see people in confronting circumstances struggling to know what to do and relying on their inner resources to survive a crisis. To the degree that the students experience the drama, to that extent they can undergo the catharsis the ending brings. The catharsis of being involved with murder, deceit and betrayal and experiencing the consequences of those dark emotions can free the student from the need to enact those traits in his or her own life.
Because Shakespeare portrays these emotions so accurately and perfectly the students can fully experience those character flaws and be freed from them. Performing the plays on stage ensures that the children learn their lines and the lines of many of the other characters by heart. The words stay with them for life and form on important part of their intellectual capital.
Not only is the language of Shakespeare sublimely beautiful and richly poetic, the subject matter of his plays covers the whole gambit of human experience. Within his plays we find the martial ardour of Henry V, the jealous ambition of Lady Macbeth, the evil scheming of Iago, the doubting hesitation of Hamlet, the dereliction of duty of King Lear, the degradation of Caliban, the wisdom of Prospero, and the arrogance of Coriolanus.
The children are exposed to some of the most excellent practical advice for life and observations of human nature expounded in pithy and memorable speeches. He expresses a profound knowledge of human behaviour and offers insight into the world.
Shakespeare can be used as a pivot point for introducing students to:Definition and a list of examples of metonymy. Metonymy is a figure of speech in which something is called by a new name that is related in meaning.
Aristotle's Poetics (Greek: Περὶ ποιητικῆς; Latin: De Poetica; c. BC) is the earliest surviving work of dramatic theory and first extant philosophical treatise to focus on literary theory in the West.
This has been the traditional view for centuries. However, recent work is now challenging whether Aristotle focuses on literary theory per se (given that not one poem exists in.
Introduction. Commonly, the term Literary Devices refers to the typical structures used by writers in their works to convey his or her message(s) in a simple manner to his or her readers.
When employed properly, the different literary devices help readers to appreciate, interpret and analyze a literary work. Hamartia is first described in the subject of literary criticism by Aristotle in his grupobittia.com source of hamartia is at the juncture between character and the character's actions or behaviors as described by Aristotle..
Character in a play is that which reveals the moral purpose of the agents, i.e. the sort of thing they seek or avoid. Definition of Dramatherapy: The UK Health Professions Council Standards of Proficiency for Arts Therapists document () describes Dramatherapy as.
Aug 19, · Published in Sydney's Child, August Many of us have mixed feelings when we think of studying Shakespeare at school. Such recollections can range from the depths of boredom and anguish to the heights of sublime joy and intellectual awakening.