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Работа № 128343
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Курсовик Lingua poetical analyses of the tragedy Antony and Cleopatra by Shakespeare.
Информация:
Тип работы: Курсовик.
Добавлен: 20.12.2021.
Год: 2020.
Страниц: 31.
Уникальность по antiplagiat.ru: < 30%
Описание (план):
Plan on the theme: Lingua poetical analyses of the tragedy "Antony and Cleopatra" by Shakespeare. Content:
INTRODUCTION 2 CHAPTER 1. BRIEF BIOGRAPHY OF V. SHAKESPEARE AND HISTORY OF CREATION 4 1. The theoretical foundations of the tragedy "Anthony and Cleopatra" and the historical background of its history. Is this a true story or just a creation? 4 1.1.Who researched this creation in different countries:………8 1.2.In Europe………10 1.3.In Russia……….12 CHAPTER 2. METHODS AND PRINCIPLES OF LINGUA-POETIC ANALYSIS OF THE TRAGEDY OF ANTONY AND CLEOPATRA AND ITS TRANSLATION 14 2.1. The main methods used in the study of the tragedy " Antony and Cleopatra»………14 2.2. Ways of his translation of the tragedy "Antony and Cleopatra" into Russian or Kyrgyz 18 CHAPTER 3. LINGUISTIC POETIC ANALYSIS OF THE TEXT 22 3.1. Linguistic analysis of the tragedy " Antony and Cleopatra» 22 3.2. Stylistic analysis of the tragedy " Antony and Cleopatra» 23 3.3 Literary analysis of the tragedy " Antony and Cleopatra» 25 CONCLUSION 28 The list of references 30
INTRODUCTION Relevance of the topic. In the tragedy "Antony and Cleopatra" Shakespeare achieves a grandiose result: he combines the description of global historical events and conveys the feelings and experiences of an individual. There is a group of plays in Shakespeares work, about which you cannot learn so much from the title given to her - it only says that their stories have one source - the history of Rome. These are "Roman plays" - "Julius Caesar", "Coriolanus" and "Antony and Cleopatra". At first glance, this state of affairs seems strange when it comes to critically-loved works. Indeed, hardly anyone would dare to call the play "Antony and Cleopatra" little-studied. However, the acuteness of the incessant polemic about "Anthony and Cleopatra" is quite capable of explaining that this play fell into the group of "Roman plays" without receiving any other (equally stable and generally accepted) definition in Shakespeares studies. Indeed, only the fact of borrowing the plot of a work from Plutarchs "Biographies" does not cause controversy among literary critics. As for the rest, the opinions of researchers are so contradictory that, as the Australian author Riemer noted, “sometimes it seems that not one and the same, but different plays are being discussed” [1] . The names of Anthony and Cleopatra are steeped in legendary glory. Even before the reader gets acquainted with Shakespeares tragedy, he, as a rule, knows, at least by hearsay, about their love and tragic fate. The novel of the Roman commander and the Egyptian queen is considered one of the historical examples of great love. Therefore, the mere mention of the names of Anthony and Cleopatra tunes in a lyrical mood. Both in criticism and at the theater, Shakespeares tragedy was often interpreted in a romantic, if not sentimental spirit. But the drama Antony and Cleopatra is perhaps the grandest of all of Shakespeares historical dramas. Its field of action is almost the entire ancient classical world. There is a struggle for power over this world. The objectives of the research are to study a short biography about W. Shakespeare and the history of the creation of the tragedy, to consider the methods and principles of the lingua-poetic analysis of the tragedy "Anthony and Cleopatra" and its translation, as well as to give a linguistic poetic analysis of the text. Research objectives: 1. To study the theoretical foundations of the tragedy "Antony and Cleopatra" and the historical background of its history; 2. Identify who researched this creation in different countries, such as Europe, Russia, the CIS countries and Kyrgyzstan; 3. Consider the main methods used in the study of the tragedy "Anthony and Cleopatra"; 4. To reveal the ways of his translation of the tragedy "Anthony and Cleopatra" into Russian or Kyrgyz; 5. Give a linguistic analysis of the tragedy "Antony and Cleopatra"; 6. Give a stylistic analysis of the tragedy "Antony and Cleopatra"; 7. Make a literary analysis of the tragedy "Antony and Cleopatra"; 8. To study semiotics, which analyzes the tragedy "Antony and Cleopatra". The object of the research is the tragedy of W. Shakespeare “Antony and Cleopatra”. The subject of the research is to study the linguistic poetic analysis of Shakespeares tragedy "Antony and Cleopatra". The theoretical principles and specific methods of studying the poetics of both individual works and entire periods in the history of national literatures are substantiated and applied in the works of M.M. Bakhtin, D.S. Likhachev, S.S. Averintseva, E.M. Meletinsky, A.B. Mikhailov and other researchers. Work structure. The course work consists of an introduction, three chapters, a conclusion and a bibliography.
CHAPTER 1. BRIEF BIOGRAPHY OF V. SHAKESPEARE AND HISTORY OF CREATION 1. The theoretical foundations of the tragedy "Anthony and Cleopatra" and the historical background of its history. Is this a true story or just a creation? It is not known exactly when Shakespeare wrote his last historical play, which takes place in ancient times, but Antony and Cleopatra was not published during the authors lifetime. Researchers of the playwrights creativity have no doubt that this tragedy, unlike the plays Pericles, Timon of Athens and Titus Andronicus, was entirely written by Shakespeare. Several earlier English dramas have existed about Antony and Cleopatra. However, only a few of them deserve mentions. There was Daniels Cleopatra, based partly on Plutarchs biography of Antony and Pompey, partly on a French book translated by Otway: A History of the Three Triumvirates. Then there was a play entitled "The Tragedy of Anthony" and translated in 1595 from the French Countess Pembroke, mother of Shakespeares young friend. Neither these works, nor the numerous Italian plays on the same theme, can apparently consider Shakespeare to be their debtor. He had none of them in front of him when he began to write his drama, played for the first time, apparently shortly before May 20, 1608, the day it was listed in the catalogs of booksellers as “a book called“ Anthony and Cleopatra ”, at the expense of Edward Blount, one of the publishers who later published the first in-folio. Thus, this work was probably created during 1607. Shakespeares only but decisive source was undoubtedly the life of Antony in Norths translation of Plutarch. Based on what he learned from this reading, he sketched and processed his tragedy, even if sometimes, as, for example, in its first act, he writes, not following from word to word the data reported by Plutarch. But the more the drama moves forward, the more precisely he adheres to Plutarchs story, skillfully and carefully using every more or less large stroke that seemed characteristic to him. Moreover, he borrows from there this or that detail, obviously, only because it is true, or rather, because he considers it true. Sometimes he introduces completely unnecessary characters, like Dolabella, because he does not want to put into the mouth of another the message that Plutarch ascribes to him, and only in the form of the rarest exception does he make any change; for example, when in his drama he portrays Antony Enobarbus as a traitor, to whom Antony generously sends his property, while with Plutarch a certain Domitius is a fugitive to whom Antony relates in such a generous way...
CONCLUSION
The main feature of poetics, which immediately comes to mind and persistently reminds of itself , is the ambiguity, the multiplicity of plot points of view, which the author managed to fit into the" monologue frame " of her drama. In "Antony and Cleopatra" all aspects of poetics, all elements of the composition participate in the creation of a comprehensive and at the same time organic worldview, in which different, often opposite perspectives, collide, complement and clarify each other. The main characters of "Antony and Cleopatra" practically do not explain themselves - they "show" and show their feelings and aspirations. The playwright has reduced the number of sources of information about the characters, thereby changing the quality of this information - there are few monologues in the play, and the image the stage behavior of the protagonists is one step closer to creating a more complete illusion of reality. In this play, the action suggests that the playwright sought to ensure that ideology was dissolved in psychology. Divergent ideological (evaluative) perspectives coexist in the plot space of "Antony and Cleopatra", the central point of view of which is largely determined by the fluctuations between them. However, the description of all these perspectives does not exhaust the plot of the play, and most importantly, does not allow us to clearly formulate its conflict - the core of the composition of the dramatic work. The composition also suggests that in the plot of the play it is possible to identify another semantic center, another point of view, more significant compositionally, that is, directly organizing the action of the play, creating a clear dramaturgical structure, which holds within its framework all the variety of evaluative perspectives. Elements of this worldview are present in all of Shakespeares tragedies, but in "Antony and Cleopatra", in our opinion, it has acquired the most complete and perfect form, and this allows us to speak not only about the originality of the poetic manner of the play, but also about the uniqueness of the worldview that became the basis of the poetics of the work.
The list of references 1. Shakespeare W. Antony and Cleopatra, Arden, Methuen, London, 1981. 2. The complete Pelican Shakespeare The tragedies, 1969. 3. The complete works of Shakespeare, ed. by W.J. Craig, London, 1955. 4. The annotated Shakespeare, London, 1979. 5. The complete works of William Shakespeare, The Falstaff editon, London, 1899. 6. Шекспир В. Полное собрание сочинений в 8-ми томах, Москва, 1998. 7. Approaches to Shakespeare, ed. by N. Rabkin, New York, 1964. 8. Baker G.P. The development of Shakespeare as a dramatist , New York, 1965. 9. Berry R. Cnanging styles in Shakespeare, London, 1981. 10. BethellS.L. Shakespeare and the popular dramatic tradition, London, 1944. 21 a. Bloom H. Shakespeare. The invention of the human, New York, 1998. 11. Campbell L.B. Shakespeares tragic heroes , New York, 1959. 12. Cantor P.A. Shakespeares Rome, London, 1976. 13. Champion L.S. Shakespeares tragic perspective, Athens, 1976. 14. DriskollJ.P. Identity in Shakespeares drama, London, 1983. 15. FarnhamW. Shakespeares tragic frontier, Berkeley, 1950. 16. Shakespeare: Julius Caesar. A casebook, London, 1968. 17. Shakespeare: the tragedies , London, 1965. 18. D. Traversi, An Approach to Shakespeare, vol. 2, L., 1968, p. 332. Источник: library/evoluciya-she spirovskoy-tragedii12 html 19. E.K. Chambers, Shakespeare. A Survey, p. 257.Источник: library/evoluciya-she spirovskoy-tragedii12 html 20. H.A. Mason in "Antony and Cleopatra. A casebook", ed. by J.R. Brown, Lnd., 1968. 21. E. Schanzer "The problem plays of Shakespeare", Lnd., 1960. 22. B. Stirling "Unity in Shakespearean tragedy", N.Y., 1986, pp. 190-1. 23. W. Farnham "Shakesreares tragic frontier", Berkeley, 1950, p. 200. 24. J. Holloway "The story of the night", Lnd., 1961; I. Ribner "Patterns in Shakesperes tragedies", Lnd., 1960. 25. J. Markels "The pillar of the world", Columbia, 1968. 26. J. Dryden "Dramatic essays", Lnd., 1921; "Johnson on Shakeapeare", Lnd., 1940 27. Wilson Knight "The imperial theme", Lnd., 1961, p. 199.
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