It would be improvident and naif to presume that the perceptual experience of such a complex and controversial figure as Cleopatra would stay unchanged throughout the class of history. The stereotyped representation of Cleopatra as a dominant political leader, a destructive sexual attacker and a timeless Egyptian Pharaoh seems to get different sunglassess in the context of peculiar historical and cultural fortunes.Let ‘s take a expression at the word picture of Cleopatra in 1930 and 1960s based on the two films about the dateless fable.In both movies there ‘s grounds of the society ‘s ever-growing captivation with the Orient – alien backgrounds, elaborate outfits, dramatic scenes.

The 1934 ‘s off screen Cleopatra becomes a trade name, a selling chance for oriental jewelry, aroma and vesture. The accent of the film is on non on Cleopatra, the strong and forceful leader, but instead on Cleopatra – the historical figure, who is first and for most the adult female covering with with the two great loves of her life – Caesar and Antony. “ I ‘m no longer a queen. I ‘m a adult female. ” ( Cleopatra, the film, 1934 ) The advertisement suggests the movie was chiefly positioned as an “ heroic romantic comedy ” and was barely concentrating on political relations.

This representation of Cleopatra was affected by the rise of the new adult female image in America ‘s society in 20-30s. Womans were contending for better occupation chances and wages to fit those of work forces ‘s. With divorce rates lifting and pre-marital relationships going more and more popular the movie was on the brink of being branded immoral by those who opposed the rise.In the 1960s Cleopatra ‘s narrative continues to germinate. The 1963s film is set in a true Hollywood manner with grandiloquent ornaments and dearly-won extravagancy.However, and that ‘s where the chief difference between the two movies lies, Elizabeth Taylor portrays Cleopatra non merely as an attractive and sophisticated adult female. The accent here is instead on her function as a powerful and rational leader, who speaks several linguistic communications and uses anguish in order to accomplish her aims.

The coquettish baby-faced Cleopatra of the 1930s is being replaced by a provinces adult female, whose ultimate dream is to hold a individual universe civilization. The displacement is chiefly influenced by the political issues of the clip – the formation of the United Nations and the instructions of the two great leaders J.F.

Kennedy and Martin Luther King.The off screen relationship of 1960s Cleopatra with her carbon monoxide star is besides of a peculiar involvement here. The love affair between the two histrions was regarded as pulling analogues between the yesteryear and the nowadays of Cleopatra ‘s narrative.In decision, allow me one time once more want pull your attending to the fact that during the twentieth century entirely Cleopatra ‘s image has been invariably reassessed to suit the societal and cultural alterations of each peculiar epoch.

We ‘ve seen images of her as a sexual marauder, a adult female in love, a manipulative leader. In fact, we ‘ve known it all along, you might state. Her narrative is dateless, the readings will be everlastingly switching, the fable lives on.

..Fear, T. 2008, Reputations, Milton Keynes, Open University.Assignment 1 Part 2.Doctor Faustus.In the undermentioned transition from Marlowe ‘s Doctor Faustus we are presented with yet another effort of our hero at penitence.

Faustus seems distressed and non that confident in his determination to function the immorality after all. But is at that place a opportunity of turning back? Not for Faustus! His biggest error is in his inability to believe that God would still forgive him should he atone, to solidify his religion in Christianity and defy the iniquitous enticements.There are certain facets of the transition ‘s construction that Marlowe uses to demo the character ‘s indecision and interior battle.First and foremost the transition is yet once more written in clean poetry with a full usage of iambic pentameter. Each line is constructed from five strong positively stressed sylable words, this beat is believed to follow the closest to human address, peculiarly usefull when the poetry does non rime.It is besides of import to detect a few repeats in the transition.

The words repeated most are repent, commiseration and desperation. The writer is evidently seeking to underscore what ‘s on Faustus ‘ head. Should he atone and transport on life in “ deep desperation ” ( because the human cognition is so limited ) or autumn for the “ sweet pleasances ” of diabolic forces to maintain himself contained?The transition opens up Faustus ‘ frights on going “ damned ” .

The usage of short nouns with a emphasis on the first syllable “ toxicant, guns, hackamores and envenomed steel ” ( Marlowe, p49, 23 ) , combined with the appropriate punctuation ( commas in this instance ) make us believe he is truly scared non merely of the whole thought of going a “ spirit ” , but besides to be rejected by the human society he is still urgently seeking to suit in and be portion of. Some might reason that he is simply scared of the Devil and is non ready to confront the effects in instance of his penitence.At the terminal of the transition he yet once more makes the incorrect pick by declining to atone and seeks Mephistopheles company. Interestingly, how throughout the drama he addresses Mephistopheles as “ my Mephistopheles ” or “ sweet Mephistopheles ” motivating the audience to believe there was a homosexual connexion in their relationship.All of this combined makes a narrative that is difficult to set down and a supporter that at foremost you feel regretful for, and so alter possibly to commiseration, it paints a image of a adult male who is populating in a fantasy universe, where he has risen through the societal ranks, and learned more so most work forces, to the terminal where he is no longer interested in mortal ideas and workss, but wants for immortality.The usage of the linguistic communication helps to portray Faustus as life in a fantasy universe, and unable to distinguish between world and fanciful, this is shown particularly within the lines where he is speaking to himself about in a panic “ Faustus thou art damned ” ( Marlowe, p.

49. 22 ) . cussing himself and his ideas, merely to speak himself out of it later on, eventually subjecting to Mephistopheles.Christopher Marlowe, Doctor Faustus, Act 2, Scene 3, II.

13-38 ; in John O’Connor ( ed. ) ( 2009 ) , Doctor Faustus ; the A text, Pearson Longman, P,49.


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