This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at...This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.展开更多
Hate crimes are a culture phenomenon which is perceived by most as an occurrence that should be uprooted from the society. Yet, to date, we have been unable to do so. Hate crimes are the subject of research and commen...Hate crimes are a culture phenomenon which is perceived by most as an occurrence that should be uprooted from the society. Yet, to date, we have been unable to do so. Hate crimes are the subject of research and comments by experts in various fields. In this regard, most scholars agree that a hate based crime is distinguished from a ＂regular＂ criminal offence by the motive--the attack is aimed at a victim who is part of a differentiated minority group. However, when reading the relevant documents in the area, it seems that the differences between the experts start at the most basic point--what constitutes hate crimes？ This article analyses the concept of ＂hate crimes＂ via an interdisciplinary approach aimed at flashing out the fundamental gaps in the research. We have found that the problems include, inter alia, discrepancies in the definition of hate crimes, methodological difficulties regarding validity and legitimacy （mainly due to the absence of information based on the attacker＇s point of view） and the lack of agreement on the appropriate legal methods required to deal with the ramifications of hate crimes. While part I of this paper revolves around the theoretical aspects of the questions put forth at the centre of this article, part II looks at the same questions from a legal viewpoint. The correlation between the two chapters shows the impact the methodological difficulties have on enforcement endeavors. This relation is further advanced through the examination of test cases from different countries, among them--lsrael. Finally, the article concludes by suggesting a few thoughts on the way to overcome the theoretical problems and making the enforcement efforts more efficient.展开更多
This is a partial history of the literary topos ＂sub specie aetemitatis＂. The Latin phrase means ＂from the perspective of eternity＂. Eternity is the way God sees the universe, not as a succession of moments in tim...This is a partial history of the literary topos ＂sub specie aetemitatis＂. The Latin phrase means ＂from the perspective of eternity＂. Eternity is the way God sees the universe, not as a succession of moments in time from past, to present, to future, but as a simultaneous present which includes the past and future as if they are already and always present. This temporal simultaneity is accompanied by a spatial totality and simultaneity. In both Chaucer and Dante the protagonist ends life＇s wanderings and struggles by being carried up into the heavens and looking back on earth from the point of view of eternity. Their literary source is Maerobius＇ Commentary on the Dream of Scipio and Boethius＇ The Consolation of Philosophy. The vision results in epistemological transformation that provides consolation or ＂contemptus mundi＂, the rejection of earthly concems. The ＂sub specie aetemitatis＂ vision is both a revelation of the nature of the universe, time, and the protagonist＇s place in them and a disillusionment that radically changes the protagonist＇s understanding. The work of literature and the reading of it are potentially transformational. For the pagan lover Toilus in Chaucer＇s Troilus and Criseyde the ＂sub specie aeternitatis＂ vision results in religious conversion as well as epistemological transformation. Boethius, whom Chaucer translated, offers an analogue to the vision in the way humans perceive a sphere through their senses and reason. Dante＇s version of the vision in Paradiso xxxiii is the most famous literary example as the protagonist＇s vision merges with the vision of God as an intense ray of light. The conversion and consolation associated with the ＂sub specie aetemitatis＂ vision takes cosmic dimension in Dante. A modem example is Jorge Luis Borges＇ parody of Dante in his story ＂The Aleph＂ where a satiric vision takes place not in the heavens but in the basement of the house in Buenos Aires. In Cervantes＇ Don Quixote the ＂sub specie aetemitatis＂ trope is present by its deliberate omission, and yet performs the functions of epistemological conversion, transformation, and consolation in Don Quixote＇s death. One brief sleep and Don Quixote passes from dreaming （in Borges＇ sense of the word） a reality from the fantasy of his books of chivalry to a tree reality, similar to the conversion Troilus experiences from the sorrow of love to the pure felicity of heaven. With Don Quixote and the realist novel the ＂sub specie aetemitatis＂ vision may seem bound for extinction, at least with its cosmological apparatus of heavenly spheres, but it finds new form in the ending of Gabriel Garcia Marquez＇s One Hundred Years of Solitude. The final reading of Melquiades＇s parchments reveals that the sequential events of the novel exist as if in a simultaneous moment, like God＇s eternity, embracing all time and space in one, before the vision vanishes forever.展开更多
文摘This paper delves into Anton Chekhov＇s The Seagull and George Bemard Shaw＇s The Apple Cart to extensively analyze their infusion of certain comical elements in depicting ostensibly tragic concerns. The paper aims at exploring the use of the comic elements that is not without purpose. Instead through this incorporation of farce, linguistic humor, witty repartee and exaggeration, the holistic vision of life is obtained which was earlier compartmentalized by the Greeks and Roman playwrights. Comic elements including slapstick humor, the singing of songs, and certain character portrayal are discussed as techniques employed at the hands of the playwrights to reflect over the real historical milieu of their respective times, yet giving a boost to realism as a theory and a practice. This is a qualitative study based upon hermeneutic theory of textual analysis. The paper establishes the similarities in Bernard Shaw＇s and Anton Chekhov＇s employment of comical elements as well as the difference between their essential purposes in generic transgression. Although the two writers have their roots in different countries, their humorous portrayal of various issues is seen to be similar. From the microanalysis of these plays, the same comic strains can be traced out in modern drama at macro level that will enhance the implication of this research paper. This paper therefore concludes that comic and tragic elements are not antagonistic rather complimentary to each other.
文摘Hate crimes are a culture phenomenon which is perceived by most as an occurrence that should be uprooted from the society. Yet, to date, we have been unable to do so. Hate crimes are the subject of research and comments by experts in various fields. In this regard, most scholars agree that a hate based crime is distinguished from a ＂regular＂ criminal offence by the motive--the attack is aimed at a victim who is part of a differentiated minority group. However, when reading the relevant documents in the area, it seems that the differences between the experts start at the most basic point--what constitutes hate crimes？ This article analyses the concept of ＂hate crimes＂ via an interdisciplinary approach aimed at flashing out the fundamental gaps in the research. We have found that the problems include, inter alia, discrepancies in the definition of hate crimes, methodological difficulties regarding validity and legitimacy （mainly due to the absence of information based on the attacker＇s point of view） and the lack of agreement on the appropriate legal methods required to deal with the ramifications of hate crimes. While part I of this paper revolves around the theoretical aspects of the questions put forth at the centre of this article, part II looks at the same questions from a legal viewpoint. The correlation between the two chapters shows the impact the methodological difficulties have on enforcement endeavors. This relation is further advanced through the examination of test cases from different countries, among them--lsrael. Finally, the article concludes by suggesting a few thoughts on the way to overcome the theoretical problems and making the enforcement efforts more efficient.
文摘This is a partial history of the literary topos ＂sub specie aetemitatis＂. The Latin phrase means ＂from the perspective of eternity＂. Eternity is the way God sees the universe, not as a succession of moments in time from past, to present, to future, but as a simultaneous present which includes the past and future as if they are already and always present. This temporal simultaneity is accompanied by a spatial totality and simultaneity. In both Chaucer and Dante the protagonist ends life＇s wanderings and struggles by being carried up into the heavens and looking back on earth from the point of view of eternity. Their literary source is Maerobius＇ Commentary on the Dream of Scipio and Boethius＇ The Consolation of Philosophy. The vision results in epistemological transformation that provides consolation or ＂contemptus mundi＂, the rejection of earthly concems. The ＂sub specie aetemitatis＂ vision is both a revelation of the nature of the universe, time, and the protagonist＇s place in them and a disillusionment that radically changes the protagonist＇s understanding. The work of literature and the reading of it are potentially transformational. For the pagan lover Toilus in Chaucer＇s Troilus and Criseyde the ＂sub specie aeternitatis＂ vision results in religious conversion as well as epistemological transformation. Boethius, whom Chaucer translated, offers an analogue to the vision in the way humans perceive a sphere through their senses and reason. Dante＇s version of the vision in Paradiso xxxiii is the most famous literary example as the protagonist＇s vision merges with the vision of God as an intense ray of light. The conversion and consolation associated with the ＂sub specie aetemitatis＂ vision takes cosmic dimension in Dante. A modem example is Jorge Luis Borges＇ parody of Dante in his story ＂The Aleph＂ where a satiric vision takes place not in the heavens but in the basement of the house in Buenos Aires. In Cervantes＇ Don Quixote the ＂sub specie aetemitatis＂ trope is present by its deliberate omission, and yet performs the functions of epistemological conversion, transformation, and consolation in Don Quixote＇s death. One brief sleep and Don Quixote passes from dreaming （in Borges＇ sense of the word） a reality from the fantasy of his books of chivalry to a tree reality, similar to the conversion Troilus experiences from the sorrow of love to the pure felicity of heaven. With Don Quixote and the realist novel the ＂sub specie aetemitatis＂ vision may seem bound for extinction, at least with its cosmological apparatus of heavenly spheres, but it finds new form in the ending of Gabriel Garcia Marquez＇s One Hundred Years of Solitude. The final reading of Melquiades＇s parchments reveals that the sequential events of the novel exist as if in a simultaneous moment, like God＇s eternity, embracing all time and space in one, before the vision vanishes forever.
