Definition of Tourist/Tourism Essay

Throughout the academic and business world there is ongoing debate regarding the insufficient definitions of the terms ‘tourism’ and ‘tourist’. Upon researching this matter I have also come to question the validity of the ‘tourism industry’ and its ability to meet the requirements of industrial and commercial activities due to the lack of uniform and limitations of what it pertains to. The following are definitions I have chosen, in order of preference, to shed light on the ambiguous nature of these terms so that a clearer understanding can be realised for economic and educational use. Of these it can also be seen that they have been sourced from opposing areas of interest – industry, academic and dictionary, as to better illustrate the need for more than one type of definition. Furthermore, each will be deconstructed to communicate their relative strengths and weaknesses in relation to fundamental aspects of their current use. – World Tourism Organisation (cited in Tribe 2009, p.44); Tourism: ‘†¦ comprises the activities of a person’s travelling to and staying in places outside their usual environment for not more than one consecutive year for leisure, business and other purposes not related to the exercise of an activity remunerated from within the place visited.’ – World Tourism Organisation (1993, cited in Cooper, Shepherd & Westlake (1996, p.18); Tourist: ‘†¦A visitor* who in the country visited for at least one night. *Visitor: ‘†¦Any person who travels o a country other than that in which he/she has his/her usual environments, for a period not exceeding 12 months and whose main purpose of visit is other than the exercise of an activity remunerated from within the country visited.’ – Stear (2005, p. 8&11); Tourism: ‘tourism is travel and temporary stay, involving at least one night away from the region of a person’s usual home that is undertaken with the major expectation of satisfying leisure needs that are perceived as being more enjoyably able to be satisfied by being at places outside of, and qualitatively different to, the home region.’ Tourist: ‘a tourist is a person engaging in the activities directly associated with the present or future travel and temporary stay that involves at least one night away from the region of their usual home that is undertaken with the major expectation of satisfying leisure needs that are perceived as being more enjoyably able to be satisfied by places outside of, and qualitatively different to, the home region.’ – Oxford Dictionary (2011); Tourism: ‘the commercial organization and operation of holidays and visits to places of interest.’ Tourist: ‘†¦a person who is travelling or visiting a place for pleasure.’ To begin, one of the key factors in defining tourism is determining where it begins, ends, and the stakeholders impacted along the way. As explained by Theobald (1994, p.26), ‘tourism is more like a ‘sector’ that impacts a wide range of industries’ rather than an industry itself as current statistical measurement of economic effects is unreliable and problematic. Stear’s blanket approach of tourism neglects to set parameters for quantitative study where ‘many of these businesses also serve local residents [and] the impact of spending by visitors can easily be overlooked or underestimated’(Theobald 1994, p.4). This leads to the need for segregation of the term by its main features to establish the objective of the meaning and what it aims to achieve. This is adequately explained by Tribe (2009, p.25) as ‘†¦differentiation is sought between functional definitions of the term tourist used to define and measure activities of people for the purposes of sorting and collecting data about those activities, and that of the concept of tourist, which has a much less well-understood value’. Because of this it is widely accepted that there are ‘†¦two different types of tourism definitions, each with its own rationale and intended usage’ (Theobald 1994, p.7). The suggestion of Burkart & Medlik (1981, cited in Theobald 1994) that there are both conceptual and technical definitions, the former allowing for a theoretical approach such as Stear’s in which it can be used for the teaching of this area of study, and the latter is aligned to the WTO’s approach for ‘statistical or legislative purposes†¦.that can be applied to both international and domestic settings†¦.to help standardise comparative international tourism data collection’. Similarly the World Tourism Organisation has put forward a significant division in the term ‘tourist’ as a method of discerning those who visit a place for more than twenty-four hours from those who don’t. This enables significant advancements in both technical and conceptual approaches to the definition as allowing tourists such as backpackers, cruise ship passengers and tour busses to be incorporated as well as their significant input to the ‘industry’. Stear’s definition, although broad, lacks entirely in the foresight that ‘at least one night away’ is limited to people who reside in the area overnight which is often not the case. In my experience backpacking, there are many scenarios in which time constraints urge you to visit multiple ‘attractions’ in one day and often over large distances, of one account travelling by car I had breakfast in Italy, lunch in Switzerland, followed by dinner in Germany. With no uncertainty was I tourist at all stages of this trip, therefore the following opinion of Theobald (1994) in which ‘visitors include two distinct categories of travellers’ one being tourists and the other excursionists, is fundamental to the concern of accountability of economic effects in tourist destination regions. In this case the WTO definition comprises of a tourist and excursionist approach which adequately incorporates all impacts on the relative industries. However, of the above methods of definition neither encompasses the history and definition of each word and its everyday use regardless of technical and conceptual implications. Because of this, I believe it pertinent to incorporate the dictionary definition of both tourism and tourist in their comprehensive understanding as their etymology is central to the existence of this ‘sector’. It is collectively agreed (Stear 2005, Weaver & Lawton 2010, Tribe 2009 and Theobald 1994) that tourism is a social phenomenon of the nineteenth and twentieth century’s, of a time where cultural and leisure purposes were the most prominent instigating factors. This said, many forms of ‘types of travel’ (Stear 2005, p.5) have emerged clouding the nature of its original meaning making it difficult to transcend this meaning into a contemporary societal view. As Theobald (1994, p.6) explains etymologically the Latin derivative of tour (when combined with the suffixes of –ism and –ist) describes the movement in a round-trip and in essence the journey of leaving and then returning to the original starting point. It is plain to see that this holds great dissimilarity to the aforementioned dictionary definition as it is subsequent to the influences of industry purpose. Overall, this discussion has outlined the continued difficulties in producing a unified definition that encompasses all aspects of tourists and their impacts on tourism so that statistical and theoretical conclusions can be draw for economic and academic purposes. In total, I believe each of the definitions mentioned above hold merit in varying manners when applied for specific use in their appropriate field. This does not dismiss the issue that each has limitations in regards to the standardisation of each type of definition and in conclusion until this standardisation of terms used for conceptual and technical objectives occurs, neither can be solely accepted for all application in a worldwide setting.

Ecosystem Services In Human Systems Environmental Sciences Essay

Ecosystem services in human-environment systems: What is the job? Ecosystems present goods and services of tremendous value to the human society ( Pearce and Moran, 1994 ; Costanza et al. , 1997 ; Daily, 1997 ) . However, intensive land and H2O usage, extraction of natural resources, and chemical emanations into the environment lead to a world-wide debasement of biodiversity and of the supporting services, purveying services, modulating services and cultural services which ecosystems provide ( Hooper et al. , 2005 ; Millennium Ecosystem Assessment, 2005b ) . On a planetary graduated table the Millennium Ecosystem Assessment ( 2005b ) found that 60 % of planetary ecosystem services ( ES ) surveyed are presently being degraded or used unsustainably. Future scenarios are assuring no relieve. Merely the projected doubling of nutrient ingestion for the following 50 old ages ( Tilman et al. , 2002 ) , in combination with the turning demand for biofuels and other biophysical merchandises wi ll dispute decision-makers covering with ecosystem direction worldwide. They need to optimise ecosystems with regard to multiple demands. Climate alteration has even intensified the kineticss of this human-environment interaction ( McCarthy et al. , 2001 ) . Ecosystem services are defined as maps of ecosystems with value for human wellbeing. Thus the construct of ecosystem services, establishes a relationship between ecosystem service providers ( the manufacturers ) and demanders for ecosystem services ( the donees ) . Those supply-demand interaction can be distinguished on three degrees: I ) upstream – downstream dealingss, two ) north – south dealingss and three ) hapless – rich dealingss. I ) Because of topographical complexness and altitudinal gradients mountain ecosystems are peculiarly sensitive to planetary alteration compared to the lowland ( Becker et al. , 2007 ; Bugmann et al. , 2007 ) . Socio-economic exposure to loss of ecosystem services tends besides to be higher because of by and large more hard socio-economic conditions in mountains. But besides the Lowlandss are influenced by unsought alterations in mountain countries, because of their importance for biodiversity and for supplying ecosystem services. Downstream histrions benefit from the supply of upstream ecosystems with regard to clean H2O, inundation control, reduced deposit, scenic beauty and many more positive cragged ecosystem services. two ) Similarly, force per unit area on ecosystem services is high in the south because of uninterrupted land usage alteration, land debasement and impacts of clime alteration. Until now, such amendss to ecosystems services are non sufficiently taken into history in the environmental determinations along the planetary value ironss associating consumer, retail merchant, processor, and manufacturer in the North and the South. Fair trade is a first measure into this way, but planetary trade fundamentally masks the restraints of regional ecosystems. To increase the ecological transparence and foster sustainable ecosystem direction, the involved public and private histrions need to develop, better and utilize instruments for ecological appraisal and direction of planetary value ironss damaging regional ecosystem services. Recently thoughts have been developed for international payments for ecosystem services and international biodiversity off-sets ( see for a reappraisal in German or Gall ic linguistic communication Koellner and Engel, 2008b ; Koellner and Engel, 2008a ) . three ) In both instances mentioned before the relationship between upstream-downstream and north-south are potentially tantamount to a poor-rich relationship. Particularly in developing states with weak environmental statute law and enforcement, the activities of the primary sector ( agribusiness, forestry, piscaries and aquaculture, but besides oil, gas and excavation ) lead to deforestation, cause terrible amendss to biodiversity and eventually restrict the capacity of ecosystems to present packages of services at the landscape graduated table to the local people. This is particularly obnoxious, if biotic resources are produced unsustainably in hapless states in the South and exported to rich states in the North with rigorous environmental ordinance, but merely for the ain district. I am non stating that planetary trade per Se is bad for the environment, but advanced solutions are needed if the hapless are affected, because they can non buffer losingss of ecosystem services with p urchased human-made services. To replace losing statute law pro-poor payments for ecosystem services were discussed in the past ( Landell-Mills and Porras, 2002 ; Duraiappah, 2006 ; Ravnborg et al. , 2007 ; Bulte et al. , 2008 ; Proctor et al. , 2008 ; Tallis et al. , 2008 ) . To successfully pull off such supply-demand dealingss for ecosystem services under force per unit area of planetary alteration requires a coaction of scientific discipline and pattern. New schemes for local, regional and planetary direction of ecosystems are necessary, which are based on ecosystem services quantification ; design of finance, policy and administration systems ; and the execution of those in assorted biophysical and societal contexts ( Daily and Matson, 2008 ) . Within this general model the three chief aims of my habilitation thesis on Ecosystem Servicess in Human-Environment Systems are Part A ) to pattern land usage and its impact on biodiversity and ecosystems and their services Part B ) to analyse the decision-making that drives supply and demand for ecosystem services, and Part C ) to research the ecosystem impact of the fiscal sector national and international payments for ecosystem services ( PES ) and their linkages to the fiscal sector. In this debut I reflect foremost the recent treatment about the definition of ecosystem services. Then I develop a general model to form research on ecosystem services. Finally, for each of the three aims I provide a short reappraisal of bing research and depict my part to make full the spread. What are ecosystem services? Much confusion about their definition. Daily ( 1997 ) and the lending writers from natural and societal scientific disciplines introduced the term and construct of ecosystem services in order to emphasize the dependence of human-well being on nature. This milepost work defines ecosystem services on page 3 as follows: â€Å" Ecosystem services are the conditions and procedures through which natural ecosystems, and the species that make them up sustain and carry through human life. They maintain biodiversity and the production of ecosystem goods, such as seafood, eatage, lumber, biomass fuels, natural fibre, and many pharmaceuticals, industrial merchandises, and their precursors. † ( Daily, 1997, page 3 ) . In this definition ecosystem goods and biodiversity are an end product of natural maps in sensu de Groot ( 1992 ) . Interestingly, the Millennium Ecosystem Assessment MA ( 2005b ) skips the differentiation between touchable ecosystem goods. It defines ecosystem services loosely as the â€Å" benefits people obtain from ecosystems † . It does distinguish supportive services ( like food cycling and dirt formation ) , purveying services ( like nutrient, fresh H2O and fibres ) , modulating services ( like eroding control or H2O purification ) , and cultural services ( like proviso of chances for diversion and religious or historical intents ) . That means what is a good under the definition of Daily is in the MA defined as an ecosystem services. Precisely around this issue, there is presently a scientific argument ongoing ( see Boyd, 2007 ; Boyd and Banzhaf, 2007 ; Wallace, 2007 ; Costanza, 2008 ; Fisher and Turner, 2008 ; Wallace, 2008 ) .

Renaissance Drama in England

Renaissance Drama in England From Medieval to Renaissance Drama ? Mystery plays -> ? Historical (chronicle) ? Miracle plays -> plays ? Tragedies ? Comedies ? Morality plays -> ? Interludes -> Other public â€Å"spectacles†Ã¢â‚¬ ¦ The Elizabethan Drama ? The Elizabethan era saw a great flourishing of literature, especially in the field of drama. ? The Italian Renaissance had rediscovered the ancient Greek and Roman theatre, and this was instrumental in the development of the new drama, which was then beginning to evolve apart from the old mystery and miracle plays of the Middle Ages. The Italians were particularly inspired by Seneca (a major tragic playwright and philosopher) and Plautus (comic cliches, especially that of the boasting soldier had a powerful influence on the Renaissance and after). ? However, the Italian tragedies embraced a principle contrary to Seneca's ethics: showing blood and violence on the stage. It is also true that the Elizabethan Era was a very violent age. As a result, representing that kind of violence on the stage in scenes of high ? physical realism? was probably more cathartic for the Elizabethan spectator. Lady Macbeth by John Singer Sargent,1889Elizabethan Drama and Acting – Main Features ? ? ? ? ? ? ? ? ? ? The plays had 5 acts; Physical realism; Issues borrowed from the ancient Greek drama (the chorus); Allegorical characters borrowed from the Medieval moralities; Issues borrowed from the Italian drama (the pantomime); Exaggerated feelings (love, hatred, revenge); Props and settings were simple; Costumes were rich and in accordance with the fashion of the time; There was no curtain; Women were not allowed to perform. Spanish Tragedy by Thomas Kyd ? Examples: Gorboduc (or Ferrex and Porrex) by Sackville ; Norton, TheThe Elizabethan Playhouse ? The establishment of large and profitable public theatres was an essential enabling factor in the success of English Renaissance drama—once they were in op eration, drama could become a fixed and permanent rather than a transitory phenomenon. The crucial initiating development was the building of The Theatre by James Burbage, in Shoreditch in 1576. The Theatre was rapidly followed by the nearby Curtain Theatre (1577), the Rose (1587), the Swan (1595), the Globe (1599), the Fortune (1600), and the Red Bull (1604).The Elizabethan Playhouse ? The public theatres were three stories high, and built around an open space at the centre. ? Usually polygonal in plan to give an overall rounded effect (though the Red Bull and the first Fortune were square), the three levels of inwardfacing galleries overlooked the open center, into which jutted the stage— essentially a platform surrounded on three sides by the audience, only the rear being restricted for the entrances and exits of the actors and seating for the musicians. The upper level behind the stage could be used as a balcony. Usually built of timber and plaster and with thatched roofs , the early theatres were vulnerable to fire, and were replaced (when necessary) with stronger structures. When the Globe burned down in June 1613, it was rebuilt with a tile roof. The English Renaissance Drama ? 1. The early tragedies ? 2. The early comedies ? 3. The plays of the ? University Wits? ? 4. William Shakespeare’s plays the â€Å"university wits† The decade of the 1590s, just before Shakespeare started his career, saw a radical transformation in popular drama. A group of welleducated men chose to write for the public stage, taking over native traditions.They brought new coherence in structure, and real wit and poetic power to the language. They are known collectively as the â€Å"University Wits,† though they did not always work as a group, and indeed wrangled with each other at times. ? ? ? ? ? ? ? John Lyly (1554-1606) Thomas Lodge (c. 1558-1625) Christopher Marlowe (1564-1593) Robert Greene (1560-1592) Thomas Nashe (1567-1601) George Peele Thomas Kyd Thomas Kyd (1558 –1594) ? ? ? Th. Kyd was the author of The Spanish Tragedy, and one of the most important figures in the development of Elizabethan drama.The Spanish Tragedie was probably written in the mid to late 1580s. The earliest surviving edition was printed in 1592; the full title being, The Spanish Tragedie, Containing the lamentable end of Don Horatio, and Bel-imperia: with the pittifull death of olde Hieronimo. However, the play was usually known simply as â€Å"Hieronimo†, after the protagonist. Kyd is more generally accepted to have been the author of a Hamlet, the precursor of the Shakespearean play (Ur-Hamlet). Christopher Marlowe(1564 –1593) ? ? ? ? ? ? ? ? ? ?The foremost Elizabethan tragedian before William Shakespeare, he is known for his magnificent blank verse, his overreaching protagonists, and his own untimely death. Marlowe’s most important plays in which he created his tytanic characters are: Dido, Queen of Carthage (c. 1586) (possibly co-written with Thomas Nashe) Tamburlaine, part 1 (c. 1587) Tamburlaine, part 2 (c. 1587-1588) The Jew of Malta (c. 1589) Doctor Faustus (c. 1589, or, c. 1593) Edward II (c. 1592) The Massacre at Paris (c. 1593) Marlowe is often alleged to have been a government spy killed upon the orders of the Queen.William Shakespeare and His Contemporaries ? According to some critics of his time, Shakespeare was vulgar, provincial and overrated. ? Robert Greene (1558 –1592) is most familiar to Shakespeare scholars for his pamphlet Greene's Groats-Worth of Wit (full title: Greene's Groats-worth of Wit bought with a Million of Repentance), which most scholars agree contains the earliest known mention of Shakespeare as a member of the London dramatic community. In it, Greene disparages Shakespeare, for being an actor who has the temerity to write plays, and for committing plagiarism. ? â€Å"†¦ or there is an upstart Crow, beautified with our feathers, that with his Tygers ha rt wrapt in a Players hyde, supposes he is as well able to bombast out a blanke verse as the best of you: and being an absolute Johannes fac totum, is in his owne conceit the onely Shake-scene in a countrey†. William Shakespeare and His Contemporaries ? ? Francis Meres, one year younger than Shakespeare, described himself as â€Å"Maister of Arte of both Universities†; in 1598 Meres published a work which has proven most valuable in dating Shakespeare's plays, for he mentions many of them, and in the most laudatory terms.In Palladis Tamia, Wits Treasury, Meres begins by praising Shakespeare's poetry the two narrative poems, Venus and Adonis and The Rape of Lucrece, and the Sonnets – then compares Shakespeare to Plautus in comedy and to Seneca in tragedy: Shakespeare was â€Å"not of an age, but for all time. † ? These are the words of Shakespeare's great friend and contemporary, Ben Jonson. The quotation comes from Jonson's poem, To the memory of my belove d, found in the First Folio of Shakespeare's works, published in 1623. Ben Jonson (1572-1637) William Shakespeare (1564 – 1616) ? There is no simple explanation forShakespeare’s unrivaled popularity, but he remains our greatest entertainer and perhaps our most profound thinker. He had a remarkable knowledge of human behavior, which he was able to communicate through his portrayal of a wide variety of characters. ? His mastery of poetic language and of the techniques of drama enabled him to combine these multiple viewpoints, human motives, and actions to produce a uniquely compelling theatrical experience. SHAKESPEARE’S EARLY YEARS English playwright William Shakespeare was born in a small house on Henley Street in Stratford-uponAvon in April 1564.The third of eight children, William Shakespeare was the eldest son of John Shakespeare, a locally prominent glove-maker and wool merchant, and Mary Arden, the daughter of a well-to-do landowner in the nearby village of Wilmcote. The young Shakespeare probably attended the Stratford grammar school, the King’s New School. Shakespeare’s Birthplace Stratford upon Avon On November 27, 1582, a license was issued to permit Shakespeare’s marriage, at the age of 18, to Anne Hathaway, aged 26 and the daughter of a Warwickshire farmer.The couple’s first daughter, Susanna, was born on May 26, 1583, and twins Hamnet and Judith who were named for their godparents, neighbors Hamnet and Judith Sadler followed on February 2, 1585. Anne Hathaway? s Cottage Charlecote Park, Sir Thomas Lucy? s Property Sometime after the birth of the twins, Shakespeare apparently left Stratford, but no records have turned up to reveal his activity between their birth and his presence in London in 1592, when he was already at work in the theater. Shakespeare? s biographers sometimes refer to the years between 1585 and 1592 as â€Å"the lost years. Speculations about this period abound. An unsubstantiated report claims Shakespeare left Stratford after he was caught poaching in the deer park of Sir Thomas Lucy, a local justice of the peace. Another theory has him leaving for London with a theater troupe that had performed in Stratford in 1587. SHAKESPEARE IN LONDON ? Shakespeare seems to have arrived in London about 1588, and by 1592 he had attained sufficient success as an actor and a playwright to attract the venom of Greene, an anxious rival. SOME OF SHAKESPEARE’S CONTEMPORARIES HENRY WRIOTHESLEY RICHARD BURBAGE WILLIAM KEMPECRISTOPHER MARLOWE ? In 1594 Shakespeare became the member of Lord Chamberlain’s men and was active in the formation of famous theatre, the Globe. London – The Globe Theater (rebuilt in 1997) London – The Globe Theater (rebuilt in 1997) Shakespeare’s Last Years Shakespeare's company erected the storied Globe Theatre circa 1598 in London's Bankside district. It was one of four major theatres in the area, along with the Swan, th e Rose, and the Hope. After about 1608 Shakespeare began to write fewer plays. In 1613 fire destroyed the Globe Theatre during a performance of Henry VIII.Although the Globe was quickly rebuilt, Shakespeare? s association with it – and probably with the company – had ended. Around the time of the fire, Shakespeare retired to Stratford, where he had established his family and become a prominent citizen. Shakespeare? s daughter Susanna had married John Hall, a doctor with a thriving practice in Stratford, in 1607. His younger daughter, Judith, married a Stratford winemaker, Thomas Quiney, in 1616. ? Shakespeare died on April 23, 1616 – the month and day traditionally assigned to his birth – and was buried in Stratford’s Holy Trinity Church.He had made his will the previous month, ? in perfect health and memory.? The cause of his death is not known, though a report from the Holy Trinity’s vicar in the 1660s claims that he ? died of a fever â₠¬ ¦ contracted after a night of drinking with Ben Jonson and Michael Drayton, friends and fellow writers?. ? England’s greatest playwright, William Shakespeare was buried in the Holy Trinity Church in Stratford-upon-Avon, Warwickshire. His epitaph reads: ? Good frend for Iesvs sake forbeare, ? To digg the dvst encloased heare. ? Blest be ye man yt spares thes stones, ? And cvrst be he yt moves my bones.Trinity Church – Stratford-upon-Avon Shakespeare Authorship Debate ? The Shakespeare authorship debate continues to rage unabated. ? The traditional camp (Stratfordian's) maintain that the famous Bard was indeed a poet, playwright and an actor. ? Critics known as â€Å"Oxfordian? s† argue that a more likely contender may have been Edward De Vere (1550-1604), Christopher Marlowe, Sir Francis Bacon, Derby or even Queen Elizabeth herself! Shakespeare’s Works and their chronology (apud Halliday) ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1589-1590 1. Henry VI 15 90 – 1591 – 2.Henry VI 1592 – 1593 Richard III Titus Andronicus Venus and Adonis 1592 – 1598 Sonnets 1593 – 1594 The Comedy of Errors The Taming of the Shrew The Rape of Lucrece 1594 – 1595 The Two gentlemen of Verona Love? s Labours Lost 1595 – 1596 Romeo and Juliet Richard II A Midsummer Night? s Dream 1596 – 1597 King John The Merchant of Venice 1597 – 1598 1 Henry IV 2 Henry IV 1598 – 1599 Much ado About Nothing Henry V The Merry Wives of Windsor ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? ? 1599 – 1600 Julius Caesar As You Like It Twelfth Night 1600 – 1601 Hamlet 1601 – 1602 Troilus and Cressida 1602 – 1603 All? Well that Ends Well Othello 1603 – 1604 Measure for measure 1604 – 1605 Timon of Athens 1605 – 1606 King Lear Macbeth 1606 – 1607 Antony and Cleopatra 1607 – 1608 Coriolanus 1608 – 1609 Pericles, Prince of Tyre 1609 – 1610 Cymbeline 1610 – 1611 The Winter? s Tale 1611 – 1612 The Tempest 1612 – 1613 Henry VIII (1613 – 1614) The Two Noble Kinsmen The First Folio ? The â€Å"First Folio† is of major importance to William Shakespeare as it is the first collected edition of Shakespeare's plays. The copperengraving picture of William Shakespeare is signed Martin Droeshout on the title-page of the „First Folio? 1623). Famous Quotes ? Juliet: â€Å"What's in a name? That which we call a rose By any other name would smell as sweet. † Romeo and Juliet (II, ii, 1-2) Juliet or The Blue Necklace (1898) by John William Waterhouse Famous Quotes ? Hamlet: There are more things in heaven and earth, Horatio, Than are dreamt of in your philosophy. Hamlet Act 1, scene 5, 159–167 Ophelia (1894) – John William Waterhouse Famous Quotes Hamlet: What a piece of work is a man, how noble in reason, how infinite in faculties, in form and moving how express and admirable, in act ion how like an angel, in apprehension how like a god! he beauty of the world, the paragon of animals – and yet, to me, what is this quintessence of dust? Man delights not me nor woman neither, though by your smiling you seem to say so. Rosencrantz: My lord, there was no such stuff in my thoughts. Hamlet Act 2, scene 2, 303–312 John William Waterhouse Ophelia – blue dress (1905) Famous Quotes ? Jaques: All the world's a stage, And all the men and women merely players; They have their exits and their entrances, And one man in his time plays many parts, His acts being seven ages. ? As You Like It Act 2, scene 7, 139–143John William Waterhouse Gather Ye Rosebuds While Ye May (1909) Famous Quotes Macbeth: ? To-morrow, and to-morrow, and to-morrow, Creeps in this petty pace from day to day, To the last syllable of recorded time; And all our yesterdays have lighted fools The way to dusty death. Out, out, brief candle! Life's but a walking shadow, a poor player, That struts and frets his hour upon the stage, And then is heard no more. It is a tale Told by an idiot, full of sound and fury, Signifying nothing. Macbeth Act 5, scene 5, 19–28 John William Waterhouse The Magic Circle (study) (1886) Famous QuotesProspero: ? †¦We are such stuff As dreams are made on; and our little life Is rounded with a sleep. ? The Tempest Act 4, scene 1, 148–158 John William Waterhouse Miranda – The Tempest (1916) Famous Quotes Hamlet: ? To be, or not to be, that is the question: Whether 'tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And by opposing end them. To die—to sleep, No more; and by a sleep to say we end The heart-ache and the thousand natural shocks That flesh is heir to: 'tis a consummation Devoutly to be wish'd.To die, to sleep; To sleep, perchance to dream—ay, there's the rub: For in that sleep of death what dreams may come, When we hav e shuffled off this mortal coil, Must give us pause—there's the respect That makes calamity of so long life†¦ Hamlet Act 3, scene 1, 55–87 Sir Laurence Olivier (1907 – 1989) as Hamlet Shakespeare, Our Contemporary Hamlet's Soliloquy ? Since first performed in the early 1600s, the title role in William Shakespeare's Hamlet has remained a favorite of many actors because of the emotional complexity of Hamlet's personality. Nowhere is this complexity more apparent than in Hamlet's famous soliloquy in Act III, Scene 1.The soliloquy is a monologue in which a character reveals inner thoughts, motivations, and feelings. Shakespeare used the technique often, and his soliloquies are poetic and rich in imagery. In Hamlet, a play about a man whose mind may be his fatal flaw, the form reaches its highest level. The Structure of Shakespearean Tragedy as devised by Andrew Cecil Bradley ? Andrew Cecil Bradley (1851–1935) was an English literary scholar, best remembe red for his work on Shakespeare ? The outcome of his five years as Professor of Poetry at Oxford University were A. C.Bradley’s two major works, Shakespearean Tragedy (1904), and Oxford Lectures on Poetry (1909). Bradley's pedagogical manner and his self-confidence made him a real guide for many students to the meaning of Shakespeare. His influence on Shakespearean criticism was so great that the following anonymous poem appeared: I dreamt last night that Shakespeare’s Ghost Sat for a civil service post. The English paper for that year Had several questions on King Lear Which Shakespeare answered very badly Because he hadn’t read his Bradley. (Hawkes 1986 as cited in Taylor 2001: 46)CONSTRUCTION IN SHAKESPEARE'S TRAGEDIES ? As a Shakespearean tragedy represents a conflict which terminates in a catastrophe, any such tragedy may roughly be divided into three parts. ? A. The first of these sets forth or expounds the situation, or state of affairs, out of which the conflict arises; and it may, therefore, be called the exposition. ? B. The second deals with the definite beginning, the growth and the vicissitudes of the conflict. It forms accordingly the bulk of the play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. ? C.The final section of the tragedy shows the issue of the conflict in a catastrophe. ? The application of this scheme of division is naturally more or less arbitrary. The first part glides into the second, and the second into the third, and there may often be difficulty in drawing the lines between them. A. The Exposition ? ? ? The role of the exposition is to introduce us into a little world of persons; to show us their positions in life, their circumstances, their relations to one another, and perhaps something of their characters; and to leave us keenly interested in the question of what will come out of this condition of things.We are left thus expectant. This situation is not one of conflict, but it threatens conflict. For example, in â€Å"Romeo and Juliet† we see first the hatred of the Montagues and Capulets; and then we see Romeo ready to fall violently in love; and then we hear talk of a marriage between Juliet and Paris; but the exposition is not complete, and the conflict has not definitely begun to arise, till, in the last scene of the First Act, Romeo the Montague sees Juliet the Capulet and falls in love with her.Sir Frank Dicksee – Romeo And Juliet, 1884 Some Shakespearean â€Å"Tricks† ? ? ? When Shakespeare begins his exposition he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity and sometimes with anxiety. On the other hand, if the play opens with a quiet conversation, this is usually brief, and then at once the hero enters and takes action of some decided kind. For instance, compare the beginning of Macbeth to that of King Lear.In the latter the tone is so low that the conversation between Kent, Gloster and Edmund is written in prose (although they are of noble extraction). At the thirty-fourth line it is broken off by the entrance of Lear and his court, and without delay the King proceeds to his fatal division of the kingdom. William Dyce – King Lear and the Fool in the Storm (c. 1851) ? This tragedy illustrates another practice of Shakespeare's. King Lear has a secondary plot, that which concerns Glouchester and his two sons.To make the beginning of this plot quite clear, and to mark it off from the main action, Shakespeare gives it a separate exposition. ? In Hamlet, though the plot is single, there is a little group of characters possessing a certain independent interest, – Polonius, his son, and his daughter; and so the third scene is devoted wholly to them. B. The Conflict ? The construction of a Shaksepearean tragedy is based on the fight between two opposing sides i n the conflict. They are of almost equal strength and it is difficult to guess which of them is to win.They are victorious in turn, until the conflict reaches its climax. In some tragedies the opposing forces can be identified with opposing persons or groups. So it is in â€Å"Romeo and Juliet† and â€Å"Macbeth†. But it is not always so. The love of Othello may be said to contend with another force, as the love of Romeo does; but Othello cannot be said to contend with Iago as Romeo contends with the representatives of the hatred of the houses, or as Macbeth contends with Malcolm and Macduff. ? Thomas Stothard, The Meeting of Othello and Desdemona (c. 1799)Ups, downs and suspense ? ? ? There is, all through the tragedy, a constant alternation of rises and falls in this tension or in the emotional pitch of the work, a regular sequence of more exciting and less exciting sections. The sequence of events within the conflict, is also based on the principle of alternation. L et us call the two sides in the conflict A and B. All through the conflict we shall find a regular alternation of smaller advances and withdrawals; first A seeming to win some ground, and then the counteraction of B being shown.And since we always more or less decidedly prefer A to B or B to A, the result of this oscillating movement is a constant alternation of hope and fear, causing suspense. Dagnan-Bouveret Hamlet and the Gravediggers ? ? ? ? ? ? ? In Hamlet the conflict begins with the hero's feigning to be insane from disappointment in love, and we are shown his immediate success in convincing Polonius. Let us call this an advance of A. The next scene shows the King's great uneasiness about Hamlet's melancholy, and his skepticism as to Polonius's explanation of its cause: advance of B.Hamlet completely baffles Rosencrantz and Guildenstern, who have been sent to discover his secret, and he arranges for the test of the play scene: advance of A. But immediately before the play sce ne his soliloquy on suicide fills us with misgiving; and his words to Ophelia, overheard, so convince the King that love is not the cause of his nephew's strange behavior, that he determines to get rid of him by sending him to England: advance of B. The play scene proves a complete success: decided advance of A.Directly after it Hamlet spares the King at prayer, and in an interview with his mother kills Polonius, and so gives his enemy a perfect excuse for sending him away (to be executed): decided advance of B, a. s. o. This oscillating movement can be traced without difficulty in any of the tragedies. C. The Catastrophe ? The oscillating movement continues right up to the catastrophe. ? There is a critical point in the action, which proves also to be a turning point.It is critical sometimes in the sense that, until it is reached, the conflict is not, so to speak, clenched; one of the two sets of forces might subside, or a reconciliation might somehow be effected; while, as soon as it is reached, we feel this can no longer be. It is critical also because the advancing force has apparently asserted itself victoriously, gaining, if not all it could wish, still a very substantial advantage; whereas really it is on the point of turning downward toward its fall. This crisis, as a rule, comes somewhere near the middle of the play. ?Alexandre-Marie Colin. The Three Witches from â€Å"Macbeth,† 1827. This movement is most clear in Julius Caesar and Macbeth. In the former the fortunes of the conspiracy rise with vicissitudes up to the crisis of the assassination (III. i. ); they then sink with vicissitudes to the catastrophe, where Brutus and Cassius perish. In the latter, Macbeth, hurrying, in spite of much inward resistance, to the murder of Duncan, attains the crown, the upward movement being extraordinarily rapid, and the crisis arriving early: his cause then turns slowly downward, and soon hastens to ruin.In both these tragedies the simplicity of the const ructional effect depends on the fact that the contending forces may be identified with certain persons, and on the fact that the defeat of one side is the victory of the other. Octavius and Antony, Malcolm and Macduff, are left standing over the bodies of their foes. ? Life's but a walking shadow, a poor player That struts and frets his hour upon the stage And then is heard no more: it is a tale Told by an idiot, full of sound and fury, Signifying nothing.Charles Kean and his wife as Macbeth and Lady Macbeth, in costumes aiming to be historically accurate (1858). ? This is not so in Romeo and Juliet and Hamlet, because here, although the hero perishes, the side opposed to him, being the more faulty or evil, cannot be allowed to triumph when he falls. Otherwise the type of construction is the same. The fortunes of Romeo and Juliet rise and culminate in their marriage (II. vi. ), and then begin to decline before the opposition of their houses, which, aided by accidents, produces a cat astrophe, but is thereupon converted into a remorseful reconciliation.Hamlet's cause reaches its zenith in the success of the play-scene (III. ii. ). Thereafter the reaction makes way, and he perishes through the plot of the King and Laertes. But they are not allowed to survive their success. Frederick Leighton – The Reconciliation of the Montagues and Capulets over the Dead Bodies of Romeo and Juliet, 1853-5 The Play Scene in Hamlet by Daniel Maclise (1806-70) ? http://elizabethan. org/compendium/home. html ? http://www. elizabethan-era. org. uk/elizabethan-england. htm ? http://www. britainexpress. com/History/Elizabethan_life. htm

The level of interest within Generation Y towards social network Essay

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