Drama theatrics and humanization of gods

I also appreciate the good quality cinematography and direction. South Korea is really bringing it, in terms of production. A man who dies a heroic death has to face seven trials in order to be re-incarnated.

Drama theatrics and humanization of gods

Approaches have focused on love, money, or religion-seldom all three-in grappling with Myra. The last category, religion, has divided critics into those who deny its seriousness or see it as a negative ingredient, those who conclude that it is essential, and those who idealize or condemn Myra according to their religious preference.

This study presumes Christian charity to be the novel's central issue, fusing the themes of religion and love and also money, which functions both as a material substitute for and a symbol of virtue. I use Thomas Aquinas's treatise on charity and, for more accessibility, C.

Lewis to articulate traditional Christian concepts of love. My presumption does not preclude a thorough analysis of the text, however. Every chapter and scene is handled to avoid a selective treatment, and for clarity I divide the analysis into ten parts, first addressing techniques and critical perspectives.

Henshawe with that music, thought Drama theatrics and humanization of gods that aria as being mysteriously related to something in her nature that one rarely saw, but nearly always felt; a compelling passionate, overmastering something for which I had no name, but which was audible, visible in the air that night, as she sat crouching in the shadow" 48, emphasis added.

The introduction of this aria is an example of the related technique Bernice Slote describes as Cather's "secret web of connections and relationships that. This "web" technique, climaxing in My Mortal Enemy and adding complexity to brevity, should not be confused with Cather's unfurnishing technique, for such "webbing" typifies very "furnished" novels like Moby-Dick.

The allusions in Cather's novel contain not merely what Nellie fails to know but what she presents indirectly. Eichorn recognizes the "technique [as] usually associated with poetry[;] Miss Cather may have been providing a clue to it by making Nellie an admirer of the modern poets" The "secret web" of classical allusions has been clarified in recent studies by Mary Ruth Ryder and Erik Ingvar Thurin, and the novel's symbolism of jewelry and gems has been interpreted by Kathryn T.

Cather attacks the "property-man," who clutters the novel with "material objects and their vivid presentation" 35before she distinguishes quantity from quality by relating the first to the disposable and temporal 36 and the second to art and the eternal: Selection is the artist's access to divinity, and powers of observation and description "form but a low part of his equipment" Cather wants to separate true realism from the cataloguing of "mechanical processes Such subjects are "unworthy of an artist" and indicate that "he defeated his end," the exploration of constantly vital moral issues rather than "their material surroundings" The surroundings are of interest only as "the emotional penumbra of the characters themselves" Cather then addresses execution, claiming that the "higher processes of art are all processes of simplification.

The novelist must learn to write, and then. It is the inexplicable presence of the thing not named, of the overtone divined by the ear but not heard by it.

The essay concludes with an extraordinary plea for an art of disembodiment, as far as that is possible, and for a room as bare "as that house into which the glory of Pentecost descended" Brown called My Mortal Enemy Cather's "boldest experiment" and "a pure instance of.

Susan Rosowski offers the most complete assessment of secular love issues in My Mortal Enemy and relates them to technique.

Drama theatrics and humanization of gods

The novel is "an awakening" to sentimental notions of love, she argues, and Cather's "only novel devoted to romantic love" Within the Cather canon it represents "a freeing of storytelling from those aspects of romanticism that had reached a dead end" Myra's final question is the climax of her revision and identifies the romantic love that failed to gratify her.

Rosowski sees Myra as identifying in religion "a different kind of love. Cather revealed that Chicago Tribune critic Fanny Butcher "really stated what she was trying to get at in the story. In an application of Eric Fromm's Art of Loving Mildred Bennett concludes that Myra and Oswald's union is a "symbiotic" one in which the sadistic and masochistic partners "have fusion without integrity" Myra's anguish is failure to find "unconditional love which is God through her relationship in marriage" We should expect that inthe year between the faith crisis in The Professor's House and the pilgrimage that is Death Comes for the Archbishop, Cather would explore religious complexities; however, critics are increasingly troubled by them.

Hermione Lee finds "the religious feeling of My Mortal Enemy. Lee is disturbed by Myra's theatrics, "that nothing is real for her, not even her own death, unless it is dramatized" z16adding that religion operates as a form of determinism and emerges as superstition and vindictiveness David Stouck fails to make religion central but recognizes this movement toward Christian reckoning in judging Myra and her uncle unregenerate sinners i Other critics encourage a religious approach but fail to follow one: Brown affirms that Myra's prototype was a woman "whose life and nature could be understood only by one whose religious sense had become acute"and in their introductions to My Mortal Enemy Marcus Klein and A.

Byatt acknowledge the essential religious mystery of Myra's story. Ironically, some of the critics who focus on the novel's religious issues are overly judgmental. Stephen Tanner perceptively sees as "the primary problem of interpretation. He accepts Nellie's gloss of Myra's definition of religion as Myra's meaning and uses Paul Tillich to discredit it In order to conclude that Myra's deathbed conversion is a travesty, Tanner is forced to dismiss the young priest as "'boyish,' impressionable, and consequently pliable" However, Dalma Brunauer and June Klamecki consider Myra's mortal-enemy question as paralleling "the anguished cry of Jesus in Gethsemane" The best treatment of religion in My Mortal Enemy is by Michael Murphy, who alone stresses the importance of the tension caused by marriage outside the church He commends Cather's unusual sophistication in viewing the spiritual struggles of an older Catholic woman from the perspective of a young and impressionable Protestant observer- who only dimly perceives.Drama, Theatrics, and Humanization of Gods in Ancient Greek Culture.

Topics: Greek mythology, Dionysus, Apollo Pages: 3 ( words) Published: October 6, The people and culture of Ancient Greece have shaped the way modern civilization is today. Since BC, the Greeks were the first to civilize their country and rid of the rule of kings.

Sculpted frieze about feet long, over a hundred life-size figures. Subject: battle of Zeus and gods against earth giants. Most extensive representation ever attempted of epic conflict - "gigantomachy." Figures exaggerated, overly muscled bodies.

Echoing West Pediment at Parthenon. Lots of emotion, motion, drama (3 Hellenistic characteristics). Gods in Greek Mythology The book Mythology by Edith Hamilton is a novel devoted to the legends of Greek Mythology.

Such legends tell stories of mighty heroes, Drama, Theatrics, and Humanization of Gods in Ancient Greek Culture. shaped the way modern civilization is today. Gods in Greek Mythology The book Mythology by Edith Hamilton is a novel devoted to the legends of Greek Mythology.

Such legends tell stories of mighty heroes, Drama, Theatrics, and Humanization of Gods in Ancient Greek Culture.

Drama theatrics and humanization of gods

shaped the way modern civilization is today. Among the most immediately recognizable techniques that Caravaggio employs often to add to the theatrics of his scenes is an intense and stark concentration of light, which, in the Baroque service of the force of the dramatic, is frequently used almost as a focused spotlighting, an especially vivid implementation of the kind of chiaroscuro.

Instead, we get the personal drama and the romantic inclinations of Jake Moore to act like the white knight of Wall Street and thus attract the fresh faced, PG crowd to the multiplex.

We get a .

Hasya and Hinduism: laughing at (and with) the gods – Nikhil, etc.