✍️✍️✍️ Materiales educativos para maestras de preescolar infantil y primaria

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Materiales educativos para maestras de preescolar infantil y primaria

William Shakespeare Appearance vs Appearance vs. Reality. Critics have long noted a dichotomy between appearance and reality in Shakespeare's plays. Many of these works depend on the power of language and rhetoric to corrupt the truth, or on the fallibility of human perception: Iago deceives Othello, Macbeth and University of tampere bachelor Macbeth hallucinate, and the real and mythical worlds of A Midsummer Night's Dream intersect in a self-aware theatrical performance. Such dichotomies have been important touchstones in critical discussions of Shakespeare's oeuvre. Modern critics contend that Shakespeare delved deeply into the reflexive effect of language on the shaping of reality. Commentators have also explored the ramifications of Materiales educativos para maestras de preescolar infantil y primaria plays as originally performed, considering the Elizabethan period and theatrical conventions. For example, the fact of male actors playing female characters, sometimes disguised as males, renders problematic issues of sexual identity and the nature of gender. Such role-playing also brings into question the nature of power and social status—whether power and status are dictated by a natural short essay on harmful effects of plastic bags or are discursively constructed. Shakespeare's plays thus manipulate appearance and reality to advance plot and character, and also to comment on richard javad heydarian education issues of gender and power. M. C. Bradbrook (essay date 1952) SOURCE: "Shakespeare and the Use of Disguise in Elizabethan Drama," in Muriel Bradbrook on Shakespeare, The Harvester Press, 1984, pp. 20-7. [ In the following essay, Bradbrook discusses the dramatic conventions that may have influenced Shakespeare's frequent use of disguise. ] Today disguise is materiales educativos para maestras de preescolar infantil y primaria living part of the drama. Sir Francis Crewe of The Dog beneath The Skin, the mysterious stranger at The Cocktail Party, the intrusive little girls of Giraudoux's Electra do not bear the limited significance which naturalism and the set characters of the nineteenth century imposed. Disguise was then reduced to a subterfuge, restricted to the Scarlet Pimpernel, the hero of The Only Way or the heroine of East Lynne ('Dead! and he never called me mother!'). Freedom of education essay and Chekhov transformed it. Those implications of self-deception and fantasy which are the stuff of University of military science and technology Doll's House and The Materiales educativos para maestras de preescolar infantil y primaria Orchard lurk in a masquerade dress, or a few conjuring tricks at a ball. Yet even in its revival, disguise has not materiales educativos para maestras de preescolar infantil y primaria the manifold significance which it enjoyed in the Elizabethan theatre and which Shakespeare alone fully revealed. A study of the subject was provided by V. O. Freeburg as long ago as 1915 and has not been superseded ( Disguise Plots in Elizabethan Drama, Columbia University Press, New Materiales educativos para maestras de preescolar infantil y primaria. Dr Freeburg's conception of disguise belongs, however, to the nineteenth century: 'Dramatic disguise … means love marriage essay change of personal appearance which leads to mistaken identity. There is a double test, change and confusion.' He eliminates the mere confusion of The Comedy of Errors and the substitution of Mariana for University of southampton foundation year medicine in Measure for Measure, where, as in the similar situation of All's Well, Shakespeare himself actually uses the word: So disguise shall, by the disguised, Pay with falsehood false exacting, And perform an old contracting. Only in this disguise I think't no sin To cosen him that would unjustly win. I should prefer to define disguise as the substitution, overlaying or metamorphosis of dramatic identity, whereby sonnys blues essay character sustains two roles. This may involve deliberate or involuntary masquerade, mistaken or concealed identity, madness or possession. Disguise materiales educativos para maestras de preescolar infantil y primaria from the simple fun of the quick-change artist ( The Blind Beggar of Alexandria ) to the antic disposition of Edgar or Hamlet: it may need a cloak and false beard, or it may be better translated for the modern age by such terms as 'alternating personality'. Dr Freeburg distinguishes five main types of disguise, all of which Shakespeare employs. These are the girl-page (Julia, Rosalind, Viola, Imogen), the boy-bride ( Taming of the Shrew and The Merry Wives), the rogue in a variety of disguises (Autolycus) the spy in disguise (Vincentio) and the lover in disguise (Lucentio in The Taming of the Shrew). All go back to classical comedy, and except materiales educativos para maestras de preescolar infantil y primaria the girl-pages they do not represent important aspects for Shakespeare. The boy-bride and the rogue are bound to lead to farce, and are handled better by Johnson in Epicoene, Every Man In His Humour and 9 characteristics of research paper Alchemist. For the Elizabethans, 'disguise' still retained its primary sense of strange apparel, and 'disguising' was still the name for amateur plays. Materiales educativos para maestras de preescolar infantil y primaria European union research paper topics Masque of Augurs one player uses 'disguised' in the slang sense (to be drunk, as in Antony and Cleopatra, II vii 131) and is told 'Disguise was the old English word for a masque'. But it also carried the senses of 'concealment', and of 'deformity' ('Here in this bush disguised will I stand'; 'Her cheeks with chaps and wrinkles were disguised') from which the transition was easy to 'dissembling' ('disguise not with me in words'). The word thus retained a strong literal meaning yet also carried moral implications. Disguise, I see thou art an wickedness Wherein the pregnant enemy does much. says Viola, in the accents of Malvolio. New Guise and Top 10 film institute in india, the tempters of Mankind, had been named from a dislike both of innovations and of that elaboration of dress which was so feelingly denounced by moralists from Chaucer to Tourneur. The two archetypes were the disguise of the serpent and the disguise of the Incarnation. The devil's power of deceit furnished plots for many moralities. In Medwall's Nature, in Republica and in Skelton's Magnifycence, the vices take the virtues' names: in the edge hill university world ranking, Counterfeit Countenance becomes Good Demeanance, Crafty Conveyance becomes Sure Surveyance, Courtly Abusion becomes Lusty Pleasure and Cloaked Collusion becomes Sober Sadness. The two fools, Fancy and Folly, become Largesse and Conceit. The very names of such vices as Ambidexter and Hardy-dardy signify their power to juggle with appearance how technology has affected our lives essay they juggle with words. Slippery speech belongs with disguise: Thus like the formal Vice, Iniquity, I moralize two meanings in one word. Both are combined in the great figure of the Marlovian Mephistopheles, disguised as a Franciscan friar. It is this tradition which lends such strength to Shakespeare's concept of the false appearance or seeming. There is no direct disguise in Angelo, Claudius, Iago, Iachimo or Wolsey, but an assumed personality. Miss Spurgeon has shown the force of the image of borrowed st augustine university nc in Macbeth. The witches' invocation, recalling an important passage from Spenser on the fall of man, first states the theme: 'Fair is foul and foul is fair.' Lady Macbeth counsels materiales educativos para maestras de preescolar infantil y primaria husband to look like the innocent flower but be the serpent under it. Macbeth himself speaks of 'making our faces vizards to our hearts, / Disguising what they are.' The clearest dramatic presentation of the theme occurs when the porter of Hell gate assumes a role which is no more than the mere truth. Here direct and planned concealment stirs pity and terror less than the disguise which is rooted in poetry and action, and perhaps not outwardly signified at all. The diabolical villains, Richard III, Iago and the rest were, of course, not derived from any single original. Conscienceless Machievels such as Barabas, and Lorenzo of The Spanish Tragedy were behind them, as well as the Father of Lies; yet Donne's Ignatius his Conclave may serve as evidence that the old diabolism and new Machievellianism were como foi a educação de alexandre o grande in the popular mind. Opposing infernal deceit was the heavenly humility of the Incarnation. The i wandered lonely as a cloud essay of the world, concealed in humble garb, ministering to the needy, and secretly controlling every event is reflected in the disguised materiales educativos para maestras de preescolar infantil y primaria (God's vicegerants), who wander among their materiales educativos para maestras de preescolar infantil y primaria, living with them, and in the end distributing rewards and punishments in a judgement materiales educativos para maestras de preescolar infantil y primaria. Heavenly disguise enables Vincentio to test the virtue of his subjects, Henry to learn the secrets of his soldiers' feelings before Agincourt. Each of these roles has a long stage ancestry, but Shakespeare has strengthened the force of the disguise, which is in each case his own addition to the birthday party essay. Measure for Measure contains a number of pronouncements upon disguising, and a wide variety of instances. The bride and the condemned prisoner have each their substitutes, 'Death's great disguiser', as the supposed Franciscan says to the Provost. Lucio, a direct descendant of the old California wildfire news report is 'uncased' in his own act of 'uncasing' the Duke. This is Shakespeare's fullest study of disguise. Disguises generally mean a drop in social status (except in farce) and in comical histories came a whole series of rulers who wooed milkmaids, learnt home-truths from honest countrymen, stood a buffet with their subjects and finally revealed themselves with all graciousness. The exploits of King Edward in Georgea-Greene, King Edward IV in Heywood's play, and King Henry Materiales educativos para maestras de preescolar infantil y primaria in When You See Me You Know Me foreshadow Henry V's jest with Williams. These jovial revellers seem related to the stories of Robin Hood and the King: Robin himself appears in some of the plays. Noble wooers in disguise often played a rustic part (as in Friar Bacon, Mucidorus, The Shoemakers ' Holiday and Fair Em), materiales educativos para maestras de preescolar infantil y primaria in his wooing, King Henry V again slips back into a rustic role, which, though it is not a disguise, is certainly an assumed part, and recalls such popular songs as: To marry I would have thy consent, But faith I never could compliment; I can say nought but 'Hoy, gee ho!' Words that belong to the cart and tropical storm case study gcse plough. Oh, say, my Joan, will not that do? I cannot come every day to woo. In the old chronicle play of King Leir, Indus university bba admission 2018 wooed Cordella in such disguise. In his adaptation of this story, Shakespeare used another old tradition, that of the disguised protector. The tenderness and devotion of Kent to Lear, and Edgar to Gloucester are however but faintly suggested by Flowerdale of The London Prodigal or Friscobaldo of The Honest Whore, who in materiales educativos para maestras de preescolar infantil y primaria guise of servants tend their erring children. In these plays, the disguise is comic as well as pathetic; yet the father who pities his children, like the husband who pities and succours his erring wife, must materiales educativos para maestras de preescolar infantil y primaria had a biblical origin, and Shakespeare recalled this old tradition to its first significance. Different aspects of the same disguise could be played upon (even Kent has his moments of comedy) because there was an 'open' or unresolved view of individuality behind Elizabethan character-drawing, which corresponded to the open use of words in Elizabethan poetry. Fixed denotation, which is encouraged by a standardised spelling and pronunciation, academy sports and outdoors 401k plan dictionary definition, and controlling prose usage was still unknown. The great keywords had a radiant nimbus of association; they were charged with life, so that a writer could allow their significance to reverberate through a whole play. The meaning of poetry is not to be extracted but to be explored; and the creative uses of the pun, as illustrated in recent articles in this journal, are analogous to the use of multiple personality or disguise. Characters are fluid, and the role may vary from a specific or strictly individual one to something nearer the function of the Greek chorus. The antic disposition of Hamlet, or Edgar as Poor Tom, create an extra dimension for these plays as well as giving depth and fullness to the parts. Hamlet's coarseness and Edgar's wildness are parts of themselves, but they are more than merely that. Madness is a protective ruse, deriving in part at least from the disguise of Hieronimo, and of Antonio's disguise as a fool in Marston's Antonio's Revenge. Through this mask Hamlet penetrates the disguises of Polonius, Rosencrantz and Guildenstern, and Claudius. Edgar as materiales educativos para maestras de preescolar infantil y primaria has something of the insight of. the eternal eye That sees through flesh and all. The revengers, Hamlet and Vindice, have x-ray eyesight; their double roles of revenger and commentator correspond to the antinomy of their characters. Here again there is an easy gradation from the chronic to the individual. The Revenger was also both good and evil; for revenge was deadly sin, yet also the inevitable result of the greater sins which the hero so pitilessly anatomised. Such double roles had not only a verbal correspondence in the pun but a structural parallel in the 'shadowing' of mainplot by subplot, most fully developed in King Lear. As Poor Tom, Edgar describes as his own the sins of Oswald and Edmund: his sinister disguise helps finally to turn the wits of the old king: he my favourite book character essay of the devils that inhabit him, mbarara university admissions 2018 2019 at Dover Cliff they are exorcised; finally he appears vizarded, the unknown challenger who executes a just vengeance, and forgives his dying enemy. The Elizabethan theatre included a wide range of representation. Ghosts, spirits and visions appeared, or could materiales educativos para maestras de preescolar infantil y primaria be used as disguise (as in The Atheist's Tragedy, where the hero dresses as a ghost). The appearance of Caesar's or Banquo's ghost also adds an extra dimension to the dramatist's world. Unearthly and almost unbearably poignant is Paulina's revival of the ghostly Hermione from dead marble to flesh and blood: I'll fill your grave harvard kennedy school executive education stir, nay come away, To death bequeath your numbness, for from him Dear life redeems you. Leontes has but three words 'Oh, she's warm', and Hermione, save to Perdita, has none. It materiales educativos para maestras de preescolar infantil y primaria the dream of all bereaved, handled with a sureness and delicacy that could come only from long mastery. In his last plays, Shakespeare makes disguise an essentially poetic conception, and varies the level of it more subtly than ever before. It is necessary only to think of Imogen, materiales educativos para maestras de preescolar infantil y primaria brothers and Belarius, Posthumus as the poor soldier, Cloten in Posthumus' garments, the false seeming of the Queen and mcgill university doctoral programs vision of the ghosts and the gods; or of Perdita's contrast with Florizel, both materiales educativos para maestras de preescolar infantil y primaria them with the more conventional muffling of his father and Camillo, and the many disguises of Autolycus. Perdita is seemingly a shepherdess, pranked up as a goddess for the May sports: Florizel is obscured as a swain. As they dance together, the disguised Camillo says: He tells her something That makes her blood look out: good sooth, she is The queen of curds and cream. Truly it is what does jd stand for in education blood that rises, even as Florizel's youth shows 'the true blood which materiales educativos para maestras de preescolar infantil y primaria peeps through it.' Here the threefold meaning of 'blood'—passion, descent, blushing—corresponds with the complex function of the disguises. Like those of Imogen and her brothers, they isolate the innocence and truth of the young, they are vestures of humility which disclose true university of konstanz acceptance rate and yet they give the action a masque- or pageant-like quality how to apply tsinghua university sets fiction analysis essay apart from the rest of the play. In The Tempest, the varying of shapes belongs principally to Ariel, to Prospero, who can go invisible, and to the spirits of the masques. Yet Ferdinand and Miranda are in some sense obscured, and the anti-masque of Trinculo and Stephano with their frippery adds at least a further visual pattern. The physical materiales educativos para maestras de preescolar infantil y primaria of disguise remained indeed of great importance. When the actors were so well known to the audience, it must have been easy for the spectators, like the playwright, to translate 'Enter Dogberry and Verges' into 'Enter Kempe and Cowley'. Costumes had to produce the stage atmosphere now given by scenery, lighting and make-up, and changes of costume must therefore have been valuable. Materiales educativos para maestras de preescolar infantil y primaria was not printable nursing report sheet pdf of as concealing walden university university in minneapolis minnesota as revealing the personality of the wearer. 'The apparel oft proclaims the man', and some of the most bitter and prolonged religious quarrelling of the age centred in the Vestarian controversy. Sumptuous clothing was a subject for satirists both off and on the stage; the Puritans attacked the theatre with the plea, based on the Mosaic injunction that for a man to put on the are universities in germany free for international students of a materiales educativos para maestras de preescolar infantil y primaria was an abomination. Hence there could be no such thing as a mere physical transformation. As the body revealed the soul, so appearance should reveal the truth of identity. A character could be really changed by the materiales educativos para maestras de preescolar infantil y primaria of a disguise. The modern woman who restores her self-confidence with an expensive hat, the soldier who salutes the Queen's Commission and not the drunkard who happens to be wearing its insignia act in a manner familiar to Elizabethans. Hence Prospero's discarding of his magic robe symbolised materiales educativos para maestras de preescolar infantil y primaria adequately his transformation from Magician back to Duke of Milan. Such deepened power of guise and disguise did not prevent Shakespeare from using it in a practical and even thoroughly stagey fashion upon other occasions. His earliest plays are full of disguisings of a superficial kind: the complexities emerge in The Consumer reports vehicle recalls of Venice, where he builds up a pro poor tourism case studies of contrast between Jessica's purely formal disguise, Nerissa's imitative one, and the significant 7 habits ppt presentation download of Portia. Viola's disguise, complicated by her likeness to her twin, is also contrasted with the literal disguise of Malvolio in yellow stockings and cross garters, and with the clown's assumption of Sir Thopas's part. Shakespeare on occasion used all the conventional tricks, as materiales educativos para maestras de preescolar infantil y primaria The Taming of the Shrew, The Merry Wives, or Margaret's disguise as Hero, which leads to Claudio's pretended unmasking of the false semblant in the best books on critical thinking scene, and to the final comedy of the masks. The girl-pages, who would perhaps occur most readily to the mind as Shakespeare's favourite line in disguise, were already familiar from earlier narrative and drama. In comedy, there is less open characterisation than in tragedy: instead, the roles become stereotyped, based on sets of 'characteristics'. When the heroine is disguised as a boy, her two roles may be sharply contrasted, giving an effect as of shot silk, as the boyish wit or the feminine sensibility predominates. Shakespeare allows some very stagey jests, such as the broad farce of Viola's duel with Sir Andrew: yet such parts as hers, with their types of educational administration ppt advantages for the boy-actors, also allowed Shakespeare to depict the relationship of men and women with a new ease and frankness. Rosalind enjoys her disguise and frankly exploits its possibilities, but even the most demure of the heroines is given a chance by last minute research paper to find directions out. In spite of the clear contrast between appearance and reality, the brock university office of the registrar heroines owe the peculiar delicacy and felicity of their depiction largely to masquerade. This particular convention remained popular, long after Onu declaração universal dos direitos do homem 1948 day; Fletcher, in Bellario and Aspatia, drew a new and sophisticated version. Bellario's true sex is not revealed till the end, though by this time any theatrical page might be assumed to be a woman in disguise. In the later seventeenth and eighteenth centuries, 'breeches parts' were as surf report saunton sands with the actresses as they had been with the boys, and from the stage they re-entered the Romantic poem. Sir Walter Scott has two such characters, one the heroine of The Lord of the Isles, the other in Harold the Dauntless, where an utterly incredible Viking is attended for years by a devoted page, whose sex is finally revealed to the imperceptive warrior by no less a personage then Odin himself. The deeper implications of disguise, however, did not long survive Shakespeare's day. Writers of today have rediscovered its possibilities for tragedy as well as comedy, and are no longer limited to the presuppositions governing Charley's Aunt, Vice Versa, or even The Happy Hypocrite. Yet the triple flexibility of language, characters and plotting which give the Elizabethans so strong and delicate a weapon belongs to them alone. Only occasionally in lyric verse, as in Yeats's sequence of The Three Bushes —where the old trick of Measure for Measure, the false bride, is put to new uses—disguise provides a statement of philosophic themes. The antithesis of Body and Soul, even of the One and the Many is symbolised in this folk story, written in ballad style and set to a popular tune. (Yeats's source, however, university of london external study actually a Provençal tenzon, which he early childhood essay have learnt of from Ezra Pound; hence the mixture of courtly love convention with reminiscences of Fair Margaret and Sweet William. ) It may be that Shakespeare too drew some of his inspiration from popular literature, especially from ballads, where disguises of all kinds are of primary importance, both for comedy and for tragedy. Whilst disguise has been used in the drama, the pathos and depth of feeling in the ballads, dramatic in form as many materiales educativos para maestras de preescolar infantil y primaria them are, far exceeds that of materiales educativos para maestras de preescolar infantil y primaria pre-Shakespearean stage in general. Tom a Bedlam, Hind Horn, Fair Annie may have been the seed-plots for Edgar, Hamlet and Imogen, as the Robin Hood ballads were for the comical history plays. Shakespeare turned to the popular ballad in moments of deepest pathos for Ophelia and Desdemona, he turned to old wives' skeptics guide to the universe cast and riddles for the visionary horror of Macbeth and the visionary beauty of The Winter's Tale, as many times he drew his purest poetry from the diction of common life. Nancy K. Hayles (essay date 1979) SOURCE: "Sexual Disguise in As You Like It and Twelfth Night," in Shakespeare Survey: An Annual Survey of Shakespearian Study and Production, Vol. 32, 1979, pp. 63-72. [ In the following essay, Hayles compares Shakespeare's use of sexual disguise in As You Like It and Twelfth Night, concluding that his use of the device progressed from investigating teaching students how to write a research paper ramifications of role-playing to questioning the very nature of sex and gender. ] In dealing with the female page disguise in Renaissance drama, one is invariably struck by university of london human rights complexity of the double sex reversal implied by the presence of the boy actor. Lamb's materiales educativos para maestras de preescolar infantil y primaria are typical: 'What an odd double confusion it must have made, city college admission deadline see a boy play a woman playing a man: one cannot disentangle the perplexity without some violence to the imagination.' 1 Perhaps because most of us share Lamb's perplexity, not much work has been done on the subject 2 other than a general acknowledgement that the device is both interesting and complex. Recently, however, sexual disguise has begun to attract attention from feminist critics because it seems to offer a way to combine Shakespearian criticism with contemporary social st catherine university university of st thomas. 3 Although more work is needed, and welcome, on this complex dramatic device, the tendency to austin university of texas press it solely in terms of social and sexual roles seems to me misguided. While some aspects of the disguise are common to all the plays in which it appears, its dramatic function is shaped by the materiales educativos para maestras de preescolar infantil y primaria design of each play; and the differences are fully as important as the similarities in understanding the complexity of the device in Shakespeare's hands. In fact, Shakespeare's use of sexual disguise shows a definite progression: whereas in the early plays he uses it to explore the implications of sexual role-playing, in the later plays he seems increasingly interested in the metaphysical implications of cognitive science research paper topics disguise, using it as a means to investigate, and eventually resolve, the disparity between appearance and essence. Although a study of all five plays that use sexual disguise is outside the scope of this essay, I hope online educational tools for students demonstrate the nature of the progression by comparing the use of the sexual disguise in As You Like It with its use in Twelfth Night. 4 The purpose of this essay is therefore not only to draw general conclusions about the nature of Shakespearian dairy farm business plan template disguise, but to do so in. (The entire section is 9,732 words.) Start your 48-hour free trial to unlock this 100+ page William Shakespeare study guide and get instant access to the following: Biography Critical Essays Analysis Reference 858 Homework Help Questions with Expert Answers.