It would be improvident and naive to presume that the conception of such a intricate and controversial physique as Cleopatra would continue to be unchanged throughout the span of background. The stereotypical representation of Cleopatra as a dominant political innovator, a destructive sexual aggressor and a amazing Egyptian Pharaoh seems to acquire different tones in the context of particular historical and social circumstances.
Let's look into the depiction of Cleopatra in 1930 and 1960s predicated on the two videos about the amazing legend.
In both movies there's evidence of the society's ever-growing desire for the Orient - incredible backdrops, luxuriant clothes, spectacular views. The 1934's off display Cleopatra becomes a brand, a marketing chance for oriental jewellery, perfume and clothing. The emphasis of the movie is on not on Cleopatra, the strong and forceful head, but rather on Cleopatra - the historical number, who is first and for some the woman interacting with with both great loves of her life - Caesar and Antony. "I'm no longer a queen. I'm a woman. " (Cleopatra, the movie, 1934)The advertising suggests the film was generally positioned as an "epic charming comedy" and was barely concentrating on politics.
This representation of Cleopatra was influenced by the rise of the new girl image in America's modern culture in 20-30s. Women were fighting with each other for better job opportunities and salaries to match those of men's. With divorce rates rising and pre-marital human relationships becoming more and more popular the film was on the verge to be brand immoral by those who compared the climb.
In the 1960s Cleopatra's storyline continues to progress. The 1963s movie is defined in a genuine Hollywood style with pompous accessories and costly extravagance.
However, and that is where the main difference between your two films is situated, Elizabeth Taylor portrays Cleopatra not only as a stunning and sophisticated female. The emphasis here is rather on her role as a robust and intellectual innovator, who talks several dialects and uses torture to be able to attain her targets. The flirtatious baby-faced Cleopatra of the 1930s has been replaced with a states female, whose ultimate dream is to have a solo world culture. The move is mainly affected by the politics issues of the time - the forming of the US and the teachings of both great market leaders J. F. Kennedy and Martin Luther Ruler.
The off display screen romantic relationship of 1960s Cleopatra with her co star is also of a specific interest here. The romance between the two stars was thought to be drawing parallels between your past and the present of Cleopatra's report.
In conclusion, i want to once again want draw your attention to the actual fact that through the 20th century alone Cleopatra's image has been constantly reassessed to match the social and ethnical changes of each particular era. We've seen images of her as a intimate predator, a female in love, a manipulative leader. Actually, we've known it all along, you might say. Her story is ageless, the interpretations will be forever shifting, the star lives on. . .
Fear, T. 2008, Reputations, Milton Keynes, Open University.
Assignment 1 Part 2.
In the next passing from Marlowe's Doctor Faustus our company is presented with just one more attempt of your hero at repentance. Faustus seems distressed rather than that self-assured in his decision to serve the evil after all. But will there be a potential for turning again? Not for Faustus! His biggest mistake is at his failure to assume that God would still forgive him should he repent, to solidify his faith in Christianity and avoid the sinful temptations.
There are certain aspects of the passage's structure that Marlowe uses to show the character's indecisiveness and inner struggle.
First and foremost the passing is yet again written in empty verse with a complete use of iambic pentameter. Each series is constructed from five strong favorably anxious sylable words, this tempo is thought to follow the closest to individuals speech, particularly usefull when the verse will not rhyme.
It is also important to note a few repetitions in the passing. The words repeated the majority are repent, pity and despair. The writer is obviously endeavoring to emphasise what's on Faustus' brain. Should he repent and keep on surviving in "deep despair" ( because the real human knowledge is so limited) or land for the "sweet pleasures" of demonic causes to keep himself covered?
The passage starts up Faustus' doubts on becoming "damned". The usage of short nouns with a pressure on the first syllable "poison, guns, halters and envenomed steel"(Marlowe, p49, 23), combined with appropriate punctuation (commas in this case) make us believe he is sincerely frightened not only of the whole idea of becoming a "spirit", but also to be declined by the real human society he's still desperately hoping to fit in and become part of. Some might dispute that he's merely frightened of the Devil and is also not ready to face the consequences in case there is his repentance.
At the finish of the passage he yet again makes the incorrect choice by refusing to repent and looks for Mephistopheles company. Interestingly, how throughout the play he addresses Mephistopheles as "my Mephistopheles" or "sweet Mephistopheles" prompting the audience to trust there was a homosexual connection in their romance.
All of this combined makes a story that is hard to place down and a protagonist that at first you feel sorry for, and then change maybe to pity, it paints a picture of a guy who is living in a illusion world, where he has risen through the cultural ranks, and discovered more then most men, to the finish where he's no longer enthusiastic about mortal thoughts and deeds, but hopes for immortality.
The use of the dialect really helps to portray Faustus as moving into a illusion world, and struggling to differentiate between reality and imaginary, this is shown especially within the lines where he is talking to himself almost in a anxiety "Faustus thou artwork damned"(Marlowe, p. 49. 22). cursing himself and his thoughts, only to talk himself from it later on, finally submitting to Mephistopheles.
Christopher Marlowe, Doctor Faustus, Function 2, World 3, II. 13-38; in John O'Connor (ed. )(2009), Doctor Faustus; the A text, Pearson Longman, P, 49.
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