Guys! So you saw the video today in Felix Sir's class! Pour in all your comments :) We hope you guys liked it :D
Tuesday, 10 September 2013
Group 3 - Add your comments :)
Hello everyone! This is a post to allow all of you to comment on our project. Well we worked really hard on the graphics work and Mishanka did a fantastic job with the poetry and well everyone in the group have put in great efforts. I'm sure all you other groups did too. Your suggestions, criticisms, appreciations etc everything will be valuable to us. Thank you! :)
Members:
Isha S. (1313229)
Meghna (1313235)
Isha M. (1313276)
Mishanka (1313237)
Aishani (1313214)
Sneha E. (1313249)
Shrikari (1313285)
Christina(1313224)
Leader - Nikhil (1313211)
Members:
Isha S. (1313229)
Meghna (1313235)
Isha M. (1313276)
Mishanka (1313237)
Aishani (1313214)
Sneha E. (1313249)
Shrikari (1313285)
Christina(1313224)
Leader - Nikhil (1313211)
Monday, 9 September 2013
Group 9 - Brit Lit CIA 3
Group 9 - Neoclassical Literature
Sorry for the delay, we had a lot of technical difficulties. Unfortunately, we are unable to post the video on this blog, or upload it on youtube.
We have uploaded it on google drive of our CLASS ID and on google drive of this id.Please view it
and post your comments here!.We are sorry for the inconvenience caused.
The video is a bit lengthy, so sit back, relax and enjoy!
And don't forget to comment!
Sunday, 8 September 2013
Group 11 Victorian Today: Victorian Age with a contemporary touch (Part II)
Guys here is the song by Nathaniel (1313298) and Nischay (1313255) which we couldn't post due to technical difficulties previously.
SONG
ENJOY.
- Group 11.
SONG
ENJOY.
- Group 11.
Group 5 : Shakespeare Drama
History of Shakespeare
Parents – John Shakespeare and Mary Arden
Shakespeare was born on April 26, 1564 in Stratford-upon-Avon.
Died on April 23, 1616
At the age of 18, he got married to Anne
Hathway in 1582
He had three children; the eldest being Sussan and twins Hamnet and Judith.
He wrote sonnets, 38 plays and two
narratives.
Genres of his plays
It is
not easy to categorically say whether a Shakespeare play is a tragedy, comedy or history because the Shakespeare blurred the boundaries between
these genres. For example, Much Ado About Nothing begins like a comedy, but soon descends into tragedy –
leading some critics to describe the play as a tragi-comedy.
1) In
the early eighteenth century, the critics most loyal to what
Pope calls "the model of the Ancients" * have lamented Shakespeare's
lack of taste in inserting comedy in his tragedies.
2)They
admire Shakespeare's genius, they acknowledge that the comic
passages "wou'd be good anywhere else,"and they are forced
to admit that, in the words of Nicholas Rowe (1709), "the generality
of our audiences seem to be better pleased with it [tragi-comedy]
than with exact tragedy." But, says Rowe,"the
severer Critiques among us cannot bear it."
3) "Grief and Laughter,"
wrote Charles Gildon (1710) "are so very incompatible
that to join these two . . . wou'd be monstrous . .
And
yet this Absurdity ... is what our Shakespear himself
has frequently been guilty of..
References
1.
http://www.jstor.org/stable/pdfplus/27530731.pdf?acceptTC=true
4. http://youtu.be/pw-J7GbwNV4
5. http://youtu.be/IONNCf1zgg4 ....
Now we have a video to present to you. Mashing up two plays of Shakespeare we have a tragic romantic and slightly comical play, a climax which even Shakespeare would be proud of .....
Saturday, 7 September 2013
Group 1: Anglo Saxon Literature
Group members: Aastha Khanna, Keerthana Ullas, Mridula Hari, Sanjana Susan., Priyanka Iyer, Pratyusha D.V., Kirthana Ganesh, Sneha C.S.
We have covered some parts of the Anglo Saxon literature in the form of a book. Please read and comment!
The link to the book is here - http://issuu.com/pratyushadwivedi/docs/b.l.oggers.docx_c332f6b65a456b
- Pratyusha D.V.
We have covered some parts of the Anglo Saxon literature in the form of a book. Please read and comment!
The link to the book is here - http://issuu.com/pratyushadwivedi/docs/b.l.oggers.docx_c332f6b65a456b
- Pratyusha D.V.
Victorian Today: Victorian Era with a Contemporary Touch (Group 11)
We are group 11. Since we made an E Magazine and Radio talk show and a song, it is inconvenient to blog it. So instead, we will post links.
Here is the link to the E-Mag:
E-Magazine
Here is the link to the Radio Talk show:
Radio Talk Show
Here is the link to the E-Mag:
E-Magazine
Here is the link to the Radio Talk show:
Radio Talk Show
SKETCH ON RESTORATION DRAMA (GROUP 7)
SKETCH ON RESTORATION DRAMA
BY VAGISHA AGRAWAL (1313252)
Group 7
CHANGES IN RESTORATION DRAMA (GROUP 7)
CHANGES IN RESTORATION DRAMA
The age of restoration is popularly
known as the age of Dryden and the age before it was known as the age of
Shakespeare.
There is a considerable difference that
took place when drama was restored. At first came the heroic drama, popularized
by Dryden. He wrote about the heroic deeds of men who fought against injustice.
In one sense these writings were a reflection of an ideal king like Charles. It
focused on actions of men and their qualities that made them a natural leader.
The Restoration age saw the
reinterpretation of olden plays, mostly Shakespearean. The plays of the
Elizabethan age were turned into semi-operas – singing and dancing.
Performances were revised and altered so as to appeal to the larger audience. Women
entered and were allowed to participate unlike in the olden times.
One important change noticed in the
restoration age is the improvement in technology- structurally and visually.
The design and architecture of the stage gave way to a flourishing age. There
was a more elaborate set design. It was by far the most elaborate theatre
England had seen.
While Elizabethan era plays tended to
blend tragedy and comedy, restoration writers kept the two apart. In fact, the drama of the period can be
divided into two- tragedies and comedies. While tragedies covered heroic drama,
comedies would mock the upper-class and use vulgar language
.
~ Written by Sakshi Aggarwal (1313284);
Edited by Srishti Banerjee (1313287)
Group 7
WOMEN IN RESTORATION DRAMA (GROUP 7)
WOMEN IN RESTORATION DRAMA
After restoration in 1660, there was one additional
change made in theatre. For the first time women were allowed to act by Charles
II. However, more than acting many women went on to become mistresses to many
elite people. Charles II himself had Nell Gwyn, one of the famous actresses as
his mistress. Many actresses purposely used their position to increase their
meager income. The idea of having women on stage was at first opposed to, but
young men favored it for their own pleasure. Soon, actresses used this stage as
market for their own benefit. On the other hand this era also witnessed the
rise of the finest actresses who have left a big mark in the field of theatre.
Aphra Behn made her way into theater through family connections. She managed to
create strong, independent female characters even while working within the
constraints of the Restoration's male dominated society.
Despite their fame, women did not enjoy the same status as men did in theatre. They received lesser pay than men. Of many actresses and play writers, there were many women who managed theatres. For example Charlotte Charke, who followed Henry Fielding as the manager of the Little Theatre in Haymarket.
Group 7
FEATURES OF RESTORATION DRAMA (GROUP 7)
FEATURES OF RESTORATION DRAMA
Theaters were closed
during the puritan period. During the restoration, they re-opened with new
types of plays and performances which were different than before. The theaters
which were indoor were much smaller than the Elizabethan ones. They didn’t have
a platform but there was a picture frame stage with different sceneries. The
lighting was artificial and the actors would enter from the side. The audience
was of middlemen and upper class people. Most of the features of restoration
drama is seen even today.
A typical type of
restoration drama was the heroic play. These plays were called “tragedies” or
“histories” but Dryden termed these plays as “Heroic drama”. These plays were
written in the classical model of the rhymed heroic couplet and later in blank
verse. This drama was of tragic comedy, where there would be a happy ending. The
heroes and heroines would show great strength and nobility. This would create
admiration by the audience. The plays would make people wonder and also excite
the imagination. The rhymed verses elevated the play above everyday reality to
grandeur. There is a hero, heroine and villain. The villain is the dominating
character from 1660 onwards, the plays were male dominated but in the 1670s and
1680s the focus shifted from hero to heroine.
The success of the
plays of the Restoration period is dependent on exotic staging devices, strange
plots and exaggerated language. Heroic dramas of the time abound in allusions
to the political crises of the polish plot, the bill of exclusion and the
revolution of 1688. In the eighteenth century revival of heroic drama was
attempted but it was not successful.
~Written by Lovanxa
Gomes (1313260); Edited by Srishti Banerjee (1313287)
Group 7
RESTORATION COMEDY (GROUP 7)
RESTORATION COMEDY
Restoration comedy is well-known
for its sexual distinctiveness and was encouraged by Charles II and his
jaunty aristocratic ethos of his court. This period saw the first professional
woman playwright,Aphra Behn. The well-known plays of the early restoration period
are the ''hard' comedies of William Wycherley, George Etherege, and John
Dryden. Those comedies echoed the atmosphere at court, and represented virile
lifestyle of unceasing sexual fascination and conquest. The Earl of Rochester,
real-life Restoration decadent, courtier and poet, and is portrayed
in Etherege's Man of Mode (1676) as a riotous, intellectual, and sexually
irresistible patrician, a model for future generations. Wycherley's The Plain
Dealer (1676), was highly considered for its unbending satire. It earned
Wycherly the denomination ''Plain Dealer" Wycherley or "Manly''
Wycherey, after the plays important character Manly. During the Restoration
period in 1690s, the ''softer" comedies of John Vanbrugh and William
Congreve mirrored mutating cultural comprehensions and social change. These
playwrights written in the 1960s were to attract socially diverse audiences
with a strong middle-class element, and to female audience, for example by
including the differences between the sexes from the arena of fascination into
that of marriage. The socially diverse audiences included both patricians,
their servants and the middle-class. These common audiences were attracted to
the comedies by crowded and bustling plots, by the introduction of the first professional
actresses, and by the rise of the first celebrity actors. It focuses on
marital relations after the wedding rather than young lovers outwitting the
older generation. Restoration literature had a bad reputation for three
centuries. The "inappropriate" mixing of comedy and
tragedy beloved by Restoration audiences was denounced. The Victorians
decried restoration comedies as too obscene for the stage.
~ Written by Taniya George (1313251)
Group 7
HISTORY OF RESTORATION DRAMA (GROUP 7)
HISTORY OF RESTORATION DRAMA
With Puritan reign in England, from 1642, the theatres of England
remained closed. Plays were banned for the next eighteen years and although
there was evasion of the law and underground playhouses like the ‘Red Bull’
continued to flourish, the period between 1642 and 1660 was mostly sans
theatre.
In 1660 the Stuart dynasty was restored to the
throne of England and with Charles II as king, the revival of theatre gradually
came about. During his exile in France, he had enjoyed French theatre, and on
his return to England, made sure theatre was restored. “Grasping the ideological value of the stage, Charles took an
active interest in Restoration theatre from the start” Hence, as we see, one of
the main factors that led to the success of Restoration theatre was the support
of Charles II.
In August, 1660, Charles II
issued patents for two companies of actors and the performances began
immediately. The
period of Restoration was known as the renewal of British theatre and led by
the companies of William Davenant and Thomas Killigrew, theatre in England was
revived.
Due to the patents issued to them by the king, Killigrew and
Davenant were given the right to build a theatre in London or Westminster and
to establish and manage a company of actors to perform in it; Killigrew's
actors were named the King's Company, and Davenant's were known as the Duke of York's.
For a long time, these two companies monopolized theatre of the Restoration
period.
~
Written by Srishti Banerjee (1313287)
Group 7
DRAWINGS ON RESTORATION DRAMA (GROUP 7)
DRAWINGS ON RESTORATION DRAMA
GROUP 7
Subscribe to:
Posts (Atom)