Seminar paper from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Münster (English Department), course: Literatur und Kulturwissenschaft -Shakespeare: The Roman Plays, language: English, abstract: The first associations with William Shakespeare’s Julius Caesar are generally the main characters Caesar and Brutus and the consequent conflict between loyalty to a friend and the common good. Furthermore there are the conspirators or other important characters known from history, but there is an important “figure” which is more essential than it seems at first sight: the plebs. A major part of the play is about Brutus ́ struggle about the common good. In fact he never puts this into concrete terms. “For the good of Rome” (JC 3.3.45) should be the same as ‘for the good of the plebeians’, since they are the biggest group of people living in Rome. What exactly Brutus meant by that stays vague. In contrast to this it is obvious that in the end the plebeians not only lose their beloved Caesar but also the most important thing in a community: peace. Cassius characterizes the plebs “sheep” (JC 1.3.105), “trash” (JC 1.3.108) and “offal” (JC 1.3.109). Nevertheless the plebs are at the same time (evident) reason for the conspiracy and reason for its failure, thus symbols of the ambiguity of the conspirators intentions. Their characteristics are crucial for the process of the tragedy. In the following chapters I am going to characterize the plebeians on the basis of their development in the course of the play, focusing on the three scenes in which they appear and then subsequently elaborate their attributes.

Seminar paper from the year 2012 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Munster (English Department), course: Literatur und Kulturwissenschaft -Shakespeare: The Roman Plays, language: English, abstract: The first associations with William Shakespeare's Julius Caesar are generally the main characters Caesar and Brutus and the consequent conflict between loyalty to a friend and the common good. Furthermore there are the conspirators or other important characters known from history, but there is an important "figure" which is more essential than it seems at first sight: the plebs. A major part of the play is about Brutus struggle about the common good. In fact he never puts this into concrete terms. "For the good of Rome" (JC 3.3.45) should be the same as 'for the good of the plebeians', since they are the biggest group of people living in Rome. What exactly Brutus meant by that stays vague. In contrast to this it is obvious that in the end the plebeians not only lose their beloved Caesar but also the most important thing in a community: peace. Cassius characterizes the plebs "sheep" (JC 1.3.105), "trash" (JC 1.3.108) and "offal" (JC 1.3.109). Nevertheless the plebs are at the same time (evident) reason for the conspiracy and reason for its failure, thus symbols of the ambiguity of the conspirators intentions. Their characteristics are crucial for the process of the tragedy. In the following chapters I am going to characterize the plebeians on the basis of their development in the course of the play, focusing on the three scenes in which they appear and then subsequently elaborate their attributes.

This volume offers a practical, accessible and thought-provoking guide to this Roman tragedy, surveying its major themes and critical reception. It also provides a detailed and up-to-date history of the play's performance, beginning with its earliest known staging in 1599, including an analysis of the 2013 film Caesar Must Die starring Italian inmates, and an assessment of why the play is now coming back into vogue on stage. Moving through to four new critical essays, it opens up cutting-edge perspectives on the work, and finishes with a guide to pedagogical approaches by the experienced teacher and leading academic Jeremy Lopez. Detailing web-based and production-related resources, and including an annotated bibliography of critical works, the guide will equip teachers and facilitate students' understanding of this challenging play.

This book explores traditional approaches to the play, which includes an examination of the play in light of current history, in the context of Renaissance England, and in relation to Shakespeare's other Roman plays as well as structural examination of plot, language, character, and source material. Julius Caesar: Critical Essays also examines the current debates concerning the play in Marxist, psychoanalytic, deconstructive, queer, and gender contexts.

Julius Caesar is a key link between Shakespeare’s histories and his tragedies. Unlike the Caesar drawn by Plutarch in a source text, Shakespeare’s Caesar is surprisingly modern: vulnerable and imperfect, a powerful man who does not always know himself. The open-ended structure of the play insists that revealing events will continue after the play ends, making the significance of the history we have just witnessed impossible to determine in the play itself. John D. Cox’s introduction discusses issues of genre, characterization, and rhetoric, while also providing a detailed history of criticism of the play. Appendices provide excerpts from important related works by Lucretius, Plutarch, and Montaigne. A collaboration between Broadview Press and the Internet Shakespeare Editions project at the University of Victoria, the editions developed for this series have been comprehensively annotated and draw on the authoritative texts newly edited for the ISE. This innovative series allows readers to access extensive and reliable online resources linked to the print edition.

shakespeare's stories.

Julius Caesar: A New Casebook provides students and academics with a selection of important essays by leading contemporary critics on Shakespeare's first "Globe" play. New historicist, feminist, psychoanalytic and Marxist readings of the tragedy have been chosen to highlight the urgency with which this drama of prophecy, interpretation and political crisis speaks to twenty-first century concerns about democracy, the media and mass communication.

Modernist writers, critics, and artists sparked a fresh and distinctive interpretation of Shakespeare's plays which has proved remarkably tenacious, as Richard Halpern explains in this lively and provocative book. The preoccupations of such high modernists as T. S. Eliot, Wyndham Lewis, and James Joyce set the tone for the critical reception of Shakespeare in the twentieth century. Halpern contends their habits of thought continue to dominate postmodern schools of criticism that claim to have broken with the modernist legacy.Halpern addresses such topics as imperialism and modernism's cult of the primitive, the rise of mass culture, modernist anti-semitism, and the aesthetic of the machine. His discussion considers figures as diverse as Orson Welles and Arnold Schwarzenegger, and Shakespeare critics including Northrop Frye, Cleanth Brooks, Stephen Greenblatt, and Stanley Cavell. Shakespeare's works have been subjected to a continuing process of historical reinterpretation in which every new era has imposed its own cultural and ideological presuppositions on the plays. The most enduring contribution of modernism, Halpern suggests, has been the juxtaposition of an awareness of historical distance and a mapping of Shakespeare's plays onto the present. Using modernist themes and approaches, he constructs new readings of four Shakespeare plays.