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“Every Man Must Play A Part”: A Character-Centered Approach To The Merchant Of Venice, Megan Moore
“Every Man Must Play A Part”: A Character-Centered Approach To The Merchant Of Venice, Megan Moore
Honors Program Theses and Projects
No abstract provided.
Exploring Omissions From Historical Chronicles In Shakespeare's Second Tetralogy, Christopher Roy
Exploring Omissions From Historical Chronicles In Shakespeare's Second Tetralogy, Christopher Roy
Honors Program Theses and Projects
No abstract provided.
Communicating Shakespeare: How High School Educators Should Approach The Great Playwright, Samantha Defilippe
Communicating Shakespeare: How High School Educators Should Approach The Great Playwright, Samantha Defilippe
Honors Program Theses and Projects
This study is being done to show how relating Shakespeare’s plays, specifically the characters, themes, and events in his plays, to high school students can increase their appreciation and understanding of the famous writer. It discusses better methods for teaching Shakespeare than line-by-line interpretation so that students may see the valuable insight his works have to offer, rather than skimming the readings and using unreliable online resources, such as Sparknotes, because they are uninterested. Previous research has shown the importance of trying to relate readings to students so they are able to form a connection with the characters and main …
"How Beauteous Mankind Is": Utopian (In)Humanity As Questioned By Shakespeare And Answered By Huxley, Jason Kelliher
"How Beauteous Mankind Is": Utopian (In)Humanity As Questioned By Shakespeare And Answered By Huxley, Jason Kelliher
Honors Program Theses and Projects
No abstract provided.
Renaissance Drama And Magic: Humanism And Hermeticism In Early Modern England, Caitlin A. Larracey
Renaissance Drama And Magic: Humanism And Hermeticism In Early Modern England, Caitlin A. Larracey
Honors Program Theses and Projects
With deals made with the devil, the promise of base metals turned into gold, and charms cast over beasts, humans, and spirits, magic has a profound role in the drama of Early Modern England. Even more than magic, be it black or white, the magus repeatedly takes center stage in front of Elizabethan and Jacobean audiences. There exists a fascination in the period with unnatural or supernatural powers, especially in light of the reputations of figures such as the physician-magicians John Dee and Simon Forman, and even King James I. Yet the magic and magician that emerge in principal plays …