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The authors discuss the appearance of English seafarer Thomas Cavendish as a character in early modern English plays. They mention the inventory of theatrical costume compile by English actor Edward Alleyn, present evidence that one of the terms refers to Cavendish, and discuss a lost play that depicts Cavendish's voyages.

The author presents a criticism of the English play "What You Will" by John Marston. He discusses the character of Lampatho Doria as a parody of the playwright Ben Jonson, previous criticism that has argued for and against this position, and the theatrical allusions in the play.

A literary criticism of the book "Amores" by Ovid is presented. Topics discussed include an overview of the book, the narrative importance of the book and its content, the depiction of the characters of the book, the interpretations on parrot's metapoetical read and qualities, and the parallels observed between the 2.6 and 3.9 editions of the book.

This article provides a detailed analysis of character construction in the fifth century passio Caeciliae (Bibliotheca Hagiographica Latina 1495 - 1495a - 1496). Our analysis sets out to challenge the general assumption that character construction in the late antique passions can correctly be described in terms of stereotypes. The passio Caeciliae appeals to and inverts reader expectations based upon traditional patterns in erotic narrative. We also argue that it individuates the different characters (Caecilia and her fellow martyrs) by documenting one specific area of their representation, namely rhetorical ability. In this thematic area, Caecilia is set apart from her husband Valerianus: unlike him, she displays elaborate rhetorical aptitude which allows her to obtain the dominant position in the marriage and to achieve her aims. But the art of rhetoric is also a skill that can be learned as is shown by the character of Valerianus whose rhetorical approach changes in the course of the passion. Our analysis suggests that this passion from a literary point of view constitutes a more interesting text than is generally assumed. [ABSTRACT FROM AUTHOR]

In El Torito de los Muchachos (1830), Luis Pérez deploys voices, not always Gauchos and Federalists, but sometimes Uniterian and literate, who utter fictional truths in the form of a confession. In a historical moment in which the press was a vehicle of influence on public opinion, Pérez aims his publications toward broad swaths of the public to include of illiterate groups through oral readings. This paper analyzes the ways in which these confessions allowed truths to stand up amid a war of words, as they sought to occupy an imagined public space on whose field discursive conflicts were fought. [ABSTRACT FROM AUTHOR]

From the perspectives of everyday aesthetics and hermeneutics, this paper analyzes Pequod (1995), a Vitor Ramil novel set in the Brazilian pampa and conceived around the unique features offered by the experience of cold weather. By analyzing the thoughts and actions of Pequod's characters, our main goal is to point out how a vital relationship with weather leads to an existential stance, or philosophy of life, aimed at understanding the world. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "Two Maccabees" by Jason of Cyrene is presented. It outlines the characters and explores the symbolic significance of these characters. It . An overview of the story is also given and the Second Epistle in the book combines the skepticism of contemporary Greek historiography with the hostility of Jewish exposure literature.

This article presents a literary criticism for works related to monsters by such Peruvian authors as Juan de Castellanos, Pedro Cieza de León, and Pedro Ordoñez de Ceballos. The author comments on the common representation of monsters as wild men and giant figures and describes the incorporation of biblical, scientific, and historical elements in these works.

The death of Turnus is one of the Aeneid's most controversial and variously interpreted episodes – anything from the triumphant vindication of Aeneas and the Roman future, to the poet's last, resounding plaint against Augustan totalitarianism, with all the more nuanced shades of opinion in between. Virgilian scholarship has recently become tired of the opposition between ‘optimist’ and ‘pessimist’ perspectives, but one piece of potentially important evidence has not found its way into the argument. As often, it is a matter of intertexts, and it begins, unsurprisingly, with the Iliad. [ABSTRACT FROM AUTHOR]

No consensus has been reached about the reconstruction of Euripides' fragmentary tragedy Bellerophon, but two suggestions have not received the serious attention they deserve. The first is that Stheneboea is a character in the play, and the second that Euripides does not depict Bellerophon as an atheist or an impious hero. In this paper, I shall reconsider both of these suggestions. In fact, the addition of Stheneboea to the dramatis personae allows us to correct the second problem, as I shall propose that Stheneboea, not Bellerophon, speaks the infamous atheistic fragment. [ABSTRACT FROM AUTHOR]

This article presents a literary criticism for the novel "Rojo express," by Venezuelan author Marcos Tarre Briceño. The author comments on the elements of the detective story, which are incorporated into the work. He also analyzes the representation of racism and discrimination towards the black Venezuelan characters.

A literary criticism of the book "Order and Disorder," by Lucy Hutchinson is presented. It discusses the book's emphasis on Hutchison's republicanism over religious adherence to Calvinistic Puritanism, the development of a matriarchal typology of elect Genesis mothers and the character of Rebecca in the epic.

What is Roman comedy? Which ancient theatre forms can be included under this term? How to classify the characters of palliatae, togatae, atellanae and mimi, having mostly complete texts of Plautus's and Terence's palliatae available on the one hand, and palliatae, togatae, atellanae and mimi preserved only fragmentally on the other? This study presents a method of classifying a repertoire of characters in Roman comedy which I used in my dissertation. Complete texts were analyzed in terms of contrasts and correspondences, allowing me to determine the correspondences and similarities not only among dramatic characters or types separately in Plautus's and separately in Terence's comedies, but also point out certain correspondences and similarities in the entire historical corpus of texts mapping a specific period or genre. Therefore, I determined structural functions of individual types and their roles in the corpus of texts, which, at the same time, provided me with a summary of typical traits of various types of characters, manifested in antagonism or cooperation with other types of characters. I compared this set of "words-signs" with words describing the characters from fragments, using clear arrangement into contingency tables. Due to this comparison and other partial findings enabled by this method and tools used, it was possible to describe, at least partially, not only a repertoire of characters of individual comic forms, but also compare them with each other and determine how the "dramatis personae" of Roman comedy changed diachronically. [ABSTRACT FROM AUTHOR]

This essay examines the intertextuality between Thomas Dekker's The Shoemaker's Holiday and Shakespeare's Henry V and situates their relationship in the military context of 1590s England. It argues that Dekker's play responds directly to Shakespeare's by renegotiating contemporary issues of nation and national identity that Shakespeare deploys. Specifically, The Shoemaker's Holiday rejects Henry Fs monarchic and martial nationalism and replaces it with a more open and tolerant corporate nationalism based on occupation: Dekker's shoemakers form a "band of brothers" who redraw traditionally national as well as class boundaries and focus on occupation and communal values over individual honor and conflict against other nations. [ABSTRACT FROM AUTHOR]

Renaissance emblematic iconography suggests Portia's similarity not to Justice or Mercy but to Fortuna or Occasio, figures who are virtually interchangeable in the Renaissance and are both admirably suited to a play about risk taking. References to Portia as prize and to her toppling of Shylock and rescue of Antonio's merchandise suggest her affinity with Fortuna. Far from being impartial in her judgment, Portia rewards and punishes according to her desire. As the Fortuna of Venice, Portia is the marketplace's opportunistic entrepreneur who most successfully negotiates the worlds of commerce and love. [ABSTRACT FROM AUTHOR]

Story is one of the important and influential literary genres that deserves to research on its structure and content .By study and analysis of a story, the reader could comprehend the contextual messages and change his attitude toward life and different issues .After defining of the social novel, the author tries to analyze plot and personification in novel of Tehran Makhuf and respond to the questions on the method employed for plot and personification by the author and analyze it from plot and its components such as conflict, suspension and resolution and compare the differences and similarities between old tales and modern novels. The plot of Tehran Makhuf is not so complex due to its subject and content and natural order of events dominates on artificial discipline and it has open plot. Of main elements of plot, conflict is more outstanding here. This novel is full of emotional and moral conflicts and there is no similarity with historical novels that describe good and bad conflicts. Cause and effect relationship is main element of plot that shadows on the story events. In Tehran Makhuf, sometimes the author violates the principles and causes to imbalance in natural sequences of events, discomposing rational and experiential relationship, and takes action toward artificiality and unnatural suspension. In creating suspension by emphasis on incidences, Kazemi extremes in some cases and tries to found the story based on the considerable sequence of events and this conduct reduces quality of the story significantly and leads to imbalance in rational and acceptable discipline. Kazemi employs direct or reporting personification mostly. This novel lacks diversity in personage considerably. All characters speak in similar style and there is no particular speech style. The personification of Kazemi in Tehran Makhuf is interdependent in style of old tales and novel in European account. In some cases, he approaches to story characters specifications and in other cases, he distances from traditional personification due to familiarity with western countries particularly Russian and French writers .Indeed, it can be said that personification in Tehran Makhuf is passing from traditional to modern and western style. The characters of Tehran Makhuf are classified in two categories: the first category involves aristocrats and their purpose is power and wealth and prevention of any social shift. They are identified by traits like "reveler", "hypocrite", "stingy" and "rich". The characters like Siyavash Mirza, F. Saltane, ShazdeK. and Ali Ashraf khan are in this group who are absolutely evil.The second category is identified by traits like "noble", "loyal", "sufferer " and "patient" and they are common people. Characters like Farrokh, Javad, servant of Farrokh, Mahin and Efat are in this group and they are noble, humanely and good. The main and secondary personages are constant and static in this novel. They attend in the story without changing. All characters introduced by Kazemi in Tehran Makhuf are real and they reflect society realities. All the characters of this novel reflect historical and social realities of particular place and time. [ABSTRACT FROM AUTHOR]

The literary critics and historians that have reviewed I.L. Caragiale's work have repeatedly suggested that Caragiale's heroes are "types" or "symbolic characters" who were said to originate in various characters specific to the Romanian folk plays, or to the Commedia dell'Arte or even to Molière's plays. Among these heroes, a very significant part is played by the feminine characters whom, in G. Ibrăileanu's opinion, Caragiale "paints with no satirical pretensions [...]. His women are serious types such as Zoe, Didina and even Ma'am Efimița". Considering G. Ibrăileanu's statement as a starting point, the purpose of this paper is to prove the opposite. Therefore, the examples that regard both the character of Caragiale's heroines and their language, i.e. the way they address one another and the names used by the other characters when talking about them: lady, young lady, dame, madam, etc., support our assumption according to which language serves not only to socially identify the speakers, but also to satirize them. The outcome of all these verbal expressions is language comicality, which is a fundamental stylistic trait of Caragiale's work. [ABSTRACT FROM AUTHOR]

This article provides a literary criticism for the books "Historia de Enrique Fi de Oliva," by José Manuel Fradejas Rueda, "Tablante de Ricamonte," and "Don Quijote de la Mancha," by Miguel de Cervantes. The author examines the representation of characters, including youth, elderly, overweight, and thin persons. She also analyzes the literary genre of the caballero novel, to which these works belong.

This work aims to study the novel Encarnação (1877), by José de Alencar, in search to the wonderful perspective that does not appear among the author's literary criticism. Encarnação is the last novel written and published by the author in life, a few months before his death, in which the novelist seems to propose a different theme, never explored before in his production. We understand that the wonderful perspective, according to Todorov (2008) does not usually take place in José de Alencar's production, however, it appears in Encarnação and determines the interpretation of the action of its characters. [ABSTRACT FROM AUTHOR]

A literary criticism of the play "The Duchess of Malfi" by English dramatist John Webster is presented. The author argues that the drive in the play is derived from the dramatist's desire for the work to endure posterity as well as his disbelief that it will. The article also focuses on the tragic plot of the play, including the relations between the characters of the Duchess, Ferdinand, and Antonio.

A literary criticism of the two-part play "The Conspiracy and Tragedy of Charles, Duke of Byron," by English playwright George Chapman is presented. It focuses on the actions of the characters of Henry and Byron, emphasizing the use of humor psychology in the play. The author also addresses the specialness and uniqueness of Byron and the concept of enargeia.

An essay is presented which explores British theatrical representations of the first century British warrior queen Boadicea from 1600 to 1800. Plays including "The Tragedie of Bonduca," by John Fletcher, "Boadicea, Queen of Britain," by Charles Hopkins, and "A History of Britain," by John Milton are examined and particular focus is given to Boadicea's femininity. The cost of war, Boadicea's role as mother, and her characterization as a warrior are also discussed.

In this essay, we analyze a short story by Machado de Assis, "Um homem célebre," in which the reader follows the frustrated trajectory of the character Pestana, a pianist and composer of polkas. Our approach is based on two theories that are not obviously compatible: Antonio Candido's perspective of the formation of Brazilian Literature, and the notion of torsion as outlined by August Ferdinand Moebius and commented by Jacques Lacan. Our aim is to demonstrate that, by maintaining an ironic distance in relation to the events of the story, the narrator performs the formative synthesis of the torsion whose existence the character is unable to perceive. [ABSTRACT FROM AUTHOR]

It has become commonplace to describe Machado de Assis's characters and narrators as deeper than those of his contemporaries, and his novels as representations more creatively ambiguous than most literary depictions of nineteenth-century Brazil. In this essay I argue that throughout his novels psychological depth is a function of moral imagination; and a troubled moral imagination is a necessary condition for the literary representation of the modern self. Machado's protagonists are able to fashion the public presentation of their selves by imagining alternatives to their origins, desires, and social predicaments. They have in their pasts a burden the,v need to overcome, and while doing so they find themselves in conditions of freedom and harm. Evil then arises as a consequence of moral dynamism, in solar as it becomes a project for undoing the other. The genesis or a radical conception of free will and evil in Machado's narratives goes back to his translation of Victor Hugo's The Toilers of the Sea (1866). His concern with a more meticulous characterization of inwardness deepens between Iaiá Garcia (1878) and Dom Casmurro (1899), when adopting the structure or a confessional narrative he arrives at a balance between disguised motives (malice), double chronology (nostalgia), and human life as an unfolding, reversible, and self-aware process (metamorphosis). To frame Machado's strategy for depicting moral change, I take from Augustine's Confessions the suggestion that retrospection is the only way of restoring the identity of someone whose self is marked by his or her sense of dissimilarity with the past. Finally, from Kant and Paul Ricoeur I draw the elements for a further consideration of evil as an invitation to think differently about seeing, judging, and narrating human life. [ABSTRACT FROM AUTHOR]

This article is the result of the research project titled "Sujeto migrante en la na-rrativa colombiana" in which we explore how the migrant subjects are represented in the contemporary Colombian narrative. We have found that the migrant is mostly represented as an essential and unitary subject thought from the traditional notion of subject that migrates because of her human condition and not because of the historical, social or economical conditions. Beyond being assumed as a mimesis of reality, this needs to be addressed as a problematic issue because it makes evident the gap between literary discourses in Colombia and the contemporary social practices and reality. [ABSTRACT FROM AUTHOR]

As the narrator of the Ciris prepares to describe Cupid's attack on Scylla, daughter of Nisus, he offers a concise aretalogy of this powerful god (133–9): sed malus ille puer, quem nec sua flectere materiratum potuit, quem nec pater atque auus idemIuppiter (ille etiam Poenos domitare leoneset ualidas docuit uires mansuescere tigris,ille etiam diuos homines – sed dicere magnum est),idem tum tristis acuebat paruulus irasIunonis magnae ... [ABSTRACT FROM AUTHOR]

Analyzes a male tale, `The Lazy Boy,' which has a narrative tradition of four and a half centuries. Definition of fairy tale; Comparison with related tale-types; Anti-hero's aggressively angry sexuality; Princess' clever acceptance of her fate; Motifs and motivations of the tale; Shifting of social values; Patterns of dissemination; Effect on the tale-type stories.

This reprinted 1916 essay highlights the literary skills of the Yiddish folk writer Sholem Aleichem reflected in the various stories written by him. Topics addressed include what the author calls Aleichem's poetry of childhood, his portrayal of adult characters in his works, and the characteristics of the narrative style used by Aleichem.

This reprinted 1908 essay discusses the typology of the various characters in the works of the Yiddish folk writer Sholem Aleichem. Topics addressed include the analogy of a Jewish merchant drawn by Aleichem through the character Menakhem-Mendl in the monologue "Gimnazye," comparison of traits of the character Tevye with that of Menakhem-Mendl, and the depiction of a Jewish child in Sholem's work "Mayses far yidishe kinder."

The article presents an analysis of Venezuelan literature in the 1990's. It focuses on a story by Ángel Gustavo Infante entitled "Joselolo" which changed the face of Venezuelan literature by introducing a new genre of short stories. The article also gives information on the protagonists which were introduced in various short stories during this time period.

The article critiques the English historical play "Richard III," by William Shakespeare, particularly commenting on a famous line in which King Richard declares his desire for a horse from act five, scene four, line seven of the play. It addresses the intentional ambiguity in the line, the implications for Richard's desire to win the battle, and God's providence.

The article comments on the character Milo's invitation to Lucius in the book "Metamorphoses" by Apuleius. The author suggests Milo is trying to prove his eloquence by improvising poetic verse, and demonstrating his literary ability by not speaking prose. Finally, the author argues Milo has chose the wrong poetic meter.

The author argues that Plato's "Republic" actually performs exactly the kind of democratic disfiguration and reconfiguration of the sensible. She cites Jacques Rancière's notion of archipolitics and the crucial questions he failed to ask concerning the distribution of the sensible. She also demonstrates that "Republic" characters Socrates, Adeimantus, and Glaucon are all initially responsible for the fantasy image of a perfectly incontestable distribution of the sensible.