Realization Documents Based On Self Scholarly Effects With Google Scholar Citations

It is not by what he does that he appeals to us, but by what he sees and feels. The book is the analysts prized possession on Literature in form of narrative technique and critical illustration expressing her personal beliefs and disbeliefs on human characters and their respective thoughts prevalent in the society even today: What, after all, is the creation? What is man; a creature fabricated by God; or is he the product of millions of years of evolution... and is he heading towards what we might call superman? or towards his doom? Do Fate and Characters act and react upon each other? The fault, dear Brutus, lies in ourselves and not in stars. The outer story of ambiguity on human life and sometimes his complex personality beyond analysis together leads to another parlance of inner story. As such, it intensifies the character along with his refinement of nature. One of my favourable quotes: Thunder is good; thunder is impressive. But it is lightening that does the work.

It is not by what he does that he appeals to us, but by what he sees and feels. The book is the analysts prized possession on Literature in form of narrative technique and critical illustration expressing her personal beliefs and disbeliefs on human characters and their respective thoughts prevalent in the society even today: What, after all, is the creation? What is man; a creature fabricated by God; or is he the product of millions of years of evolution... and is he heading towards what we might call superman? or towards his doom? Do Fate and Characters act and react upon each other? The fault, dear Brutus, lies in ourselves and not in stars. The outer story of ambiguity on human life and sometimes his complex personality beyond analysis together leads to another parlance of inner story. As such, it intensifies the character along with his refinement of nature. One of my favourable quotes: Thunder is good; thunder is impressive. But it is lightening that does the work.

Shakespeare, Lee Oser argues, is a Christian literary artist who criticizes and challenges Christians, but who does so on Christian grounds. Stressing Shakespeare’s theological sensitivity, Oser places Shakespeare’s work in the “radical middle,” the dialectical opening between the sacred and the secular where great writing can flourish. According to Oser, the radical middle was and remains a site of cultural originality, as expressed through mimetic works of art intended for a catholic (small “c”) audience. It describes the conceptual space where Shakespeare was free to engage theological questions, and where his Christian skepticism could serve his literary purposes. Oser reviews the rival cases for a Protestant Shakespeare and for a Catholic Shakespeare, but leaves the issue open, focusing, instead, on how Shakespeare exploits artistic resources that are specific to Christianity, including the classical-Christian rhetorical tradition. The scope of the book ranges from an introductory survey of the critical field as it now stands, to individual chapters on A Midsummer Night’s Dream, The Merchant of Venice, the Henriad, Hamlet, and King Lear. Writing with a deep sense of literary history, Oser holds that mainstream literary criticism has created a false picture of Shakespeare by secularizing him and misconstruing the nature of his art. Through careful study of the plays, Oser recovers a Shakespeare who is less vulnerable to the winds of academic and political fashion, and who is a friend to the enduring project of humanistic education. Christian Humanism in Shakespeare: A Study in Religion and Literature is both eminently readable and a work of consequence.