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The Reasons Behind Shakespeare's Influence and Popularity
The Reasons Behind Shakespeare's Influence and
Popularity
Writing is the art of literature; Shakespeare considered one of the most
influent writers of the English literature because of his ability to illuminate
and express emotions, quantity and quality of great stories, compelling
characters, and the ability to turn a phrase in to a master piece.
In fact that one of the major impression and admiral reasons why Shakespeare is
considers an influential writer is because of its ability to express
illumination of the Human Experience. Shakespeare's ability to summarize the
range of human emotions in simple still profoundly perhaps the greatest being
is historical reason for enduring popularity. If you can not find words to
express how you feel about love or music or growing older, Shakespeare can
speak for you. No author in the Western world has penned more beloved passages.
Shakespeare's work is the reason John Bartlett compiled the first book of
familiar quotations major.
Great Stories
Marchette Chute, in the Introduction to her retelling of Shakespeare's famous
stories, summarizes one of the Reasons for Shakespeare's immeasurable fame
William Shakespeare Was The MOST remarkable storyteller the world has ever That
known. Told ofadventure and Homer men at war, Sophocles and
Tolstoy Told of tragedies and of people in trouble. Terence and Mark
Twain Told cosmic stories, Dickens Told melodramatic ones, Plutarch Told
histories and Hand Christian Andersen fairy tales Told. But every kind of
Shakespeare Told story - comedy, tragedy, history, melodrama, adventure, love
stories and fairy tales - and Each of Them so They Have Become Well That
immortal. In all the world of storytelling I've Become the greatest name.
(Stories from Shakespeare, 11)
Shakespeare's stories transcend time and culture. Modern storytellers continue
to Shakespeare's Customizable to suit our modern such world, Whether
it be the tale of Lear on a farm in Iowa,
Romeo and Juliet on the mean streets of New York City,
or Macbeth in feudal Japan.
a۬ 3) Compelling Characters
Shakespeare invented historical share of stock characters, But truly great
historical characters - particularly tragic historical heroes - are unequaled
in literature, dwarfing the sublime events of the Greek tragedians creations.
Shakespeare's great characters Have Remained popular Because of Their
complexity, for example, we can see ourselves as gentle Hamlet, forced Against
His better nature to seek murderous revenge. For this reason Shakespeare
isdeeply Admired by actors, and Many Consider playing a Shakespearean character
to be the most apologetic and rewarding role possible.
“Para ellos, un sistema de
símbolos físicos es una maquina que produce a lo largodel
tiempo una colección evolutiva de estructuras simbólicas. El
sistema de símbolos tiene como referente un mundo de objetos
mas amplio de tan solo las expresiones simbólicas. El término “físico” hace referencia a que
tales sistemas obedecen las leyes de la física, es decir, son
realizables por sistemas de ingeniería o computación
electrónica” (Rodríguez-R, 1996, p.4).
Asimismo, tal y cómo explica Rodríguez-R 1996),
la Hipótesis cognitiva, propuesta por Newell y Simon, se encuentra en la
base de las arquitecturas, simbólicas, las cuales sirven de sustrato a
la computación electrónica, la cual llega a ser posible por medio
de la manipulación de señales físicas, a partir de reglas
explícitas que también estan compuestas por otras
señales (Rodríguez-R, 1996, p.5). Esta manipulación de
señales, según Iglesias (2006) es
“sino como
manipulación de “símbolos” a los cuales se les
atribuye contenido o significado semantico. Los símbolos y sus
estructuras serían la “representación” del sistema del mundo exterior. A esta hipótesis
se la denomina “hipótesis del sistema de símbolos
físicos”, y a la corriente en Ciencia Cognitiva que se basa en
esta hipótesis, “cognitivismo””. (Iglesias, 2006, p.
73)
No obstante, este modelo, simbolista, representacionista o cognitivista, tiene
su talón de Aquiles, desde el punto de vista Iglesias (2006) los
problemas que no podrían solucionar el simbolismo seria lo siguiente
“Las representaciones proposicionales no serían adecuadas para
representar conexiones causales o interaccionesdinamicas ya que no
proporcionan ninguna forma natural de separar diferentes dominios de
información. Esto esta unido al hecho de que los portadores centrales
de las representaciones simbólicas en los lenguajes de primer orden son
los predicados, y se supone que los predicados se dan al sistema, no
cuestionandose nunca cómo se forman ni
su valor cognitivo. Otro problema es la imposibilidad de estudiar la emergencia
evolutiva de las representaciones simbólicas, ni
explicar la inducción creativa ni el conocimiento nuevo, puesto que no
hay categorías conceptuales disponibles para especificar la
situación antes de que surjan los símbolos”. (Iglesias,
2006, p. 145)
En lo que respecta a cómo modelar el aprendizaje, y que resulta un aspecto clave para explicar la mayoría de los
procesos cognitivos. El aprendizaje conceptual esta
estrechamente ligado a la noción de similitud, que también es
débilmente explicado por el enfoque simbólico. Iglesias
(2006) lo explica d la siguiente manera:
“Aunque el cognitivismo es aún importante en la actualidad, dada
la ausencia de alternativas satisfactorias en algunos aspectos de la
cognición, los pobres resultados en la simulación y posterior
explicación de la cognición humana hicieron que a finales de los
setenta ya empezara a pensarse que había que volver la mirada hacia el
funcionamiento del cerebro, y a la posibilidad de realizar no sólo su
simulación, sino su efectiva replicación, en algún tipo de
maquina”. (Iglesias, 2006, p. 73)
a۬ 4) Ability to Turn a Phrase
Many of the common expressions now thought to be clichés were Shakespeare's
creations. Chances are you use Shakespeare's expressions all the time even
Though you may not know it is you are quoting the Bard. You may think That Fact is 'neither here nor there', But that's
'the short and the long of it.' Bernard Levin said it best in the
Following quote Shakespeare's Impact on About our language:
If you can not Understand my argument, and declare 'It's Greek to
me', you are quoting Shakespeare; if you claim to be more sinned Against
than sinning, you are quoting Shakespeare, if you recall your salad days, you
are quoting Shakespeare; if you act more in sorrow than in anger, if your wish
is father to the thought, if your lost property has vanished Into thin air, you
are quoting Shakespeare; if you ever Have Refused to budge an inch or suffered
from green-eyed jealousy, if You have played fast and loose, if you Have Been
tongue-tied, a tower of strength, hoodwinked or in a pickle, if your brows
knitted You have, made a virtue of Necessity, insisted on fair play, slept not
one wink, Stood onceremony, danced Attendance (on your lord and master),
Laughed yourself Into stitches, HAD short shrift, cold comfort or too much of a
good thing, if You have seen better days or Lived in a fool's paradise - why,
Be That as it may, the more fool you, for it is a foregone Conclusion That You
Are (as good luck would have it) quoting Shakespeare; if you think it is early
days and clear out bag and baggage, if you think it is high time And That That
Is the long and short of it, if you believe That game is up and the truth will
out That Even If It Involves your own flesh and blood, if you lie low till the
crack of doom suspect foul play Because You, if You have your September teeth
on edge (at one Fell swoop) without rhyme or reason, then - to give the Devil
His Due - if the Truth Were Known (for Surely You have a tongue in your head)
you are quoting Shakespeare; events if you bid me good riddance and send me
packing, if you wish I were dead as a door-nail, if you think I am an eyesore,
a laughing stock, the devil incarnate, a stony-hearted villain, bloody-minded
or a blinking idiot, then - by Jove! O Lord! Tut, tut! for
goodness' sake! what the dickens! but
me no buts - it is all one to me, for you are quoting Shakespeare. (The Story
of English, 145)
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