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~منطلقة بطموحي~
19-05-2022 - 09:49 pm
السلام عليكم ورحمة الله وبركاته
انا في قسم اللغة الانجليزيه ومتأخرة كثيرعلى البحث
دكتور مادة الدراما طالب مني بحث عشان ازيد درجاتي في المشاركه
وابي أسلم البجث بكره او بعده لكن ما ادري في أي موضوع أكتب اذا ممكن تساعدوني في اختيار الموضوع او اذا في بحث جاهز في أي موضوع يخص الدراما
استفسار: ينفع اكتب موضوع عن الكاتب الدرامي المشهور تشارلز ديكنز
اتمنى تردون على بأسرع وقت الله يعافيكم
اختكم : منطلقة بطموحي
انا في قسم اللغة الانجليزيه ومتأخرة كثيرعلى البحث
دكتور مادة الدراما طالب مني بحث عشان ازيد درجاتي في المشاركه
وابي أسلم البجث بكره او بعده لكن ما ادري في أي موضوع أكتب اذا ممكن تساعدوني في اختيار الموضوع او اذا في بحث جاهز في أي موضوع يخص الدراما
استفسار: ينفع اكتب موضوع عن الكاتب الدرامي المشهور تشارلز ديكنز
اتمنى تردون على بأسرع وقت الله يعافيكم
اختكم : منطلقة بطموحي
التعليقات (4)
صحيح سباركس نوتس يفيدك كثير في البحوث وانتي سوي بحث عن كاتب الدراما او عن الشخصيات الرئيسية والفرعية فالدراما او عن الحبكة الدرامية برضه
هذي مواضيع كنت اكتب عنها في بحوثي والله يوفقك بدراستك
هذي مواضيع كنت اكتب عنها في بحوثي والله يوفقك بدراستك
مساء الخيرياحلوة
انا هذي اول مشاركة لي في المنتدى وحبيت ابدا مشاركاتي بمساعدتك انا ادرس دراما وماخذه قبل سنة مسرحية اسمها Dr.فستس اكتبي بحث عنها مره حلوة...انا ماادري انتي فأي سنة عشان كذا مااعرف اذا البحث هذا يناسبك ولا لا بس ان شاء الله يفيدك وابغى من دعوة بظهر الغيب لي ولأمي الله لايهينك والله يوفقك ان شاء الله About Doctor Faustus: Marlowe
Marlowe lived in a time of great transformation for Western ****pe. New advances in science were overturning ancient ideas about astronomy and physics. The discovery of the Americas had transformed the ****pean conception of the world. Increasingly available translations of classical texts were a powerful influence on English literature and art. Christian and pagan worldviews interacted with each other in rich and often paradoxical ways, and signs of that complicated interaction are present in many of Marlowe's works. England, having endured centuries of civil war, was in the middle of a long period of stability and peace.
Doctor Faustus is a play of deep questions concerning morality, religion, and man's relationship to both. England was a Protestant country since the time of Queen Elizabeth I's father, Henry V III. Although theological and doctrinal differences existed between the Church of England and the Roman Catholic Church, the former still inherited a wealth of culture, thought and tradition from the latter. Christianity was a mix of divergent and often contradictory influences, including the religious traditions of the Near East, the heritage of classical Greco-Roman thought and institutions, mystery religions, and north ****pean superstition and magic.
Sorcery and magic were part of widespread belief systems throughout ****pe that predated Christianity. These early beliefs about magic were inextricable from folk medicine. Women in particular used a mix of magic and herbal medicine to treat common illnesses. But as Christianity spread and either assimilated or rejected other belief systems, practitioners of magic came to be viewed as evil. In the fifth century CE, St. Augustine, perhaps the most influential Christian thinker after St. Paul, pronounced all sorcery to be the work of evil spirits, to distinguish it from the good "magic" of Christian ritual and sacrament. The view of the sorcerer changed irrevocably. Magic was devil-worship, outside the framework of Church practice and belief, and those who practiced it were excommunicated and killed.
The Protestant Reformation did not include reform of this oppressive and violent practice. Yet magic continued to keep a hold on people's imaginations, and benign and ambiguous views of magic continued to exist in popular folklore. The conceptions of scholarship further complicated the picture, especially after the Renaissance. Scholars took into their studies subjects not considered scientific by today's standards: astrology, alchemy, and demonology. Some of these subjects blurred the lines between acceptable pursuit of knowledge and dangerous heresy.
As this new Christian folklore of sorcery evolved, certain motifs rose to prominence. Once Christ was rejected, a sorcerer could give his soul to the devil instead, receiving in exchange powers in this life, here and now. Numerous Christian stories feature such bargains, and one of the most famous evolved around the historical person Johanned Faustus, a German astrologer of the early sixteenth century. Marlowe took his plot from an earlier German play about Faustus, but he transformed an old story into a powerhouse of a work, one that has drawn widely different interpretations since its first production. Marlowe's Doctor Faustus is first great version of the story, although not the last. In the nineteenth century, the great German writer Johann Wolfgang van Goethe gave the story its greatest incarnation in Faust. Faustus' name has become part of our language. "Faustian bargain" has come to mean a deal made for earthly gain at a high ethical and spiritual cost, or alternately any choice with short-lived benefits and a hell of a price.
The chronology of Marlowe's plays is uncertain. Doctor Faustus's composition may have immediately followed Tamburlaine, or may not have come until 1592.
Two versions of the play were printed, neither during Marlowe's life. The 1604 version is shorter (1517 lines), and until the twentieth century was considered the authoritative text. The 1616 version is longer (2121 lines), but the additions were traditionally thought to have been written by other playwrights. Twentieth century scholarship argues that the B text (of 1616) is in fact closer to the original, though possibly with some censorship. The Penguin Books edition used for this study guide uses the longer B text as the basis while incorporating sections of A that are recognizably superior.
Doctor Faustus , a talented German scholar at Wittenburg, rails against the limits of human knowledge. He has learned everything he can learn, or so he thinks, from the conventional academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience and the path to damnation. The former advises him to leave off this pursuit of magic, and the latter tempts him. From two fellow scholars, Valdes and Cornelius , Faustus learns the fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll perform. He summons the devil Mephostophilis . They flesh out the terms of their agreement, with Mephostophilis representing Lucifer . Faustus will sell his soul, in exchange for twenty-four years of power, with Mephostophilis as servant to his every whim.
Major Themes
Man's Limitations and Potential
The possible range of human accomplishment is at the heart of Doctor Faustus, and many of the other themes are auxiliary to this one. The axis of this theme is the conflict between Greek or Renaissance worldviews, and the Christian worldview that has held sway throughout the medieval period. As ****pe emerged from the Middle Ages, contact with previously lost Greek learning had a revelatory effect on man's conception of himself. While the Christian worldview places man below God, and requires obedience to him, the Greek worldview places man at the center of the universe. For the Greeks, man defies the gods at his own peril, but man has nobility that no deity can match.
Doctor Faustus, scholar and lover of beauty, chafes at the bit of human limitation. He seeks to achieve godhood himself, and so he leaves behind the Christian conceptions of human limitation. Though he fancies himself to be a seeker of Greek greatness, we see quickly that he is not up to the task.
Pride, and Sin
Pride is one of the Seven Deadly Sins, arguable the one that leads to all the others. Within the Christian framework, pride is a lethal motivation because it makes the sinner forget his fallen state. For Christians, men are fallen since birth, because they carry with them the taint of original sin. A men made haughty with pride forgets that he shares Eve's sin, and must therefore be saved by the gift of grace. Only God, through Christ, can dispense this grace, and the man who forgets that fact deprives himself of the path to salvation.
Faustus' first great sin is pride. He does not stop there. Reflecting the Christian view, pride gives rise to all of the other sins, and ends ironically with the proud man's abasement. Faustus goes quickly from pride to all of the other sins, becoming increasingly petty and low.
Flesh and Spirit
The division between flesh and spirit was stronger in Greek thought than in Hebrew thought, but Christians adapted the divide into their own belief system. While Westerners now take this conception of being for granted, the flesh/spirit divide is not a feature of many of the world's major belief systems. Nor is the flesh/spirit divide necessary for belief in the afterlife: both Hindus and Buddhists conceive of the human entity differently, while retaining belief in life after death.
In Christianity, flesh and spirit are divided to value the later and devalue the former. Faustus' problem is that he values his flesh, and the pleasure it can provide him, while failing to look after the state of his soul.
Damnation
Damnation is eternal. Eternal hell is another concept that Westerners take for granted as part of religion, but again this belief's uniqueness needs to be appreciated. While the Jewish view of the afterlife was somewhat vague, Christians developed the idea of judgment after death. Moslems adapted a similar conception of hell and heaven, and to this day eternal hell and eternal heaven remain an important feature of Christianity and Islam. While Buddhists and Hindus have hell in their belief systems, for the most part in neither religion is hell considered eternal. For example, an eternal hell in Mahayana Buddhism would contradict Buddhist beliefs about transience and the saving power of Buddha's compassion.
Not so in Christianity. If Faustus dies without repenting and accepting God, he will be damned forever. As we learn from Mephostophilis, hell is not merely a place, but separation from God's love.
Salvation, Mercy, and Redemption
Hell is eternal, but so is heaven. For a Christian, all that is necessary to be saved from eternal damnation is acceptance of Jesus Christ's grace. Even after signing away his soul to the devil, Faustus has the option of repentance that will save him from hell. But once he has committed himself to his own damnation, Faustus seems unable to change his course. While Christianity seems to accept even a deathbed repentance as acceptable for the attainment of salvation, Marlowe plays with that idea, possibly rejecting it for his own thematic purposes. (See analysis of 5.2-end of the play).
Valuing Knowledge over Wisdom
Faustus has a thirst for knowledge, but he seems unable to acquire wisdom. Faustus' thirst for knowledge is impressive, but it is overshadowed by his complete inability to understand certain truths. Because of this weakness, Faustus cannot use his knowledge to better himself or his world. He ends life with a head full of facts, and vital understanding gained too late to save him.
Talk and Action
Faustus is, with no exceptions, beautiful when he speaks and contemptible when he acts. His opening speeches about the uses to which he'll put his power are exhilarating, but once he gains near-omnipotence he squanders twenty-four years in debauchery and petty tricks. This gap between high talk and low action seems related to the fault of valuing knowledge over wisdom. While Faustus has learned much of the Greek world's learning, he has not really understood what he's been reading. He can talk about potential and plans in terms of a Greek worldview, but he lacks the internal strength to follow through on his purported goals .
The Tragic Downfall of Dr. Faustus
Christopher Marlowe's play, its genre an English tragedy of the sixteenth century, presents the tragic conflict of the Faust theme in the tradition of medieval morality plays. The concepts of good and evil in these plays and their psychological implications reflect a historical background in which the church dominates the ethical and moral concepts of their time. Faustus defies society's norms and embraces the devil with courageous desperation, fully aware of the inevitable consequences, but incapable of being satisfied with his human limitations.
The play is divided into five acts, each of them representing a progressive stage of Faustus' downfall, his moral and ethical decline. In the prologue preceeding the first act, which is written in the form of a poetic commentary, Faustus is allegorically compared to Ikarus, the Greek mythological figure, through the alliteration of "waxen wings" (Prologue line 20).
انا هذي اول مشاركة لي في المنتدى وحبيت ابدا مشاركاتي بمساعدتك انا ادرس دراما وماخذه قبل سنة مسرحية اسمها Dr.فستس اكتبي بحث عنها مره حلوة...انا ماادري انتي فأي سنة عشان كذا مااعرف اذا البحث هذا يناسبك ولا لا بس ان شاء الله يفيدك وابغى من دعوة بظهر الغيب لي ولأمي الله لايهينك والله يوفقك ان شاء الله About Doctor Faustus: Marlowe
Marlowe lived in a time of great transformation for Western ****pe. New advances in science were overturning ancient ideas about astronomy and physics. The discovery of the Americas had transformed the ****pean conception of the world. Increasingly available translations of classical texts were a powerful influence on English literature and art. Christian and pagan worldviews interacted with each other in rich and often paradoxical ways, and signs of that complicated interaction are present in many of Marlowe's works. England, having endured centuries of civil war, was in the middle of a long period of stability and peace.
Doctor Faustus is a play of deep questions concerning morality, religion, and man's relationship to both. England was a Protestant country since the time of Queen Elizabeth I's father, Henry V III. Although theological and doctrinal differences existed between the Church of England and the Roman Catholic Church, the former still inherited a wealth of culture, thought and tradition from the latter. Christianity was a mix of divergent and often contradictory influences, including the religious traditions of the Near East, the heritage of classical Greco-Roman thought and institutions, mystery religions, and north ****pean superstition and magic.
Sorcery and magic were part of widespread belief systems throughout ****pe that predated Christianity. These early beliefs about magic were inextricable from folk medicine. Women in particular used a mix of magic and herbal medicine to treat common illnesses. But as Christianity spread and either assimilated or rejected other belief systems, practitioners of magic came to be viewed as evil. In the fifth century CE, St. Augustine, perhaps the most influential Christian thinker after St. Paul, pronounced all sorcery to be the work of evil spirits, to distinguish it from the good "magic" of Christian ritual and sacrament. The view of the sorcerer changed irrevocably. Magic was devil-worship, outside the framework of Church practice and belief, and those who practiced it were excommunicated and killed.
The Protestant Reformation did not include reform of this oppressive and violent practice. Yet magic continued to keep a hold on people's imaginations, and benign and ambiguous views of magic continued to exist in popular folklore. The conceptions of scholarship further complicated the picture, especially after the Renaissance. Scholars took into their studies subjects not considered scientific by today's standards: astrology, alchemy, and demonology. Some of these subjects blurred the lines between acceptable pursuit of knowledge and dangerous heresy.
As this new Christian folklore of sorcery evolved, certain motifs rose to prominence. Once Christ was rejected, a sorcerer could give his soul to the devil instead, receiving in exchange powers in this life, here and now. Numerous Christian stories feature such bargains, and one of the most famous evolved around the historical person Johanned Faustus, a German astrologer of the early sixteenth century. Marlowe took his plot from an earlier German play about Faustus, but he transformed an old story into a powerhouse of a work, one that has drawn widely different interpretations since its first production. Marlowe's Doctor Faustus is first great version of the story, although not the last. In the nineteenth century, the great German writer Johann Wolfgang van Goethe gave the story its greatest incarnation in Faust. Faustus' name has become part of our language. "Faustian bargain" has come to mean a deal made for earthly gain at a high ethical and spiritual cost, or alternately any choice with short-lived benefits and a hell of a price.
The chronology of Marlowe's plays is uncertain. Doctor Faustus's composition may have immediately followed Tamburlaine, or may not have come until 1592.
Two versions of the play were printed, neither during Marlowe's life. The 1604 version is shorter (1517 lines), and until the twentieth century was considered the authoritative text. The 1616 version is longer (2121 lines), but the additions were traditionally thought to have been written by other playwrights. Twentieth century scholarship argues that the B text (of 1616) is in fact closer to the original, though possibly with some censorship. The Penguin Books edition used for this study guide uses the longer B text as the basis while incorporating sections of A that are recognizably superior.
Doctor Faustus , a talented German scholar at Wittenburg, rails against the limits of human knowledge. He has learned everything he can learn, or so he thinks, from the conventional academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience and the path to damnation. The former advises him to leave off this pursuit of magic, and the latter tempts him. From two fellow scholars, Valdes and Cornelius , Faustus learns the fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll perform. He summons the devil Mephostophilis . They flesh out the terms of their agreement, with Mephostophilis representing Lucifer . Faustus will sell his soul, in exchange for twenty-four years of power, with Mephostophilis as servant to his every whim.
Major Themes
Man's Limitations and Potential
The possible range of human accomplishment is at the heart of Doctor Faustus, and many of the other themes are auxiliary to this one. The axis of this theme is the conflict between Greek or Renaissance worldviews, and the Christian worldview that has held sway throughout the medieval period. As ****pe emerged from the Middle Ages, contact with previously lost Greek learning had a revelatory effect on man's conception of himself. While the Christian worldview places man below God, and requires obedience to him, the Greek worldview places man at the center of the universe. For the Greeks, man defies the gods at his own peril, but man has nobility that no deity can match.
Doctor Faustus, scholar and lover of beauty, chafes at the bit of human limitation. He seeks to achieve godhood himself, and so he leaves behind the Christian conceptions of human limitation. Though he fancies himself to be a seeker of Greek greatness, we see quickly that he is not up to the task.
Pride, and Sin
Pride is one of the Seven Deadly Sins, arguable the one that leads to all the others. Within the Christian framework, pride is a lethal motivation because it makes the sinner forget his fallen state. For Christians, men are fallen since birth, because they carry with them the taint of original sin. A men made haughty with pride forgets that he shares Eve's sin, and must therefore be saved by the gift of grace. Only God, through Christ, can dispense this grace, and the man who forgets that fact deprives himself of the path to salvation.
Faustus' first great sin is pride. He does not stop there. Reflecting the Christian view, pride gives rise to all of the other sins, and ends ironically with the proud man's abasement. Faustus goes quickly from pride to all of the other sins, becoming increasingly petty and low.
Flesh and Spirit
The division between flesh and spirit was stronger in Greek thought than in Hebrew thought, but Christians adapted the divide into their own belief system. While Westerners now take this conception of being for granted, the flesh/spirit divide is not a feature of many of the world's major belief systems. Nor is the flesh/spirit divide necessary for belief in the afterlife: both Hindus and Buddhists conceive of the human entity differently, while retaining belief in life after death.
In Christianity, flesh and spirit are divided to value the later and devalue the former. Faustus' problem is that he values his flesh, and the pleasure it can provide him, while failing to look after the state of his soul.
Damnation
Damnation is eternal. Eternal hell is another concept that Westerners take for granted as part of religion, but again this belief's uniqueness needs to be appreciated. While the Jewish view of the afterlife was somewhat vague, Christians developed the idea of judgment after death. Moslems adapted a similar conception of hell and heaven, and to this day eternal hell and eternal heaven remain an important feature of Christianity and Islam. While Buddhists and Hindus have hell in their belief systems, for the most part in neither religion is hell considered eternal. For example, an eternal hell in Mahayana Buddhism would contradict Buddhist beliefs about transience and the saving power of Buddha's compassion.
Not so in Christianity. If Faustus dies without repenting and accepting God, he will be damned forever. As we learn from Mephostophilis, hell is not merely a place, but separation from God's love.
Salvation, Mercy, and Redemption
Hell is eternal, but so is heaven. For a Christian, all that is necessary to be saved from eternal damnation is acceptance of Jesus Christ's grace. Even after signing away his soul to the devil, Faustus has the option of repentance that will save him from hell. But once he has committed himself to his own damnation, Faustus seems unable to change his course. While Christianity seems to accept even a deathbed repentance as acceptable for the attainment of salvation, Marlowe plays with that idea, possibly rejecting it for his own thematic purposes. (See analysis of 5.2-end of the play).
Valuing Knowledge over Wisdom
Faustus has a thirst for knowledge, but he seems unable to acquire wisdom. Faustus' thirst for knowledge is impressive, but it is overshadowed by his complete inability to understand certain truths. Because of this weakness, Faustus cannot use his knowledge to better himself or his world. He ends life with a head full of facts, and vital understanding gained too late to save him.
Talk and Action
Faustus is, with no exceptions, beautiful when he speaks and contemptible when he acts. His opening speeches about the uses to which he'll put his power are exhilarating, but once he gains near-omnipotence he squanders twenty-four years in debauchery and petty tricks. This gap between high talk and low action seems related to the fault of valuing knowledge over wisdom. While Faustus has learned much of the Greek world's learning, he has not really understood what he's been reading. He can talk about potential and plans in terms of a Greek worldview, but he lacks the internal strength to follow through on his purported goals .
The Tragic Downfall of Dr. Faustus
Christopher Marlowe's play, its genre an English tragedy of the sixteenth century, presents the tragic conflict of the Faust theme in the tradition of medieval morality plays. The concepts of good and evil in these plays and their psychological implications reflect a historical background in which the church dominates the ethical and moral concepts of their time. Faustus defies society's norms and embraces the devil with courageous desperation, fully aware of the inevitable consequences, but incapable of being satisfied with his human limitations.
The play is divided into five acts, each of them representing a progressive stage of Faustus' downfall, his moral and ethical decline. In the prologue preceeding the first act, which is written in the form of a poetic commentary, Faustus is allegorically compared to Ikarus, the Greek mythological figure, through the alliteration of "waxen wings" (Prologue line 20).
ابغى مساعده ضروري امثله في قاعده المصدر→
http://www.cliffsnotes.com/WileyCDA/LitNote/id-104.html
http://www.cliffsnotes.com/WileyCDA/LitNote/id-104.html
أن شاء الله تستفيدين منها في بحثك
أتمنى أكون أفدتك لو بشي بسيط