Shakespeare's Romeo and Juliet (original) (raw)
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2021
This paper presents the complexities of the linguistic expressions of the domain of LOVE in William Shakespeare's Romeo and Juliet. Emphasis is placed on conceptual metaphors and metonymies, and especially on their interactions. The theoretical framework that has been used as a guide for this study is that of Cognitive Linguistics, and more specifically its branch called Cognitive Poetics. The conclusion of this study is that clear-cut distinctions between the two cognitive processes (i.e. metaphor and metonymy) for certain linguistic expressions cannot be easily made. We should therefore reconsider the way we categorize them, since their deeper conceptual structure may be based on both cognitive processes.
Metaphorical models of romantic love in Romeo and Juliet
Journal of Pragmatics, 1995
This paper is a report of ongoing research on the application of the theory of conceptual metaphor developed by George Lakoff, Mark Johnson, and Mark Turner to the study of Romeo and Juliet. One of the main goals of this research is the precise characterization of the various models of romantic love that can be discerned in Romeo and Juliet, a play whose main theme has traditionally been thought to be this emotion and its consequences. Since emotions are considered by most cognitive linguists to be conceptualized metaphorically and metonymically, the first step in the methodology has been to identify the metaphors and metonymies for romantic love in the play. Then an attempt has been made to discover their coherence and systematicity in the construction of the various love models. I have used K6vecses's studies of romantic love in American English as a basic reference point in my investigation of these love models. Part of the results of these two steps is reflected in the discussion of the various love models, which constitutes the bulk of the paper. A conclusion that gradually emerges from this discussion is that the dominant metaphors in the construction of these models and in the play at large are the light and darkness metaphors and the part-whole metaphor LOVE IS A UNITY OF TWO COMPLEMENTARY PARTS.
Understandıng Shakespeare's language and thought through the use of Similes and Metaphors
Elm və İnnovativ Texnologiyalar, 2019
: After more than 450 years since Shakespeare's birth, the present article seeks tobring its own contribution to the celebration and understanding of the Bard's everlastingcultural and linguistic legacy. Looking at Shakespeare's use of language, the article focuseson two major figures of speech, simile and metaphor, which richly reveal the playwright'slinguistic creativity and complexity. After a brief introduction to the subject, the paper firstpresents the two figures of speech from a theoretical perspective and then goes on to criticallyapproach a small number of examples from English literary texts that serve as a preamble tothe central section of the study. Thus, the article then narrows down its scope so as to focus ona given set of illustrations from Shakespeare's plays, especially tragedies, with a view tofacilitating a better understanding of Shakespeare's language and thought.
Metaphors in William Shakespeare’s Play Hamlet
International Journal of Education and Literature
Metaphors were mosly found in the drama “Hamlet.” It confused and made it hard for the readers to understand some dialogue in that drama. It became an interesting one to explore more profound about the use of metaphors. This study explored more the metaphors in the conversation among characters in William Shakespeare’s play Hamlet. The researcher applied a qualitative descriptive method with the theory of the Metaphor, according to Parera (2004), as a detailed explanation. The study results found that the most frequently occurring types were Animal Metaphors (35%), and Anthropomorphic Metaphors as the rarest one (15%). Animal Metaphor uses animal parts to mock people in this story. Anthropomorphic metaphors are parts of the human body that are transferred to various inanimate objects used to praise in this story. Metaphors occured in a drama which can make it more interesting to read and perform
The Metaphor in William Shakespeare’s Poem:“Sonnet LXIII”
2016
This study uses stylistic focused on the theory of figure of speech. Stylistic approach is done by analyzing the entire poem and continued to interpret their characteristics, and to find out the whole meaning of poem. Technique of data analysis uses qualitative descriptive analysis. The descriptive data was taken from the form of phrases, words, and sentences in the Sonnet 73 poems by William Shakespeare. The main problem of this research was to find out the metaphor in sonnet 73. Metaphor is a figure of speech that makes a comparison describing one thing as another, suggesting a likeness between them. It does not use “like” or “as”. This poem talks about aging, dying, and death, and portrays a feeling from the poet when he is so close to death and it influences his love relationship with his dear friend. Key words: Metaphor, Poem, Sonnet, William Shakespeare.
Romeo and Juliet: A Means to a Beginning
Across the centuries, people have raised a question over and over again, yet no answer has ever been articulated. Romeo and Juliet, is almost a household name for most children when they are still growing up. They learn of the tragic deaths of the two lovers long before they even read the play. Often have I heard people say (and more often than not, these are people who not read the play) " You cannot know love unless you know about Romeo and Juliet. " The story is captivating and it grows within the consciousness and remains a part of it as a tale that completes one's understanding of love. It is an epoch, a milestone, in the acquisition of our knowledge of love. Yet, reading the play causes a pleasure, which though typical to reading most tragedies, that years of listening to the story could not have ever provided. What is this pleasure? Where does this pleasure come from? This paper seeks to find an answer through what Franco Moretti calls a 'distant reading' of the play. Inspired by Moretti's idea of mapping plots, as he does in Network Theory, Plot Analysis, which is the last article in his book on distant reading, this paper makes use of multiple text mining tools to analyze the text of Romeo and Juliet in such a light. The purpose of this paper is to first trace a history of the emphasis and importance of plot construction when it comes to tragedy. Starting with Aristotle, this paper shall lay the foundation for my primary argument by revisiting Elixabeth Belfiore's question regarding pleasure and tragedy. Following this, I shall use Peter Brooks' Freud's Masterplot to arrive at an intermediate conclusion to state that the Prologue of Romeo and Juliet sets the ground for this pleasure. However, Martin Bruckner and Kristen Poole's The Plot Thickens: Surveying Manuals, Drama, and the Materiality of Narrative Form in Early Modern England explains the attention that was paid to plot and the science of plot construction. Thus, it becomes clear that there is more to the plot than story. The primary argument of this paper is to claim that language is an essential component of plot. Through repetition, juxtaposition and the positioning of certain clusters of words around the innuendos that are typical of Shakespeare, he builds a pleasure that is almost sexual. This pleasure augments the climax of the play. In his 324 BCE treatise Poetics, Aristotle defines tragedy as " an imitation of an action that is serious, complete, and of a certain magnitude; in language embellished with each kind of artistic ornament, the several kinds being found in separate parts of the play; in the form of action, not of narrative; with incidents arousing pity and fear, wherewith to accomplish its katharsis of such emotions. " Aristotle also includes that " Every Tragedy, therefore, must have six parts, which
Understanding Shakespeare’s Language and Thought Through the Use of Similes and Metaphors
2019
William Shakespeare (1564–1616), the Bard of Avon, is commonly acknowledged as England’s greatest writer (playwright and poet) of all time. Shakespeare is an iconic symbol of English and, by extension, British identity. While sketching the portrait of the English, Jeremy Paxman (2007) recognizes Shakespeare as a crucial icon of Englishness, perhaps given the existing tensions that have characterized relations between member states of the UK. However, by extension, he is an iconic personality of British identity, encapsulating the culmination of the literary achievement associated to the British nation.
Figurative languages in novel: A comparative study between Layla Majnun and Romeo and Juliet Novels
ELT (English Language Teaching Prima Journal)
is one of the works of Nizami and Romeo and Juliet is one of the works of William Shakespeare. both novels are romance tradegy novels. Romance tragedy novels usually use a lot of figurative language to beautify the language. This study aims to describe some of the types of figurative language in the novel Layla Majnun, to describe some of the types of figurative language in the novel Romeo and Juliet, to describe the comparison of the types of figurative languages found in novel Layla Majnun and novel Romeo and Juliet. The data obtained for this study are qualitative data. This means, the data are not in the forms of numeric. The data were discourse, such as dialogues, descriptions, ideas or perspectives. The main data of the study are taken from the tragedy novels. The collected data are mostly in the forms of discourse and dialogues taken from the novels as the writers of the novels often apply figurative languages to express their ideas. There are several figurative languages in the discourse and dialogues obtained from the novels which could be interpreted by using Pragmatics theory to identify the meaning behind them. The results of this study indicate that there are similarities and differences in figurative languages in the two novels. The similarities between the two novels are Personification, Metaphore, Hyperbole, and Simile. The differences between the two novels are: Parable, Embodiment, Cynicism, Repetitive, and Irony.