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Essay / Research Paper Abstract
A 5 page paper which first considers postmodern theoretical approaches to William Shakespeare’s “Julius Caesar,” with the emphasis on 1970, when there was a connection between revolution and contemporary politics; then, these approaches are considered as to how they enhance the students’ learning experience of the play from a teaching perspective. Bibliography lists 5 sources.
Page Count:
5 pages (~225 words per page)
File: TG15_TGjcpostmd.rtf
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Unformatted sample text from the term paper:
relevance to the student considering them in the twenty-first century. In William Shakespeares mind, "All the world is a stage,"1 and citizens are essentially playing roles that society scripts
for them. The Bards historical play, The Tragedy of Julius Caesar, lends itself particularly well to postmodern criticism that focuses exclusively on the year 1970 because it focuses on
revolutionary issues such as social/civil unrest, and group (players) efforts to influence the political process such as the feminist and civil rights black power movements. By 1970, postmodernism was
more about asking questions than providing answers, which was a way of demanding sociopolitical accountability.2 This is exactly what Shakespeare does in Julius Caesar: He forces audiences/readers to question
the conspirators motives and whether they were truly for the preservation of the Republic (or nation) or if they were based primarily on selfish ambition. From a postmodern theoretical
perspective, Caesars one-time friend and tortured murderer Marcus Junius Brutus represents the concerned a typical citizen of 1970: being greatly tested by his personal and civic responsibilities and forced to
eventually choose between them.3 Feminism was just beginning to carve a niche in postmodernism and American politics in 1970, and again it was a matter of holding the
government responsible for the continued injustice and oppression of not only women but ethnic and racial minorities as well.4 In Julius Caesar, the female characters Calpurnia (or Calphurnia, wife
of Julius Caesar) and Portia (Brutuss wife) perform only supporting roles in the play and in society. Their husbands seldom heed their warnings or consult them for advice.
This bears considerable resemblance to the women of 1970 that were still essentially confined to the domestic sphere, despite their efforts to liberate themselves and have their political voices heard.
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