Madness and Insanity in Shakespeares Hamlet - Hamlet and Insanity Essa

Hamlet and Insanity  Ã‚        Ã‚  Ã‚  Ã‚   William Shakespeare’s supreme tragic drama Hamlet does not answer fully for many in the audience the pivotal question concerning the sanity of Hamlet – whether it is totally feigned or not. Let us treat this topic in detail, along with critical comment.    George Lyman Kittredge in the Introduction to The Tragedy of Hamlet, Prince of Denmark, explains the prince’s rationale behind the entirely pretended insanity:    In Shakespeare’s drama, however, Hamlet’s motive for acting the madman is obvious. We speak unguardedly in the presence of children and madmen, for we take it for granted that they will not listen or will not understand; and so the King or the Queen (for Hamlet does not know that his mother is ignorant of her husband’s crime) may say something that will afford the evidence needed to confirm the testimony of the Ghost. (xii)    Critical opinion is divided on this question. A.C. Bradley in Shakespearean Tragedy staunchly adheres to the belief that Hamlet would cease to be a tragic character if he were really mad at any time in the play (30). On the other hand, W. Thomas MacCary in Hamlet: A Guide to the Play maintains that the prince not only feigns insanity but also shows signs of true insanity:    Hamlet feigns madness but also shows signs of true madness) after his father’s death and his mother’s overhasty remarriage; Ophelia actually does go mad after her father’s death at the hands of Hamlet. For both, madness is a kind of freedom – a license to speak truth. Those who hear them listen carefully, expecting to find something of substance in their speech. Is it they, the audience, who make something out of nothing, or is it the mad who make something out o... ... Felperin, Howard. â€Å"O’erdoing Termagant.† Modern Critical Interpretations: Hamlet. Ed. Harold Bloom. New York: Chelsea House, 1986. Rpt. of â€Å"O’erdoing Termagant: An Approach to Shakespearean Mimesis.† The Yale Review 63, no.3 (Spring 1974).    Kittredge, George Lyman. Introduction. The Tragedy of Hamlet, Prince of Denmark. In Five Plays of Shakespeare. Ed. George Lyman Kittredge. New York: Ginn and Company, 1941.    MacCary, W. Thomas. Hamlet: A Guide to the Play. Westport, CN: Greenwood Press, 1998.    Mack, Maynard. â€Å"The World of Hamlet.† Twentieth Century Interpretations of Hamlet. Ed. David Bevington. Englewood Cliffs, NJ: Prentice-Hall, Inc., 1968.    Shakespeare, William. The Tragedy of Hamlet, Prince of Denmark. Massachusetts Institute of Technology. 1995. http://www.chemicool.com/Shakespeare/hamlet/full.html No line nos.      

The Digital Millennium Copyright Act

Copyright is identified as a branch of law that gives rights to authors to exclusively reproduce, perform, distribute, and display their works. The main goal of the said law is to promote the investment of creating new work of arts and literature. The copyright law is an integral part of a legal field which is known as intellectual property. Basically, the copyright law is a legal foundation that was created in order to protect the work of major industries such as book publishing, production of motion-pictures, music labels, and the development of computer software.Since the said industries are in account for the upscale development in the economic activity of United States, the creation of the copyright law became as important as the emergence of these industries (Schechter). Most of the time when people hear the term copyright, the idea of protection is limited to certain works such as those of literature. However, due to the advancement in the technology of today majority of the i ndustries are now at high risk of infringement.Infringement is identified as the reproduction, performance, distribution and display of any copyrighted material without the permission of the owner of the copyright and without the presence of any required license (Schechter). By the time that personal computers have been widely utilized, the issue of infringement catapulted as well. End users are now capable of reproducing copyrighted materials digitally and the distribution has been made easier in every part of the globe through the use of internet.In order to combat such unlawful activities, the initial actions of copyright owners were to apply protective measures in their works like the use of encryption and passwords. Yet, many of the end users are able to penetrate these measures; in the end, the copyrighted material is still reproduced, distributed, displayed and performed (Schecter). In response to the augmenting issue of infringement, a diplomatic conference was held in Genev a, Switzerland in December of 1996.The said conference was spearheaded by the World Intellectual Property Organization (WIPO) and was centered on the issue of â€Å"certain copyright and neighboring right questions† (Castro). As such, the meeting was held in order to address the challenges being faced by different industries regarding the protection of intellectual property that is at risk in the technological advancement of the digital age.The session was a month-long negotiation which concluded in the adoption of two treaties: (1) the copyright treaty which is centered towards the certain question which concerns the protection of artistic and literary works; and (2) The performances and the phonographs treaty which is focused in the protection of the performer’s rights and the rights of the phonograph producers. The treaties include obligations about technological measures, management information rights as well as the provisions in the enforcement of rights (Castro). On October 12, 1998, less than two years after the diplomatic conference, the US congress put forward the Digital Copyright Act (DMCA). By October 28, 1998, President Clinton signed into law the DMCA. The said legislation was intended to execute the functions of the two treaties signed during the Geneva conference. In addition, related provisions were also added in order to address the copyright issues that impact the entertainment industry.The final form of the DMCA covered five titles: (1) â€Å"WIPO copyright and performances and phonograph treaties implementation act of 1998;† (2) â€Å"Online Copyright Infringement Liability Limitation Act;† (3) â€Å"Computer Maintenance Competition Assurance Act;† (4) The fourth title is comprised of six miscellaneous amendments that adhere to the Copyright act of 1976 which also include provisions regarding the facilitation of broadcasting over the internet; and (5) the implementation of the â€Å"Vessel Hull Design Pro tection Act† (Castro).Title I: WIPO Treaty Implementation The main purpose of Title I redresses the US copyright law in complying with the treaties adopted by the WIPO in 1996 which are the â€Å"copyright treaty and the performances and phonographs treaty. † Two new prohibitions were also created under the Title 17 of the US code. First is in relation to the circumvention of the technological measures applied by owners of the copyright in order to protect their works, and second is the copyright management information tampering.Civil remedies and criminal penalties were also added in account of violating the said prohibitions. Furthermore, title I also requires the copyright office of the USA to work with the Department of Commerce’s National Telecommunications and Information Administrations (NTIA) in a two joint studies (U. S. Copyright Office 2). The following are the highlights of the most important prohibitions, limitations, defenses, exemptions and rights stated in Title I of DMCA: A. Technologies to circumvent access controlsBasically the prohibition in circumvention states that no individual shall bypass any technological measure that has the capability to control the access in a copyrighted material and the prevention of copyright management information from tampering (Castro). B. Use and distribution of technologies that bypass access controls Manufacturing, trafficking or importing technological devices as well as services in order to gain control over a copyrighted material is strictly prohibited (Castro).C. Utilization and distribution of technologies that bypass the protection of any copyrighted material. This is an additional prohibition in the use and distributions of technological products, services and devices that tend to bypass the measures used for the protection of the rights of the owners of the copyrighted material. This prohibition is focused on the copyrighted materials rather than the access controls that protect them (Castro). D. Rights, limitations, defensesThe rights, limitations, remedies and defenses for copyright infringement is not covered under these provisions. Both copyright violations and circumvention violations are different from each other thus the defenses for copyright violations are not the same as the provisions in section 1201 which is intended for the circumvention violation (Castro). E. Exemptions The Congress fully recognize that there are legitimate reasons why technological are circumvented in order to gain access over a copyrighted material. As such, the congress provided exemptions in provision 1201.The exemptions include: Non-profit libraries, archives and educational institutions, reverse engineering, encryption research, use for the protection of minors, personal privacy and security testing. Each of the said exemptions has its own set of conditions upon its application (Castro). Title II: Online Copyright Infringement Liability Limitation Title II of the DMCA a dded a new section 512 in the â€Å"Fairness in Musical Licensing Act† stating that four new liability limitations are applied for the Online Service Providers (OPS) in terms of copyright infringement.The said limitations are derived from the four categories: Transitory communications, system caching, information storage in systems or networks directed for users, and information location tools. Section 512 also includes special rules that apply to non-profit educational institutions in account to the said limitations (U. S. Copyright Office 8). Generally, Title II puts a limitation in the financial liability of the providers in account to copyright infringement.The limitation is applicable in events such as when another party placed infringing materials on the website owned by the online service provider or if the OSP provided links or made connections to a particular website that contains infringing works. The new provisions provide a legal protection for the providers as lo ng as they follow the guidelines set by the law. The guidelines identified exemptions or â€Å"safe harbors† in accordance to the activities carried out by the provider.Exemptions given out by the DMCA would only be functional if the defense presented by the OSP is under a copyright law or any law that is said to be applicable (Castro). Moreover, Title II created a procedure wherein an owner of a copyright could secure a subpoena from the federal court which orders an OSP to reveal the identity of a particular subscriber who is engaging with infringing activities (U. S. Copyright Office 9). Title III: Computer Maintenance or RepairTitle III is an extension of the exemptions written in Copyright Act section 117 which is related with computer programs allowing the owner of a program copy to reproduce or adapt the programs while working on the computer. Owners or lessees of the computer are authorized by the amendment to reproduce the copy of a certain program during the time of the computer repair or maintenance. However, the reproduced copy should not be used in any manner and should be destroyed right after the computer maintenance or repair is done (US copyright office 13-14). Title IV: Miscellaneous ProvisionsDMCA Title IV applied the following provisions: (1) Refine and added the duties and authority of the copyright office; (2) Added ephemeral recordings for broadcasters. Ephemeral recordings are the copies of a particular recording in order to manage the process of transmission. For instance a radio station could record songs and instead of broadcasting songs from the original CD, they would use the recorded songs during the broadcast. (3) A provision that gives consideration on the promotion of distance education; (4) Provision that gives exemption for non-profit libraries and archives.As such, the provision assists libraries in working on a new format of a copyrighted material once the original format of the material is already out-dated; and (5) A provision that considers webcasting of sound recordings as well as the transfer of motion pictures (US copyright office 14-17). Title V: Protection of Certain Original Designs The Title V of DMCA encompasses the â€Å"Vessel Hull design protection act (VHDPA)† by adding a new chapter 13 in the US Code Title 17.The amendment created a system that protects the original design of a boat hull’s â€Å"useful articles† which makes the object appear distinct and attractive. According to the VHDPA, the â€Å"useful articles† of the boat are only limited to the hulls of the boat and should not be longer than 200 feet. The said design would only be protected by the VHDPA if the â€Å"useful article† which embodies the design is made public or the design registration is published. If the application for the registration is not done within two years after the design was created, the VHDPA protection is lost.A design could not be registered if has been alrea dy known by the public for more than a year prior to the date of the application for registration. By the time that the design is registered, the protection is continued for ten years (US Copyright Office 17). The enactment of Digital Millennium Copyright Act received criticisms from various sectors. However, it is important to note that not all countries have the capability to enforce laws which governs the protection of copyrighted materials.Putting such law in effect is a step towards combating infringement of copyrighted materials and without the presence of strict laws that protect the rights of copyright owners, copyright piracy and copyright violations would continuously augment. Although limited countries have laws that actually heighten the security of copyrighted materials, in one way or another these countries would be able to persuade other nations to partake in the fight against infringement that would eventually end copyright violations.

Matthew Christopher Bourne Essay - 1276 Words

Matthew Christopher Bourne Born 13th. January, 1960, London. British dancer and choreographer. His parents were June and Jim Bourne and he had a brother Dan. His mother was a secretary and his father worked for Thames Water for 30 years. When 12 or 13 he and his friend Simon Carter waited to get the autographs of actors outside the Apollo, Lyric, Palace, or Queens theatres. He attended a Methodist-run youth club which had a choir and he put on his versions of musicals. He went to school at the Sir George Monoux mixed comprehensive (later a sixth-form college) in Walthamstow in north-east London. He left with two grade C A levels. He didnt admit to himself that he was gay until he was 18. He then rang the†¦show more content†¦Its not as original as his Swan Lake, but it is breathtaking in its intensity, pacing and the high energy level of Bournes superbly honed dance troupe. In The Car Man, Bourne, who calls Los Angeles his second home, has written his first work set on American soil. Though inspired by and set to music from Bizets Carmen, incorporated into Terry Davies and Rodion Shchedrins Carmen Suite, images are also drawn from The Postman Always Rings Twice and A Streetcar Named Desire. Theres also a strong whiff of Tennessee Williams earlier play, Orpheus Descending. Set in a small mid-West town called Harmony in the mid-1960s, the focus is on sexual obsession. Bourne catches the feel of a small town exploding with raging hormones and no distractions. The mechanics at Dinos Garage and the waitresses at Dinos Cafà © express themselves by hip-pumping and hip-twitching respectively. The boys alternative sport is tormenting more sensitive souls. Into this charged atmosphere strolls Luca, a drifter. Employed by Dino at his garage, Luca is a dancing phallus. He not only seduces Dinos wife, Lana, but also has a one-night stand with Angelo, the gentle boyfriend of Lanas sister Rita, who is the butt of merciless hazing by the town studs until Luca rescues him. The hitherto repressed homosexuality of Luca and Angelo and Dinos jealousy of his wifes fascination with Luca build through a climate of romantic obsession to