Explain how the intellectual contexts of Berkoff and Wolf determine their portrayal of the greenback of Agamemnon. In text one, Berkoff’s portrayal of Agamemnon, Clytemnestra and Cassandra support his existentialism through his reducing of the play to being a fall down of sexual politics through language. This is displayed through Clytemnestra’s free-spoken confronting questions ‘What are you thinking/of her? Was her body nice to touch/did it delight you/softly/comforting/did you break your rock hard…’ screen a less conservative, cynical and objective way of visual perception sexuality. This evident collapse of marriage/religious morality and erupt of individualism/ consumerism mean objectification of sexuality in the play. The relationship amid Clytemnestra and Agamemnon is reduced to a dysfunctional marriage for empathetic companionship with the hearing so that the audience can see from Berkoff’s panorama on the reality of the meaninglessness of the world. The chorus presents the ultimate in ‘bad faith’ ‘no curse here(predicate)…clean city…Agamemnon’s city’ becuaase they identify with the solid ground’s state uncritically.
In text 2, Wolf’s word-painting of Cassandra helps support her feminism beca utilize she expresses her feminist views through the heroine Cassandra. Her utilisation of condescending adjectives ‘whimpering, spewing Agamemnon’ contrasts with her affirmative adjectives ‘for I derived joy from everything I guideword – joy, not hope!’ enforcing her belief that women has the stre! ngth and are more(prenominal) superlative than men as women are like the lifetime run whilst men are just related to struggle and death. The style of ‘prophecy’ in ‘Why did I urgency the sacrifice of prophecy, come what may?’ is used as a type for female autonomy and own individual perspective. These two texts utter that the female characters are quite similar in the soul that they are the more...If you want to get a adequate essay, tell apart it on our website:
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