| Papers [145-160] of 1817 :: [Page 10 of 114] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
Fuentes, Greenaway and Joyce, 2006.
An analysis of sexual narrative in works by Carlos Fuentes, Peter Greenaway and James Joyce.
4,904 words (approx. 19.6 pages), 5 sources, MLA, AU$ 151.95
»
Click here to show/hide summary
Abstract
This paper takes a look at 'Aura' by Carlos Fuentes, 'The Pillowbook' by Peter Greenaway and 'Ulysses' by James Joyce. The paper focuses primarily on the sexual narrative used by the writers to illustrate the interaction between the relevant characters.
From the Paper
"You're my husband..." is a very strange remark coming from this 20-year old woman, but obviously the protagonist is so thrilled by the sex he's just enjoyed, hey, whatever works for her, he is thinking, is cool. Besides, she's invited him to meet her in her room that night, the thought of which is a wonderful magic carpet to ride all day in this otherwise murky environment. He is "emptied of desire," so a reader assumes he has had a climatic ending to the adventure; she was "trembling" and she "surrendered" to him, but it also read like he was surrendering to her, as she joined him under the covers, uninvited by heartily welcomed. They surrendered to one another, and Felipe gets out of bed after being awakened by Aura's knocks, and he is "groaning,"
"So the reader has just been through a very sexy scene, a lovely release from the grim surroundings of Felipe's new job, and now on page 80 there are rats "swarming" around the parched manuscripts Felipe is hired to translate and re-write. The rats are peering at Felipe with "glittering eyes" and there on the bed is Consuelo with a white rabbit. Are readers being set up for another lively, intimate distraction away from the challenge of this haunted palace and the senora? "
| |
|
"The Winter's Tale", 2007.
An analysis of "The Winter's Tale" by William Shakespeare.
2,111 words (approx. 8.4 pages), 6 sources, MLA, AU$ 80.95
»
Click here to show/hide summary
Abstract
The paper discusses how, in William Shakespeare's "The Winter's Tale", the idea of time and time passing are key elements in the drama. The paper analyzes how time is constantly expressed in the play through direct methods such as the use of Time as the chorus at the beginning of Act IV and, more indirectly, in the development and situation of characters. The paper examines how the two characters most controlled by time are Leontes, King of Sicilia, and his beautiful and devoted queen, Hermione.
From the Paper
"It seems that late in his career, Shakespeare chose to play with new forms of drama. However, like his earlier works, The Winter's Tale is based on a story that already existed. In this case, a prose romance called Pandosto by Robert Greene inspired Shakespeare's play (Biemen 67). It is the changes that Shakespeare made to the existing story that make this such an interesting play for the famous playwright. Greene's version ended in complete tragedy. However, Shakespeare's play finds its way out of the tragic mode to end much like many of his comedies. Shakespeare's reason for this change is unknown, but it has raised many questions about his intentions."
| |
|
Puck and Fool - A Comparison, 2007.
This paper compares and contrasts the roles of Puck from Shakespeare's "A Midsummer Night's Dream" to Fool from "King Lear."
1,045 words (approx. 4.2 pages), 2 sources, APA, AU$ 44.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses, and analyzes the plays "King Lear" and "A Midsummer Night's Dream" by William Shakespeare. Specifically it compares and contrasts the character of "Puck," the mischievous fairy, with "Fool," King Lear's professional court jester. The author argues that although both are minor characters in the plays, they are quite important to the overall impact and import of the works.
From the Paper
"Puck, whose real name is Robin Goodfellow, plays the jester to his fairy king in "A Midsummer Night's Dream." He is the head fairy in this delightful work, and some critics call him the central character or the most important part in the play. Much of the play's action revolves around him or something he has done. He is comical, infuriating, and is part of the reason this play is so magical and still popular today. The "Fool" is also a jester but he is a more serious type of character, who often chides Lear or guides him with his seemingly nonsensical words, such as, "The codpiece that will house / Before the head has any, / The head and he shall louse; / So beggars marry many. / The man that makes his toe / What he his heart should make, / Shall of a corn cry woe, / And turn his sleep to wake" ("Lear," 1993, 3.2.25-32). Fool actually speaks wisely but clouds his wise words with nonsense. Puck, in contrast, is often nonsensical and witty. His part plays for laughs, while Fool may gain laughter but his real purpose is to advise and influence his king. In addition, Fool is hired for his jesting and advice, while Puck serves freely and without pay or responsibility."
| |
|
Othello, 2006.
An analysis of the character of "Othello" as reflected in the character's first and last speeches of the play "Othello" by Shakespeare.
1,235 words (approx. 4.9 pages), 1 source, MLA, AU$ 51.95
»
Click here to show/hide summary
Abstract
This paper reviews the role of the character "Othello" in William Shakespeare's play of the same name. According to the paper, the character of Othello begins as a marginalized figure, both in the eyes of the other men of Venice and in the eyes of the audience. It concludes with the idea that Othello is a man of principle, and except for one tragic mistake, the rest of the actions of Othello's life, including his death, uphold his principles.
From the Paper
"Desdemona does not simply pity Othello; she is inspired by his stories, and wishes that heaven had made her a man, a striking statement of the power Othello wields over his audiences, even though Othello is no longer young. "Desdemona, although still the house-affairs would draw her thence:/Which ever as she could with haste dispatch, /She'ld come again, and with a greedy ear/Devour up my discourse." In other words, more than housekeeping, Desdemona loved to hear Othello's inspiring stories of valor, and he approved of her interest in his manly escapades, rather than thinking a woman should only be concerned about her womanly duties. Although the later events of the play will seem to indicate that Othello has a very narrow or immature view of female fidelity, before becoming poisoned by Iago's misogynistic ideas, here Othello seems to approve of Desdemona's boldness, as it is she who almost proposes to him: "she thank'd me, / And bade me, if I had a friend that loved her, /I should but teach him how to tell my story. /And that would woo her. Upon this hint I spake."
| |
|
'Waiting for Godot', 2006.
A review of Samuel Beckett's play, 'Waiting for Godot'.
1,941 words (approx. 7.8 pages), 3 sources, MLA, AU$ 74.95
»
Click here to show/hide summary
Abstract
This paper reviews and analyzes the play 'Waiting for Godot' by Samuel Beckett. According to the paper, the play is full of instances of repetition, circularity in structure, prose, and action that serve to enforce the play's theme of life always spent in waiting for something or someone that may never occur or arrive.
From the Paper
"Similarly, the endings of both Acts are repetitive. Beckett reuses the ending of Act I with Estragon asking "Well, shall we go?" and Vladimir answering "Yes, let's go," in Act II. This exchange is followed by the stage direction comment "they do not move". The sole difference in Act II, however, is that it is Vladimir who asks and Estragon who answers. The conclusion of the play is deliberately recycled from the end of the first act. Beckett again uses repetition to support his observations of society's failure to act on their words or intentions. Vladimir recognizes this problem after deciding that they should try on the boots. Impatiently he says, "let us persevere in what we have resolved, before we forget." He is clearly aware of his own problem but this just makes his inability to solve it - to act and to move - seem even more exasperating and incomprehensible. Pozzo's and Lucky's scene in Act II also reflects this initial call to action and then subsequent inaction on Vladimir's part. He becomes abruptly passionate in helping Pozzo and shouts, "Let us not waste our time in idle discourse! Let us do something, while we have the chance!" The scene begins like an insistent rally against what he and Estragon have not been doing or have been incapable of doing throughout the play. However, Vladimir's unhurried and dawdling attitude towards helping Pozzo to his feet suggest that, even with the right intentions and resolution, helplessness as a habit cannot be broken immediately."
| |
|
'Death of a Salesman', 2006.
A review of 'Death of a Salesman' by American playwright Arthur Miller.
2,315 words (approx. 9.3 pages), 5 sources, APA, AU$ 86.95
»
Click here to show/hide summary
Abstract
This paper discusses the theme about living a life of illusions or of realism in Arthur Miller's play 'Death of a Salesman'. The paper takes a look at the relationship, depicted in the play, between two fathers and their sons in postwar America.
From the Paper
"Willie Loman believes whole-heartedly in the American dream. Willie is so completely caught up in pursuing his version of the dream that he loses sight of everything else. But the dream is just that: a dream. Everybody can't be rich. Willie cannot be successful because his particular vision of the American Dream is a recipe for failure. In this paper we will explore this recipe for failure through the comparison of two fathers, Willie and his son Biff and Charlie and his son Bernard. Both are fathers with sons about the same age, but their views of the world, raising sons, and the nature of success differ, and this is powerfully reflected in their relationships with their children."
| |
|
"Oleanna", 2007.
An analysis of the common interpretation of David Mamet's two-person play "Oleanna."
1,429 words (approx. 5.7 pages), 5 sources, MLA, AU$ 57.95
»
Click here to show/hide summary
Abstract
This paper discusses David Mamet's two-person play "Oleanna," which depicts a professor and a college student who fail to understand one another with terrible consequences. The paper argues that the conflict of the play "Oleanna" revolves around power and the way that any two persons can interpret a conversation in completely different ways. It suggests that the common interpretation of the play, as centrally concerned with sexual harassment and political correctness rather than faculty-student relationships, is misguided.
From the Paper
"The end of the play reverses the roles of the student and the teacher reversed--now the student has power and the teacher is powerless. Now Carol has a student group who backs her versions of the events that took place in her professor's office. Her professor has lost his job because no one backs his version of events. This suggests that there is no truth, it only matters what sorts of social institutions back the individuals in conflict. In other words, all that matters is who society says is powerful and who is powerless. There is no singular truth as to what occurred in the professor's office, what matters is which person has a group to back him or her version of the events up. Once the professor was backed by his position in the university and the other faculty. He was within his rights to fail a student. Now, a powerful student group backs Carol's version of events and she has more power and her version of events is deemed to be correct. Also, now that Carol has more power, she feels free to speak more clearly to her professor. Rather than hesitating in her language, she now feels free to contradict her professor and express her anger at the nature of the grading system and her anger at his contempt for the hard work she has devoted to gaining a position at the university as a student."
| |
|
The Baroque Era, 2006.
A review of the Baroque era of music, art and architecture.
1,165 words (approx. 4.7 pages), 5 sources, MLA, AU$ 49.95
»
Click here to show/hide summary
Abstract
This paper takes a look at the era known as Baroque. This era was the time period between 1600 and 1750. The paper discusses how the Baroque era is generally associated with extravagant and ornamented art, music, architecture and styles. According to the paper, "Baroque" means "curious, odd, or strange" in French.
From the Paper
"Baroque music was the period of musical styles that preceded the Classical Music Era, and followed the music of the Renaissance. The majority of what people today will refer to as "Classical Music" actually originated during the Baroque period. Composers from this period include J.S. Bach, George Friedrich Handel, Antonio Vivaldi, and Claudio Monteverdi, some of the most commonly known "household names" in Classical Music. Important innovations were made in music of this time period, such as music theory, diatonic tonality, and the development of imitative counterpoint (Wikipedia "Baroque Music"), so while the music of this era, like the visual art, is known for its ornamental showmanship, it is also vitally important to the development of serious Western music. Like Renaissance music, Baroque music uses a lot of polyphony and counterpoint, but in the Baroque era these same concepts were used in a different way as " the order of these consonances becomes important, for they begin to be felt as chords in a hierarchical, functional tonal scheme." (Wikipedia "Baroque Music") The role of ornamentation increased during the Baroque era and then diminished come the following Classical Era, and the role of the counterpoint which was important during the Baroque Era was also faded out when the Classical Era began. Vocal soloists, dramatic music expression, opera, clear and linear melody, development to modern Western tonality using major and minor scales, and homophony are among other features that typify the music of the Baroque era. Music was also an integral part of theater -- such as the introduction and popularity of opera -- and dance which were popular during the Baroque Era."
| |
|
Miller and McCarthy, 2007.
An analysis of the repercussions of Arthur Miller's play, "The Crucible" and Joseph McCarthy's speech, regarding communism in the 1950s in the United States.
904 words (approx. 3.6 pages), 3 sources, MLA, AU$ 39.95
»
Click here to show/hide summary
Abstract
This paper discusses the history of communism and the perceived communist threat in the United States in the early 1950s. The paper discusses the repercussions of Arthur Miller's play, "The Crucible," as well as Joseph McCarthy's speech in 1950, where he held up a list of names he claimed proved that Truman's administration, as well as the State Department, was peppered with Communists and "Communist sympathizers". The paper concludes with the messages that can be learned from Miller's play in the United States, today.
From the Paper
"Miller's play carries an important message for today. The United States of today is under a threat at least as real as the Communist threat of the late forties and early fifties was. We have had the graphic evidence from the attacks of September 11, 2001. Those attacks were driven ideologically, so once again the American public is caught up in a war of words, with some views "patriotic" and some "un-American." Both the events of the McCarthy hearings and Miller's play might serve as cautionary tales to warn us to stick to our legal principles and require solid proof before accusing people of being some form of "enemy of the state." The residents of Salem in the 17th century had more excuse than we would have, either during the McCarthy hearings or now. In Salem they fought a foe, Satan, who was by definition hard to detect and hard to see. The fact that brought McCarthy down was that he avoided evidence and relied on innuendo. In Salem they could not get verifiable proof, but as a democratic country we must always be ready to demand it."
| |
|
Contrasts of Character, 2007.
An analysis of the contrasting sets of lovers in William Shakespeare's plays "The Taming of the Shrew" and "Much Ado About Nothing."
1,668 words (approx. 6.7 pages), 4 sources, MLA, AU$ 66.95
»
Click here to show/hide summary
Abstract
This paper discusses the themes of contrasts, of honor and deceit, spinsterhood or bachelorhood and marriage and honor and betrayal that are found in William Shakespeare's plays "The Taming of the Shrew" and "Much Ado About Nothing." The paper focuses on the main contrast of character type in both texts which is achieved by pairing two contrasting sets of lovers against one another. It discusses the articulate love of the couples of Petruchio and Kate in "The Taming of the Shrew" and Beatrice and Benedict in "Much Ado About Nothing."
From the Paper
"Shakespeare suggests that all relationships are to some extent dependant upon mendacity. However, the question is how harmless these lies might be. The greater lie is in fact Claudio's perception of Hero as perfect, not the fact that Beatrice has not been dying of love for Benedict. In fact, as the audience is well aware if not the lovers themselves, Beatrice and Benedict are ideally suited for one another. They alone speak the same language of all the characters in the play, a dialogue of witty repartee. When engaged in dialogue with other characters, quite often the other characters are overcome by their wit, like Don Pedro when he attempts to woo Beatrice, and Claudio when Benedict expresses his dim view of love at the beginning of the play. In "The Taming of the Shrew," until she meets Petruchio, Kate is utterly dominant over her father and her sister. Only by finding a man who can match her barb for barb is she re-integrated into the society, just as Benedict is not reintegrated into peacetime society after war, until he finds a match in Beatrice."
| |
|
"The Importance of being Ernest", 2007.
An analysis of the farcical nature and multiplicity of Oscar Wilde's "The Importance of Being Earnest."
1,720 words (approx. 6.9 pages), 4 sources, MLA, AU$ 67.95
»
Click here to show/hide summary
Abstract
This paper discusses the comical and farcical nature of Oscar Wilde's "The Importance of Being Earnest." The paper suggests that the interpretation of the play may itself often be as ambiguous as the play since there are many ways to look at it. It then goes on to describe many instances in the play when this multiplicity is evident. The paper concludes that not only the characters exist on many different levels, but the entire plot appears to be surrounded by plurality of meaning.
From the Paper
"It is highly enthralling to see the various forms and images of Ernest and how each character attaches certain significance of the character. In give great importance to someone being Ernest yet they have no clear idea who or how the person really is. For Algernon Moncrieff, Ernest is no one else but his friend Jack Worthing: "You have always told me that [your name] was Ernest. I have introduced you to every one as Ernest. You answer to the name of Ernest. You look as if your name was Ernest. You are the most earnest-looking person I ever saw in my life. It is perfectly absurd your saying that you name isn't Ernest. It's on your cards" (Writings, 484). However for Jack Worthing, Ernest is an imaginary adventurous figure possibly, "a younger brother . . . who lives in the Albany, and gets into the most dreadful scrapes" (Writings, 485). For Gwendolen Fairfax, Ernest is a moralist, "a strong upright Nature. He is the very soul of truth and honour. Disloyalty would be as impossible to him as deception" (Writings, 517). And for Cecily Cardew, Ernest is her romantic partner: "And of course a man who is much talked about is always very attractive" (Writings, 513)."
| |
|
"Romeo and Juliet", 2007.
An analysis of the role of the nurse and Friar Laurence in William Shakespeare's "Romeo and Juliet."
1,619 words (approx. 6.5 pages), 1 source, MLA, AU$ 63.95
»
Click here to show/hide summary
Abstract
This paper discusses William Shakespeare's play "Romeo and Juliet." It analyzes the various ways the nurse and Friar Laurence, in particular, function as key supporting characters. It then looks at how their roles, actions and respective relationships to Romeo and Juliet themselves are used by Shakespeare to help develop the play's motifs and themes of illness, sexuality, violence and death.
From the Paper
" Later in Shakespeare's Romeo and Juliet, the truth of Friar Laurence's implied statement is proven when Juliet, having taken Friar Lawrence's sleeping potion to create an appearance of her death, instead of waking to find herself reunited with Romeo outside Verona, wakes to find him dead beside her, in the Montague family crypt. Due to an unpredictable confluence of circumstances, none possible for Friar Laurence to control or predict, the poisonous concoction that had put Juliet temporarily to sleep also causes Romeo's death. As Romeo's suicide illustrates, it is humans who turn inherently neutral natural substances into evil-acting ones."
| |
|
"M. Butterfly", 2007.
A discussion on the exotic, feminine Orient in the Western imagination, as depicted in David Henry Hwang's drama "M. Butterfly".
1,228 words (approx. 4.9 pages), 5 sources, MLA, AU$ 50.95
»
Click here to show/hide summary
Abstract
The paper discusses how "M. Butterfly" is a play about the power of stereotypes to do harm, both to the person and the culture they are inflicted against, and also against the people who hold such stereotypes. The paper describes how, at the end of the play, Gallimard is destroyed because he realizes his life was based upon a lie, just as China was harmed by the lies and exploitation of Western colonialism. The paper examines how the conflict of gender, national, and identity issues are dramatically depicted in David Hwang's "M. Butterfly," when the French diplomat Rene Gallimard falls in love with a feminine image of the East, in the persona of the actress Song Liling.
From the Paper
"Gallimard has a psychological as well as a national and gender based need to see Song as feminine. Thus, the gender disguises of the play do not merely invert stereotypes of male and female, Asian and West. They also destroy the security of Gallimard's own identity as a strong, male Westerner with power. Song Liling is not only a man. Song uses Gallimard's own cultural stereotypes to exploit the Frenchman. Gallimard begins the play thinking he is the Western, White man taking advantage of the virginal 'Oriental' maiden. But like the opera's "Madam Butterfly," Gallimard ends the play abandoned, disgraced, cut off from his countrymen and finally suicidal. Thus Gallimard's own secure identity as a powerful man has been so undercut, he cannot live with himself, because he no longer knows who he is as a person."
| |
|
"The Importance of Being Earnest", 2007.
A comparison of the effectiveness of Oscar Wilde's play "The Importance of Being Earnest" with the film directed by Oliver Parker.
1,630 words (approx. 6.5 pages), 2 sources, MLA, AU$ 64.95
»
Click here to show/hide summary
Abstract
This paper discusses how well the 2002 film directed by Oliver Parker, "The Importance of Being Earnest" dramatizes the original play written by Oscar Wilde. The paper describes the basic plot of the play and then discusses instances where the plot is not able to be played effectively in the film. It discusses the reasons why these acts are less effective in film than in the dialogue of the play and why certain imagery in the film does not work well.
Table of Contents:
Introduction: Synopsis
Act I: Bunbury, Interrogation and Refusal Scenes
Act II: An Interjection Of Ballooning And Flashbacks In The Cicely's Education, Diary Writing, And Fight Scenes With Gwendolyn
Act III: The Introduction of Archery, Unraveling, and Christening
Conclusion--Summing Up
From the Paper
"The drive to physicalize the verbal wit of the Wilde play is made further evident in the Act II war of words over Gwendolyn and Cicely's tea party, where the jazzy music on the soundtrack and the clattering cutlery draw the viewer's attention away from what the characters are actually saying that is clearly not in the play. (Fifth difference) Finally, the film's dramatization of Act II includes a ballooning sequence that seems completely at odds with the plot, and serves only to show Algernon in different attire than what Algernon wears in the drawing room that is not in the play. (Sixth difference) While it is helpful to show the characters assume different costumes in different locations, just as they assume different personas, the activity is so strange to the eye; it is hard to focus on exactly what is occurring on the level of dialogue during the sequence."
| |
|
Oedipus and Medea, 2007.
An essay comparing and contrasting the main characters of Sophocles' "Oedipus the King" and Euripides' "Medea".
1,857 words (approx. 7.4 pages), 2 sources, MLA, AU$ 72.95
»
Click here to show/hide summary
Abstract
The paper examines how both Oedipus and Medea are unfortunate, and ultimately tragic, main characters. The paper further examines how their respective their motivations, circumstances, behavior, and relationships, are entirely different: Oedipus is motivated by pride and Medea by revenge. The paper discusses how Oedipus' behavior is excessively, sometimes comically prideful while Medea's behavior is cunning and manipulative, alternately rational and irrational, and ultimately evilly terrifying. The paper concludes that despite these many differences, both characters ultimately destroy everything around them that they love most.
From the Paper
"Medea is a careful observer of others, with an uncannily accurate sense of which sorts of ruses they will fall for. Next, after talking Aegeus into giving her refuge in Athens, she convinces Jason to have Glauce to make the request to Creon that her and Jason's two children not be exiled from Corinth along with their mother. In exchange for this, Medea promises, the children will present Glauce personally with two gifts, a cornet and a dress: ". . . by the children's hand I will send to her gifts that far surpass in beauty, I well know, aught that now is seen 'mongst men, a robe of finest tissue and a chaplet of chased gold. But one of my attendants must haste and bring the ornaments hither" (Euripides, Medea [online text])."
| |
|
William Shakespeare's "Othello, the Moor of Venice", 2006.
This paper discusses the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice".
1,115 words (approx. 4.5 pages), 0 sources, AU$ 46.95
»
Click here to show/hide summary
Abstract
This paper explain that the use of animal imagery in William Shakespeare's "Othello, the Moor of Venice" reflects the base instincts, which bring about the tragedy of the main character and his innocent wife. The author points out that negatively characterizing Othello as an animal might imply that he is as base and beastly as Iago, but his honor and nobility throughout the rest of Act I makes the reader doubt that Othello is the animal. The paper concludes that comparing the characters to animals suggests that the play is not about race, politics or social convention but rather about the predator and the prey, which is something deeper and more innate than the trappings of society. The paper includes several quotations.
From the Paper
"The innocent and good Cassio is deceived into believing himself a beast because of the machinations of Iago. Knowing that Cassio cannot tolerate alcohol, Iago encourages him to get drunk and orchestrates a fight in which Cassio appears the violent aggressor. Such behavior, especially because it interrupts the marriage bed of Othello and Desdemona, is perceived negatively by Othello who dismisses Cassio from his service. Cassio then likens himself to an animal, disparaging the effect of alcohol that "put an enemy in their mouths ....transform ourselves into beasts!""
|
|
|
