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Gender in "Twelfth Night", 2007.
This paper explores the issue of gender from the perspective of the character of Viola in Shakespeare's "Twelfth Night".
1,657 words (approx. 6.6 pages), 2 sources, MLA, AU$ 84.95
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Abstract
The paper discusses Viola's presentation of gender in "Twelfth Night", which implicitly challenges the strict binary gender system that prescribes different and opposite behaviors for the two genders. The paper shows how the character of Viola stands in stark contradiction to long-standing prejudices about the weaknesses and frailty of women. The paper also points out, however, Viola remains a victim of the prejudices of her society, in that from her own perspective, she continues to see women as frail.
From the Paper
"In Twelfth Night, Viola and Sebastian are twins, but they are separated in a storm at sea. Viola adopts male garb, and the name Cesario, as a survival strategy - to enable herself to get a job working for the Duke Orsino. Thus, Violet is not explicitly making a statement about gender when she begins passing as a male - rather, she is simply making a statement about wanting to survive. However, the necessity for her to adopt this strategy does of course arise from the strict sex-based segregation of the times. Despite the fact that Viola does not intend to buck the binary-gender system in any way, she certainly seems to enjoy "being a man," and moreover, the fact that she adopts a male persona inevitably leads to gender-based complications. For example, the Countess Olivia falls in love with her, while "Cesario" falls in love with Duke Orsino, and "Cesario" is challenged to a duel by the jealous Sir Andrew. Viola's gender switch thus lays the foundation for much of the plot. However, despite being a plot device, it also makes it possible for Viola to present an alternative representation of gender."
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Freud and "Hamlet", 2007.
An analysis of Sigmund Freud's oedipal complex in "The Tragedy of Hamlet, Prince of Denmark" by William Shakespeare.
942 words (approx. 3.8 pages), 2 sources, MLA, AU$ 52.95
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Abstract
This paper attempts to reveal Freud's psychological theory and psychoanalytical interpretation in regards to the character Hamlet in William Shakespeare's play "The Tragedy of Hamlet, Prince of Denmark". The paper looks at how, by assessing modern critical theory on Hamlet's character, one can understand that critics agree on Hamlet's insanity - via Freudian oedipal perspectives. The paper also shows how, by offering Freud's psychoanalytical analysis of Hamlet's character, one can understand the complexities of the Oedipus complex within William Shakespeare's dramatic forum.
From the Paper
"The element of Freud's contention that Hamlet seeks the erotic feminine love of his mother and to murder his father is apparent throughout the play. Although he is clearly making allusions to psychological behavior in conjunction with madness or insanity, Hamlet can also be perceived as a "brilliant fake, promoting madness so that his enemies might not think him a real threat to Claudius and his cronies" (Bloom 178). However, this rationale is not always apparent in the text. Hamlet does not show mastery over his obsessive urge to kill his father's enemies in a covert or disguised manner--he is openly acting out his unconscious desires in the Oedipal tradition. "
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"Oedipus Rex" versus "Hamlet", 2007.
An analysis of the influence of the Sophoclean Grecian tragedy, "Oedipus Rex" on William Shakespeare's "Hamlet, The Prince of Denmark".
2,414 words (approx. 9.7 pages), 2 sources, MLA, AU$ 115.95
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Abstract
This paper evaluates the influential aspects of the Sophoclean Grecian tragedy on the latter forms of Shakespearean tragedy used within the Elizabethan period. It discusses the various psychological and political issues that abound in "Oedipus Rex" by Sophocles and how Oedipus acts as a clear role model for the insanity that Hamlet exhibits within Shakespeare's "Hamlet, The Prince of Denmark".
From the Paper
"In conclusion, the reemergence of the Greek tragedy in the Elizabethan era can be readily seen through the works of William Shakespeare through the influence of Sophocles. The plays Hamlet: The Prince of Denmark and Oedipus rex provide textual examples of the psychological and political disposition of the heroic character that is doomed to death due to errors in judgment. By understanding the principle aspects of the tragic hero in the work of Sophocles, one can realize why Shakespeare uses many of the literary devices that define tragedy along the Greek model. This inevitably appears in Hamlet and Oedipus through the presence of insanity in their thought process, but also in their lack of control over the political forces that seek to destroy them. This is how William Shakespeare readily provides an example of the reemergence of Greek tragedy in the Elizabethan era through the tragic works of Sophocles."
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Richard III, 2007.
This paper compares and contrasts five dramatic and historical interpretations of Richard III.
1,482 words (approx. 5.9 pages), 5 sources, APA, AU$ 76.95
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Abstract
The paper examines four productions and one biography of Richard III.
The paper explains that a controversial historical figure like Richard III, whose flawed character and life was filled with intrigue, betrayals, confrontations and battle has provided ample opportunities for playwrights, biographers, novelists, and filmmakers to interpret him and the events of his life in a variety of ways. The paper shows how some interpretations rely upon an understanding of the historical Richard III, others rely upon the characterization of him in William Shakespeare's famous play, while others have chosen to rely less upon traditions and more upon innovative approaches.
From the Paper
"Carefully examining the 1954 and 1995 films, both entitled Richard III; as well as Shakespeare's Richard III, Al Pacino's Looking for Richard, and historical and biographical accounts of Richard III provides many opportunities to compare and contrast these various interpretations. William Shakespeare's play is the best known of these productions, and justifiably so, for it created a memorable and lasting image of Richard III that renders the historical figure virtually irrelevant to most people. Shakespeare's interpretation of Richard is so powerful, vivid, and overwhelming that no biography or historical account can even begin to compare."
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Iago's Plot, 2007.
This paper examines a passage from William Shakespeare's tragedy "Othello."
796 words (approx. 3.2 pages), 1 source, MLA, AU$ 44.95
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Abstract
The paper analyzes a passage from "Othello" in which Iago first conceives of his plot to inflame Othello's jealousy against his wife. The paper shows how it is in this passage that Iago effectively defines his plan of action that leads to the tragic destruction of the play's primary characters. The paper highlights how the passage is critical to our understanding of both the action of the play and the complex character and motivations of Iago.
From the Paper
"This passage is situated in the play directly after the failure of Iago's initial plot to hurt Othello; in which he had stirred Desdemona's father, Brabantio, into a rage at the thought that the Moor had seduced and "stolen" his daughter (I.1). This plot fails when both Othello and Desdemona are brought before the Duke of Venice, where both Othello's nobility and Desdemona's protestations of her love for him sway the Duke in favour of the couple (I.3). Yet, this plot having completely failed, Iago nonetheless continues to scheme. At this point, Shakespeare is compelled to reveal the reason why Iago seems so driven to hurt his master. Significantly, it is Iago's own jealous belief that Othello has slept with Iago's wife that, Iago states, fuels his rage: "I hate the Moor,/ And it is thought abroad that 'twixt my sheets / He's done my office" (I.3.380-382)."
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Hamlet, 2007.
This paper analyzes the state of Hamlet's mind in William Shakespeare's play of the same name.
1,188 words (approx. 4.8 pages), 2 sources, MLA, AU$ 63.95
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Abstract
This paper discusses Hamlet's inability to carry out his desire to avenge his father's murder. The paper describes Hamlet's schizophrenic shock and shows how he was suffering from manic depression. The paper labels "Hamlet" a dark play and demonstrates how it was staged in Hamlet's mind.
From the Paper
"We first see Hamlet dejected in black mourning in contrast to the brightly lit court of the new King (Act I, Sc. 2). His melancholy attire mirrors the foreboding of the ghost on the ramparts and his passionate, broken hearted soliloquy contravenes the staid, artificial dialogue of the familial scene at court. It reveals his depression as a result not just of his grief for his father but also for his mother and her "disgusting dexterity to incestuous sheets" (Act 1, Sc.2). The sordidness he sees reflect the schizophrenic shock that is beginning to affect his ability to act. The forbidden idea of suicide, the image of his father as "Hyperion" to his uncle's "satyr", the counterpoint between things divine and those of earth grossly profane, "unrighteous tears" and "galled eyes", twist his
depression into a knot in his throat "for I must hold my tongue", and a desperate feeling of low self-esteem and inadequacy "no more like my father than I to Hercules"."
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Dreams in Shakespeare's Plays, 2007.
An analysis of the significance of dreams in William Shakespeare's "Richard III", "Macbeth", and "A Midsummer Night's Dream."
1,593 words (approx. 6.4 pages), 4 sources, MLA, AU$ 82.95
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Abstract
This paper briefly explores the significance of dreams in William Shakespeare's plays, "Richard III", "Macbeth", and "A Midsummer Night's Dream". It examines and explains how dreams serve chiefly to add depth and complexity to the main characters, reflect the belief systems of the audience Shakespeare was trying to enthrall and underscore the subjective nature of human "reality." The paper suggests that Shakespeare successfully uses dream sequences for commercial and dramaturgical purposes.
From the Paper
"By emphasizing the angst and suffering of the killers and conspirators, dreams also bolster the moral lesson that appears to lie at the heart of the drama. Just as in Richard III, those who ignore dreams in Macbeth do so at their own peril. For example, in Act II, Scene 1 of the play, Banquo announces to Macbeth that he has dreamt of the strange apparitions he and his untrustworthy friend encountered only a short while earlier. But although Banquo admits that the three strange sisters "have showed some truth" (Garber 113) as it pertains to Macbeth's elevated station, he fails to appreciate that the dream might also offer some insight into his own future. Banquo allows Macbeth to simply and disingenuously dismiss the prior encounter with the witches as meaningless even though their cryptic message is now impelling Macbeth to view his long-time friend as a rival who needs to be terminated (Garber, 114). As with Clarence and Hastings in Richard III, Banquo's inability to recognize the portents coming to him in dream prepares him for his tragic end."
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The Evolving Sonnet, 2007.
This paper discusses sonnets of different ages.
750 words (approx. 3.0 pages), 4 sources, MLA, AU$ 41.95
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Abstract
In this article, the writer notes that for every age of poetry there has been a form of sonnet. The writer points out that the most well-known style of this poetic form is the Elizabethan sonnet, made famous by William Shakespeare. The writer then relates that the Victorian sonnet, while less well-known by the general public, was a favored form by an equally famous writer, Elizabeth Barrett Browning. The writer notes that the existence of the modern sonnet demonstrates the durability of this poetic form, as demonstrated in the work of Karen Volkman. The writer maintains that although the sonnet has evolved since its inception it remains a lovely and viable poetic form today.
Outline:
Elizabethan Sonnet
Victorian Sonnet
Modern Sonnet
Conclusion
Works Cited
From the Paper
"Like Shakespeare's sonnets, Browning's poetry is very personal, although in this case the author's audience is known. The cycle selected for this assignment, "Sonnets from the Portuguese," addresses Browning's husband, relating her feelings in return for the affection that he shows to her."
"The first eight lines of Sonnet XXV represent the first stanza of the Petrarchan sonnet. They do not ask any question; rather, they state a fact: the poet's narrator was miserable until she met the man she loved. The final six lines, representing the sestet, expand upon this theme. Although Browning is often criticized as being excessive and sentimental, this style of writing characterized the period."
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Teaching "Othello", 2007.
A look at how a teacher might approach teaching a sixth grade class William Shakespeare's "Othello".
1,123 words (approx. 4.5 pages), 2 sources, MLA, AU$ 60.95
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Abstract
This paper discusses how teaching a text as complicated as "Othello" is not easy and looks at how a teacher should approach this work with the idea of making it accessible to a sixth grade class. In particular, the paper explores issues like "teaching structure", character development, theme and how students should cite evidence to support their conclusions. It concludes that in the final analysis, while Shakespeare is a challenging work, a well-organized pedagogical approach can allow novice students to gain an appreciation for the work and for the important ideas contained therein.
From the Paper
"Theme is another matter that can be taught in any classroom discussion. Assuming that the text is written at a grade-six level, the focus should rightly shift to the question of honor and why Othello is eager to shout down Desdemona in the final scene of the play even as she attempts to explain to him the error of his ways (Othello, Act 5, Scene 2 lines 1-200). The students should be asked what is wrong with this sort of thing and they should be asked if they kind find other instances in the play where Othello's considerable pride and stubbornness get in the way of his judgment. "
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"The Rape of Lucrece", 2007.
An analysis of William Shakespeare's retelling of the story of the "Rape of Lucrece."
1,363 words (approx. 5.5 pages), 5 sources, MLA, AU$ 71.95
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Abstract
This paper discusses William Shakespeare's retelling of the story of the "Rape of Lucrece." It discusses the way that Shakespeare used this story to criticize a monarchy that otherwise could not be criticized. It quotes from Shakespeare's version of the story and describes and explains his version of the events. It also discusses the religious implications evident in this version of the retelling.
From the Paper
"There's also a criticism implied in the monarchy's abuse-of-power concerning the church. Lucrece's rape in 510 B.C. by Prince Tarquin was not just a vicious crime of sexual predation--it was so infuriating to Rome's monarchy-weary populace that it led indirectly to the formation of the Roman Republic and the election of Lucrece's hubby Collatinus as Rome's first First Consul (Mondello 4). The English people were sick of queens being slaughtered to feed the sick lust of Henry VII. They were also feeling misused in his choosing to form and lead a new church, the Anglican Church, of which he was head. This lustful and bloody "pope" might have been the tormented Tarquin in Shakespeare's poem, as he debates whether to rape and then to kill his victim."
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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, AU$ 114.95
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Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
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"Hamlet", 2007.
An analysis of the significance of time and its context in William Shakespeare's "Hamlet."
926 words (approx. 3.7 pages), 1 source, MLA, AU$ 51.95
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Abstract
This paper describes the significance of time in William Shakespeare's "Hamlet." It focuses on Hamlet's exclamation when he meets his father's ghost, that "the time is out of joint" and explains how this fits in with the concept of time throughout the rest of the play. The paper analyzes the context of this statement by Hamlet and uses quotes from the play to support its explanations.
From the Paper
"The state of things gone awry is endemic to every aspect of Danish society, from the lowliest to the highest realm, and parallels Hamlet's internal state of personal angst and grief over his father's death. The death of Hamlet's father is a personal tragedy, but because Hamlet's father was a king, his death has cosmological significance. Now, Denmark has a new king who may not be good, has a suspicious relationship with his new queen, Denmark is about to go to war, and signs from the great beyond suggest that things are only going to get worse, unless Denmark's oath diverted from its current state course. The times truly are "out of joint," even before Hamlet speaks this famous phrase."
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Hamlet, 2007.
This paper examines the play 'Hamlet' by William Shakespeare.
1,100 words (approx. 4.4 pages), 1 source, MLA, AU$ 60.95
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Abstract
In this article, the writer explains that normally, when reading William Shakespeare's play, 'Hamlet', the theme is the main element discussed. The writer maintains, however, that in this work of art, as in others by Shakespeare, the play's construction is just as complex and remarkable. The writer then discusses the plot, characters and themes in the play. The writer concludes that conflict, confusion and even death result because the characters purposely do not tell the truth, act on the sly for negative or positive reasons, and keep information from each other that could have somewhat resolved the situation or at least saved some unnecessary deaths.
From the Paper
"Every story needs an antagonist, and that is Claudius. Where the other character's motives may be veiled, his are very apparent. His desire for power drives him to murder his brother and marry his brother's wife. On the other hand, Gertrude's actions are left unanswered. Whether or not she conspired with Claudius depends on how the play is interpreted. However, through her words and actions, it appears that she loves her son, and cares greatly for Ophelia and Polonius."
"Although little is known about Horatio, he plays an important role as the objective observer whose comments can be believed. Hamlet also uses him as a way to express himself and help make decisions. The other characters in the play are secondary to the action, but whose deaths make the ending all the more tragic because they meant nothing but good."
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"Much Ado about Nothing", 2007.
This paper discusses the tragedies that never happened in Shakespeare's "Much Ado about Nothing."
1,298 words (approx. 5.2 pages), 2 sources, MLA, AU$ 68.95
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Abstract
The paper relates that there are no real events in Shakespeare's "Much Ado about Nothing", or any real action; nothing happened in the play although many tragic things might have. The paper shows how the play can be considered tragic because the characters simulate and dissimulate, manufacture plots out of "nothing" and play with reality in a dangerous way that could have serious consequences for everyone.
From the Paper
"Shakespeare's play Much Ado about Nothing effectively combines the comic and tragic elements in its structure. The title is the point where the reading should begin: Shakespeare himself indicates that the play is about "nothing", that is, there are no real events in the text, no real action, only deceiving and misprision. The plot focuses on the two couples that are the main protagonists: Berenice and Benedick, Hero and Claudio. The dissembling, deceiving and misprisions in the play seem endless and are directly related to the tragic undertones of the text."
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Shakespeare's "The Tempest", 2007.
This paper analyzes the means of control used by the character of Prospero in Shakespeare's "The Tempest".
1,520 words (approx. 6.1 pages), 2 sources, MLA, AU$ 79.95
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Abstract
This paper points out parallels between philosopher Michael Foucault's work and "The Tempest" and relates that the topic of both works revolves around the topic of justice. The author argues that Prospero's behavior in Shakespeare's "The Tempest" represents a shift from a medieval power structure to one that is institutionalized and which takes power from the individual and gives it to society. The paper comments that Prospero's main conflict was not with his brothers but rather with the centralized power that they represented.
From the Paper
"Prospero has to design a tactic for each individual. This demonstrates great intelligence and adaptability. The first stage of the plan was to separate them and take away their power in numbers. He knew that he would be overthrown if he were not able to do this. Therefore he first isolated his "guests" and gave them a display of his power. The prison cell had much the same effect. Foucault goes to great lengths to explain and give examples of how the prison cell acts of isolate and convey the sense of power to the convict. The jailor has complete control over the prisoner."
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Britten's Midsummer's Night, 2007.
This paper discusses the opera 'Midsummer Night's Dream' by Benjamin Britten.
986 words (approx. 3.9 pages), 3 sources, MLA, AU$ 55.95
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Abstract
In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.
From the Paper
"Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."
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