| Papers [1-3] of 3 | Search results on "HADES": |
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Hades in Toyland: D.H. Lawrence's "The Rocking Horse Winner".
This paper discusses D. H. Lawrence's use of childhood symbols as metaphors in an adult world in his book, "The Rocking-Horse Winner".
935 words (approx. 3.7 pages), 4 sources, MLA, AU$ 36.95
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Abstract
This paper examines D. H. Lawrence's use of a fairy tale structure to enhance the ironic tone of the story,"The Rocking-Horse Winner", by controlling three critical literary elements: plot, allusion, and symbolism. The author points out that Lawrence effectively uses the irony of the fairy tale structure to show how children can be overburdened and destroyed when the problems of the adult world, such as obsession, greed and jealousy, are transferred to the child's world. The paper concludes that, although Lawrence is clearly a master writer, perhaps a writer with a different style, such as O. Henry, could take the same subject matter and write a story without the tragic overtones that are characteristic of "The Rocking-Horse Winner".
From the Paper
"However, even though the parallels are imperfect, they don't obscure allusions to other stories in the genre. The idea of a "gift" that is turned against a main character is a theme that recurs throughout the fairy tale and myth genres. The story of King Midas is about a gift that is turned into a curse. His greed for gold is turned into a "golden touch" that destroys everything and everyone he holds dear. Likewise, Paul's gift of special knowledge from the rocking horse is turned against him when his mother spends the money he wins at the races faster than he can win it."
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Claudio Monteverdi's Opera "Orfeo", 2008.
This paper analyzes the organization and expression in Claudio Monteverdi's opera "Orfeo".
1,605 words (approx. 6.4 pages), 4 sources, MLA, AU$ 56.95
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Abstract
This paper uses the first two strophes from Act III's aria, "Possente spirito", to demonstrate the brilliant fusion of musical organization with emotional expression in Claudio Monteverdi's 1607 opera "Orfeo". The author points out that the fierce turbulence in Monteverdi's personal life is reflected in the plot of the opera. The paper relates that the opening two strophes, of which the text is quoted in the paper, are accompanied by basso continuo with parts of the first strophe punctuated by two violins and similar punctuation in the second strophe performed by two cornets. The author states that other strophes end in a brief ritornello. The paper explains that, for the vocal style, Monteverdi employs stile rappresentativo, or "the representational style", to convey the passions behind Orpheo's impending request to be allowed into Hades.
From the Paper
"The spirit of these dotted eighth--sixteenth notes also effectively predicate the final line in the second strophe as Orfeo forwards the argument that since having lost his wife, he has no heart and cannot be alive, and therefore his entrance into Hades would be legitimate. Posing this argument to the ferrymen, Monteverdi paints a picture of Orfeo as coy as he is courageous. The composer makes the conclusion of Orfeo's question also a facetious question, after the preceding phrases in the cornets. It is difficult to hear Orfeo's final line of the second strophe without imagining the demi-god trying to conceal a little grin."
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"Odyssey" and "O Brother Where Art Thou?"., 2002.
A comparison between Homer's epic novel the 'Odyssey' and the adapted screenplay version of the epic film,"O Brother Where Art Thou?", directed and produced by Joel and Ethan Coen .
1,310 words (approx. 5.2 pages), 4 sources, MLA, AU$ 48.95
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Abstract
The following paper draws parallels between Homer's "Odyssey" and the Coen Brother's "O Brother Where Art Thou?". In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in a liberal way, changing scenes, settings and characters. The writer compares the original epic and the original screenplay and discusses dozens of small but meaningful comparisons. For instance, Odysseus and his men descend into Hades where they encounter several ghosts from Odysseus's past; in the film the boys meet a fellow inmate who they thought was dead. Odysseus from the original epic and Ulysses from the film (played by George Clooney) both have to prove to their wives that they are true: Ulysses must bring Penny the ring to redeem himself. In the Odyssey, Book 23, Penelope declares that "there are tokens with which we two alone are acquainted," (Butler trans.). Although it was written millennia ago in ancient Greece, the parables of the Odyssey remain extant for a reason: Its themes are universal and accessible and adaptable for all time. The Coen brothers' movie "O Brother Where Art Thou?" exemplifies Homer's timelessness, as well as their own versatility.
From the Paper
"Homer's Odyssey is more than an epic tale of a man "who wandered far and wide," across the sea; it is an archetypal journey with universal and enduring import. It is not difficult to find parallels between Odysseus's adventures and modern ones, for ultimately the Odyssey transcends its details. Homer erected a narrative structure that lends itself to adaptation and reconstruction. Most notable to modern reinterpretations of Homer's Odyssey is James Joyce's Ulysses, which focuses on and develops the relationship between father (Odysseus/Leopold Bloom) and son (Telemachus/Stephen Dedalus). In the year 2000, the inventive and provocative filmmakers Joel and Ethan Coen reworked the Odyssey in an equally liberal way, changing scenes, settings, and characters. But whereas Joyce's version of the Odyssey is microcosmic, its journey more psychological than physical, the Coen brothers' O Brother Where Art Thou? rambles through a decidedly physical and farcical tale. At first glance the film resembles Homer's epic little: only certain elements are obvious like George Clooney's character's name (Ulysses) and the three sirens by the river. A deeper investigation of the film and the original text reveals numerous, if more subtle, references."
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