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Marcello Rubini in Federico Fellini's "La Dolce Vita"., 2008.
This paper applies existential-humanistic psychology to the character of Marcello Rubini in Federico Fellini's film, "La Dolce Vita".
1,666 words (approx. 6.7 pages), 5 sources, APA, AU$ 78.95
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Abstract
The paper explores how humanistic and existentialist psychology could help Marcello, the lead character in Federico Fellini's film, "La Dolce Vita". The paper shows the unhappiness inherent in Marcello's lifestyle and discusses how Marcello needs a father figure or a stern therapist that could authoritatively guide the boy towards manhood.
From the Paper
"In Fellini's 1960 film classic, La Dolce Vita, Marcelo Mastroianni plays a wandering play-boy journalist (Marcello Rubini) who seems unable to commit to anyone or to anything. For example, he threatens throughout to write a novel, but never really makes any substantive process on the matter. In terms of his personal relationships, Marcello appears to move from one woman to another without any great enthusiasm for establishing a meaningful relationship with any one of them."
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"La Dolce Vita", 2008.
This paper analyzes the history, culture and architecture of Italy in Federico Fellini's film "La Dolce Vita".
1,889 words (approx. 7.6 pages), 2 sources, MLA, AU$ 87.95
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Abstract
The paper examines Federico Fellini's Italian film "La Dolce Vita" within the context of its times. The paper looks at how the architecture in the film gives the movie greater resonance and depth and reveals the limitations in the character Marcello's pleasure-seeking view of the world. The paper is of the opinion that the film is a masterpiece by a master-craftsman that uses the architecture of Rome as a most effective tool.
From the Paper
"The period 1950-1960 was a difficult one in some respects for Italy. The nation's glory as the seat of power for the Roman Empire was obviously far in the past and the country was still suffering the lingering effects - loss of life and international disgrace - of Mussolini's unhinged efforts to gain for himself (and, secondarily, his country) power and standing by aligning (however uneasily) with Hitler; moreover, the country's embarrassing foray into North Africa during the war years (and during the lead-up to the war) was still fresh in mind. While it can be over-stated, one is tempted to suggest that the events of less than two decades earlier - along with the terrible human toll they exacted - fed a burgeoning cynicism that made Italian young people of the age disinclined to accept the mores of their parents; after all, the Second World War had been, for all intents and purposes, their parents' war. When viewed within that context, the spiritually bankrupt nature of many of La Dolce Vita's characters and the sense of decadence which pervades the film throughout seems to hint at a culture that has lost its way and turned against the strict injunctions and moral coda of earlier times."
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Dante's "La Vita Nuova", 2006.
An analysis of Dante's use of the phrase "love and the gentle heart" in his collection of poetry entitled "La Vita Nuova".
1,615 words (approx. 6.5 pages), 3 sources, MLA, AU$ 75.95
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Abstract
This paper analyzes Dante Alighieri's testament to romantic love and his own love for Beatrice in "La Vita Nuova". Through an analysis of the theme, tone and structure of the 25 sonnets contained in "La Vita Nuova", the paper explains that Dante uses the poignant sonnet form to convey the nature of his love for Beatrice and that his use of the the phrase "love and the gentle heart" refers to the type of mature love shared between the spouses in an old married couple.
From the Paper
"The third and fourth lines of the poem use a teasingly sardonic analogy to emphasize the poet's main point. "...each from the other one as well divorced / as reason from the mind's reasoning." The use of the word "divorce" serves as a double entendre, referring both to two ordinary objects being rendered as well as to two persons dissolving their marital vows. As divorce is the exact opposite from union, the poet creates some dynamic tension through the use of phrases like "one thing" and "the other one" in conjunction with the word "divorce." The repetition of the word "one" in lines one and three acts as a unifying devise in this initial stanza. Similarly, the last line of stanza one contains another word repetition: "reason" and "reasoning." The poet could have easily selected a synonym for either "reason" or "reasoning." Dante's choice implies a conscious use of word repetition that parallels the repetition of the word "one." The repetition helps emphasize the poem's central themes. Finally, the concept of reason differs greatly from the concept of love." Love and reason are in fact often in direct opposition to one another. The irony of love being compared to reason mirrors the contrast between love and divorce in this first stanza."
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"La Vita Nuova" ( Dante ), 1997.
Examines the poet's views on love and creative writing as expressed in his poetry and his relationship with Beatrice.
1,350 words (approx. 5.4 pages), 1 source, AU$ 68.95
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From the Paper
"In La Vita Nuova, Dante expresses his views on romantic love and literary creation, arguing essentially that the two are inextricably bound together. This does not mean that as love goes, so necessarily goes literary creation. To the contrary, Dante seems clearly to be saying at times that the most critical periods in his relationship with Beatrice have produced the most passionate and remarkable poetry. The study will argue that the process whereby Dante comes to understand and experience love in a mature, spiritual and transcendent sense is a process which for him requires the recording of his experiences in poetry which crystallizes those experiences for his vigilant examination. Love for Dante is a means of spiritual and creative awakening.
To a poet of passion such as Dante, what matters is not a "healthy" or "non-dysfunctional" relationship such as might be ..."
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Literary Comparison: "La Vita Nuova" and "Amores", 2006.
This paper examines and analyzes the similarities and the differences in Dante's "LaVita Nuova" and Ovid's "Amores."
1,780 words (approx. 7.1 pages), 0 sources, AU$ 83.95
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Abstract
This paper details the similarities and the differences in both works of poetry by Dante and Ovid. For example: When comparing Dante's "LaVita Nuova" to Ovid's "Amores," the main difference that quickly becomes apparent is one of attitude. This paper explores both poets' attitude towards love and the extent to which their own lives coincide with their writing. Both poets describe love in religious terms, where love plays the role of a god. Dante elevates his character to sainthood upon her death whereas Ovid, in sharp contrast, views his leading character in a more flippant and superficial manner. This well-written paper details the plots and characters of both works of poetry.
From the Paper
"Dante is much more contemplative of love as a concept and of the lady that he loves. The Provencal tradition is transcended when love is described not only in loftily idealistic terms, but also when the lady in question is viewed as significant in spiritual terms. Beatrice, of whom Dante writes, is described in nothing but the purest terms. The poet meets her when he is a young child, and throughout the work learns lessons about love through her. In his view, Beatrice is a creature of unsurpassed beauty, who is able to satisfy the dreams of a child, the desires of a young man and the highest aspirations of the mature artist, from whose point of view he is writing. Not only is she an extremely ideal woman; she is also nearly Christ-like in her perfection."
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"La Ci Darem la Mano", 2005.
This paper looks at Mozart's opera 'Don Giovanni' and focuses on the importance of the duet "La ci darem la mano".
675 words (approx. 2.7 pages), 3 sources, AU$ 38.95
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Abstract
This paper is a brief analysis of the importance of the duet "La ci darem la mano" from Mozart's opera "Don Giovanni." The paper focuses on the importance of the duet in terms of character and plot and how they are important to the rest of the opera, and how the scene ties in with the rest of the major plot developments of the opera. There is no discussion of the musical aspects of the opera.
From the Paper
"The opera Don Giovanni, written by W.A. Mozart in 1787, has been hailed by some as the greatest opera ever written. It tells the story of a wealthy playboy, Don Giovanni, in his attempts to win the hearts and bodies of the young women around him. Don Giovanni's duet with Zerlina, called "La ci darem la mano," in the first act is an important piece in the opera, both in terms of character and plot development. The duet takes place in Don Giovanni's gardens, after we have already heard and seen some of Giovanni's malicious and murderous transgressions and heard the long list of his conquests read to Donna Elvira."
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La Malinche in Mexican History, 2002.
This paper discusses the role of La Malinche in Mexican history.
3,050 words (approx. 12.2 pages), 7 sources, APA, AU$ 129.95
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Abstract
This paper is an in-depth examination of the role that La Malinche played in Mexican history and culture. The author gives the reader an historical overview, including the fact that she was an actual person, whose actions caused her to lose favor in society. This is done through the review and analysis of two pieces of works by historians, one male and one female, Casillo and Paz. The author also points out that La Malinche is not a well-known personality outside of Mexican culture, but her history dates back to the mid-sixteenth century. According to the paper, La Malinche's role in history has been revived by feminists who feel that her tainted past is the result of the chauvinistic nature of Mexican society which has begun to evolve over the years. For many Mexican women she is a symbol of independence and endurance of the Mexican people, and she should be accorded respect and proper recognition in history.
From the Paper
"These many complications and elaborations of this essential and essentializing dichotomy about the true nature of woman can be seen to come together in the character of La Malinche, a figure not well known outside of Mexico (except to those whose families originally came from Mexico). This paper explores the figure of La Malinche, a figure who representations have over the years become at least in general more positive as Mexicans have regained a sense of themselves as a people worthy of self-respect ? and as Mexican women have refused to see themselves as meriting only the role of a traitor condemned to silence."
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La Malinche and the Spanish Conquest, 2007.
This paper discusses the pivotal role of La Malinche in the conquest of the Aztecs by the Spanish.
2,297 words (approx. 9.2 pages), 8 sources, MLA, AU$ 101.95
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Abstract
The paper outlines the history and events surrounding the figure of La Malinche, with a focus on her influence on and relationship with Cortez and her effect on the conquest of the Aztecs. The central contention of this paper is that without her help, the Spanish would not have been able to conquer the Aztec people. The paper portrays the historical figure of La Malinche and details her valuable knowledge and skills that assisted the Spanish. The paper concludes that although her role in the conquest of the Aztecs is without a doubt, the figure of La Malinche, however, remains ambiguous. She is seen as both a heroic figure as well as a traitor to her own country.
From the Paper
"Known as the mother to the ethnic Mestizo people of Mexico, La Malinche was also known as Dona Marina, Malintzin, Malinal and Malinulli. While much of the writing about here is mythical and partially unsubstantiated, various reports and studies claim that she was undoubtedly a figure who played an important, if not vital role in the Spanish invasion and conquest of Mesoamerica. Researchers, for example, claim that she successfully "...guided Hernan Cortez into, and out of, many a battle with great success.""
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"La Haine", 2002.
A discussion on the various visual and aural techniques used by Mathieu Kassowitz to represent violence in his film "La Haine".
1,093 words (approx. 4.4 pages), 0 sources, AU$ 55.95
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Abstract
Dubbed 'anti-flic', Kassowitz's film "La Haine" shot to infamy, undoubtedly accelerated by the perceived violence in the film. This paper outlines the cinematic techniques used in the film "La Haine" to represent violence and how these techniques are used to steer the audience response.
From the Paper
"Indeed, one of the most apparent visual techniques in the film is the fact it is in black and white; quite unconventional for a modern film, lending it a documentary feel. The footage of the riots and the appearance of the news reader at the beginning of the film certainly communicate this, then as the story unfolds and we are still left in black and white, it is almost as if we become part of the news. The lack of colour also highlights the monotony of their lives on the estate."
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Religion in 'La Bas', 2006.
This paper discusses the theme of religion within the novel 'La Bas' (Down There) by Joris Huysmans.
675 words (approx. 2.7 pages), 3 sources, AU$ 38.95
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Abstract
In this article, the writer discusses that the novel 'La Bas' by Joris Huysmans possesses the theme of religion and how experience truly teaches the tenants of belief in a higher power. By exploring historical serial killers, such as Gilles de Rais, one can realize the foundation of satanic beliefs that Durtal finds interesting in his curiosity for human nature. The writer shows that by actively making a choice to avoid dogmatic Christian values, Gilles de Rais has the courage and bravery to explore new avenues of belief systems in the characterization provided by Huysmans in 'La Bas'.
From the Paper
"In this literary study, the theme of religion is analyzed within the classic novel La Bas (Down There) by Joris Huysmans. By revealing the religious tenants of Satanism and the Roman Catholic Church, the main character, Durtal, must come to terms with his own belief systems. By utilizing the them of religion, one can realize the depth of exploration that Durtal undergoes in his religious ideological transformation. In essence, the theme of religion will be analyzed within the novel La Bas by Joris Huysmans. The symbolism of Christianity in relation to the satanic visions that Durtal has within this novel are a main religious apparatus for his self-realization. In many ways, he doubts the validity of Christ, especially since he finds a reverence in the deviant nature of historical figures."
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John La Farge, 2005.
A look at the unique artistic style of John La Farge.
2,310 words (approx. 9.2 pages), 7 sources, MLA, AU$ 103.95
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Abstract
A brief examination of the art work of John La Farge, who was considered "the most innovative and versatile American artists of the nineteenth century". The paper explains the impact that Japanese art works and Buddhism had on La Farge's style.
From the Paper
"The Japanese culture and art began to influence him in the late 1850s and 1860s, as he married Margaret Perry, niece of the Commodore who had opened Japan to Western civilization and trade. By the time he married her in 1860, he had already begun collecting Japanese art, including prints and watercolors.
As a revolutionary artist, he began to include Japanese artistic ideas in his own works, which may have led to a certain confusion by Western standards of the time. Nevertheless, he made use of Japanese ideas in his work and attempted to make Japanese art and style known to the Western world with his essay on Japanese art, written in 1869. In his essay, John La Farge's describes many of the traditional perspectives of Japanese art, including "the asymmetrical compositions, high horizons, and clear, heightened color of Japanese prints" . Later on, he would be able to see for himself the characteristics of Japanese painting and relate to it with his "An Artist's Letters from Japan", written in 1897 on the occasion of his trip to Japan. "
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Vita Sackville-West and "Orlando"., 2002.
An examination of the role of Vita Sackville-West in the creation "Orlando" - Virginia Woolf?s 1928 fictional biography.
1,950 words (approx. 7.8 pages), 8 sources, MLA, AU$ 90.95
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Abstract
Vita Sackville-West was done a monumental favor by Virginia Woolf when she chose to immortalize her colleague, friend, and lover by creating a character named Orlando in her image. This paper shows how we would have known little about Vita had it not been for this unusual character for which she had provided inspiration. The paper discusses the role played by Sackville-West in the creation of Orlando?s protagonist and also sheds light on her relationship with Virginia Woolf.
From the Paper
"Victoria Sackville-West who was an early-twentieth century novelist, biographer and gardener developed a deep bond of friendship with the well-known author of her times Virginia Woolf. This bond was soon transformed into a controversial love affair which was celebrated in Woolf?s 1928 fictional biography titled Orlando. We must understand that Orlando was not a very famous work because of its surreal plot but it helped to give Vita Sackville-West a permanent and prominent place in the author?s life. Woolf admired her a great deal and thus wanted to express her feelings for the writer in this book, which later inspired many other books, films and documentaries. Orlando would have never been written had it not been for the relationship that existed between the two writers because it was during these years, that Woolf observed her lover carefully and felt like paying her a tribute by immortalizing her existence. While most of us have heard and read about Woolf and her sexual orientation, we hardly know much about Vita who was a confirmed bisexual and a prolific writer. And therefore Virginia Woolf probably did her favor by encapsulating her personality in this fictional work."
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T.S. Eliot?s ?La Figlia Che Piange?, 2005.
This paper analyzes T.S. Eliot's short poem "La Figlia Che Piange", which examines the re-writing and re-creating of an experience, drawing attention to the role of the poet and of poetry itself in re-defining reality.
1,580 words (approx. 6.3 pages), 0 sources, AU$ 74.95
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Abstract
This paper reviews, in detail, each stanza of T.S. Eliot's short poem "La Figlia Che Piange" noting the specific word choice, which furthers the poem's displacement and wistfulness, and shifts in verbs from a wistful imperative to the subjunctive tense. The author points out that the ultimate effect of such writing is perhaps not the seamless reversal of control the speaker had envisioned because the speaker reveals that, regardless of his rewriting of the situation, he is left with little more than words to placate himself. The paper concludes that the ultimate purpose of "La Figlia Che Piange" is to fabricate a scene richer than reality in which the woman does react with emotion to the departure, in which the poet is in control and in which the contrived details satisfy a void in the speaker's experience.
From the Paper
"In beginning the poem with such careful instructions, Eliot conveys an element of focused personal concern, adding a weight to each action. If the poem simply began "She stood on the highest pavement of the stair, leaning on a garden urn," we would not feel the same sense of the poet's desperate attention in arranging the scene exactly as it appears in his mind's eye. To further this effect, Eliot repeats the phrase "weave, weave the sunlight in your hair," reinforcing the personal importance of this detail: the sunlight in the woman's hair is such a powerful image it seems a product of her own doing (thus the active verb "weave"), rather than an incidental effect of the sun."
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La Placita Church, 2008.
A description of the La Placita Catholic Church of Los Angeles.
913 words (approx. 3.7 pages), 4 sources, MLA, AU$ 47.95
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Abstract
This paper describes the La Placita Church of Los Angeles. The paper explains that this is the oldest Catholic church in Los Angeles and has been operational for more than 200 years. The paper also points out that through its history and its commitment to Los Angeles' immigrant population, La Placita has become an important cultural center in the city. The paper then describes the services, the clergy and the people who pray at the church. In conclusion, the paper describes the architecture of the building in which the church is housed.
Outline:
Services
People Working
People Praying
Dress Code
Parking
Fees
Building
From the Paper
"La Placita was founded in 1784 as a chapel, but the building expanded and the church was finally completed in 1822. La Placita is so old that it has surveyor posts in front of the church that mark the original territorial boundaries of Los Angeles ("Explore El Pueblo"). Olvera Street consists of 27 historic buildings designed with typical Mexican style, and La Placita is one of them ("Olvera Street"). The church is a light, earth-tone color and is constructed in the traditional colonial Spanish architecture style. It has a small round protrusion in the center - somewhat reminiscent of the Alamo - with two angels beneath it. The interior of the church is famous for its ornate displays of wrought iron, gold leaf and various religious murals ("El Pueblo de Los Angeles")."
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Chaos In Colombia: La Violencia, 2008.
This paper describes a period in the history of the country of Colombia from 1948 to 1958 called La Violencia, which took over 200,000 lives.
1,280 words (approx. 5.1 pages), 6 sources, MLA, AU$ 62.95
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Abstract
This paper explains that, on April 9, 1948, in Columbia, the Liberal presidential candidate, Jorge Eliecer Gaitan, was assassinated, which is believed to have triggered the ensuing violent era known as La Violencia. The author points out that the La Violencia era was an extremely complex event involving both partisan political rivalry and hostile guerrillas throughout Colombia except for the southern portion and parts of the Caribbean Coast. The paper relates that, in 1958, the creation of the National Front ended the fighting between the political parties, but Colombia still to this day is fighting with the armed peasants and guerrillas. The paper concludes that the primary cause of this long, horrific period of internal chaos was the refusal of consecutive governments to listen to the people's demands for social and economic change due to the partisan political rivalry.
From the Paper
"The tension started in 1946 when, Conservative Mariano Ospina Perez assumed office and was in charge of the difficult task of ruling from a minority position, since the Liberals controlled Congress. Ospina tried including Liberals into the government.6 In the meantime, the amount of political arguments were increasing in the countryside. The Conservatives thought the answer was what they had always believed to be the answer, violence. Liberals and their movements were led by the leadership of Jorge Eliecer Gaitan. He demanded that Ospina should deal with the important social needs of the developing nation."
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'Don Quijote de la Mancha', 2006.
A review of 'Don Quijote de la Mancha' by Miguel de Cervantes Saavedra.
1,783 words (approx. 7.1 pages), 0 sources, APA, AU$ 83.95
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Abstract
This paper reviews the life of Miguel de Cervantes Saavedra, born 1547 in Alcala de Henares, Spain and how he used his experiences to write the book 'Don Quijote de la Mancha'. According to the paper, while the old fashioned ideals of chivalry, romance and aristocratic justice were steadily becoming hackneyed in burgeoning renaissance Spain, Cervantes took out his pen and wrote the relished story of 'Don Quixotes', the vivacious man from La Mancha whose imagination was as wild as the embraced socio-cultural history of the nation.
From the Paper
"This lackluster punctuation of daily duty was of no surprise to Cervantes, whose own personal histories were none too different. After the publication of his first literary work, "Serenisima Reina En Quien Se Halla," dedicated to the birth of Phillip II's second daughter, Cervantes spent his young years under the tutelage of Diego de Urbina aboard the royal Marquesa. In 1571, Cervantes was ill with malaria when his ship was attacked, and imbued with the same raptured infatuation for antiquarian ideals of nobility, he stood valiantly strong with his shipmates. "Cervantes is stricken with malaria but, in spite of high fevers, fights heroically from the bow of the ship, in the 'greatest moment that past centuries have seen and which those to come have no hope of seeing." At the battle of Lepanto, the event was less colorful; he was an injured, low-ranking shipman with little hope for career advancement and the ideals of a hero less applicable in the reality of a fighter struggling for one side in a bloody role for national cultural definition."
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