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The Lost City, 2002.
An analysis and review of Alan Ehrenhalt?s "The Lost City: The Forgotten Virtues of Community in America".
1,050 words (approx. 4.2 pages), 1 source, APA, AU$ 52.95
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Abstract
The author of this paper analyzed Alan Ehrenhalt?s "The Lost City: The Forgotten Virtues of community in America" and shows how Ehrenhalt challenges many of the commonly held assumptions and culturally held beliefs about progress and how the idea of progress has changed throughout the course of this American Century for Americans. The paper notes that in many ways the book can be seen as an elegy to the 1950s. He feels that Ehrenhalt?s major reason to write the book was to argue that this decade was not nearly as bad as we like to think it was. Even if it were not the ideal decade in many ways, it did contain virtues that were still well worth praising because they offered to Americans something precious - a sense of community - that it would have been worth giving up something important in exchange.
From the Paper
"Ehrenhalt demonstrates his thesis by concentrating on several neighborhoods in Chicago in the 1950s, evoking the character of the time and place as well as that of his non-fictional ?characters? with the skill of a novelist. But all of this beautiful writing cannot hide the controversial and for many unpalatable nature of his thesis, which is that people want rules, regulations, and authority figures, that we all desperately want someone out there telling us what is right and what is wrong and what will happen to us if we stray from a path of moral virtue that someone else has defined for us."
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"The Lost City", 2002.
Analyzes Alan Ehrenhalt?s "The Lost City: The Forgotten Virtues of Community in America".
1,347 words (approx. 5.4 pages), 1 source, MLA, AU$ 65.95
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Abstract
Alan Ehrenhalt?s "The Lost City: The Forgotten Virtues of Community in America" challenges many of the commonly held assumptions and culturally held beliefs about progress and how the idea of progress has changed throughout the course of this American Century for Americans. This paper discusses the book as an elegy to the 1950's and examines Ehrenhalt's theory that this decade was not as bad as we seem to remember it, despite its insularity, discrimination of minorities and excessive consumerization.
From the Paper
"The book examines the 1950s as the time before Baby Boomers began to attack the institutions of education, government, religious belief ? the visible sociological forms of authority ? and draws connections between these feints against the established order and the fact that American streets are no longer safe to walk along at night (although, of course, they were never entirely safe, and one hazards that despite all of Ehrenhalt?s elegiac words, they were particularly unsafe for a black man in Mobile in a white neighborhood). Baby Boomers, Ehrenhalt correctly if just a touch simplistically writes, demanded more personal autonomy and a greater sense of individuality, and in the process of acquiring these traits they destroyed the institutions that were holding American communities together: churches, schools, even families."
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"The Lost City" by Alan Ehrenhalt, 2000.
A review of the work on the benefits and costs of a community-based society, focusing on the culture of the 1950s.
900 words (approx. 3.6 pages), 1 source, AU$ 45.95
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Abstract
"Alan Ehrenhalt's The Lost City: The Forgotten Virtues of Community in America challenges many of the commonly held assumptions and culturally held beliefs about progress and how the idea of progress has changed throughout the course of this American Century for Americans.
From the Paper
"Alan Ehrenhalt's The Lost City: The Forgotten Virtues of Community in America challenges many of the commonly held assumptions and culturally held beliefs about progress and how the idea of progress has changed throughout the course of this American Century for Americans. In many ways, it might be seen as an elegy to the 1950s, not an era that is often elegized, but Ehrenhalt argues that it was nearly as bad as we like to think it was - in terms of insularity, pressure to conform, excessive consumerization of the economy, and suppression of the rights of women, gays and racial and religious minorities. But he also at times seems to argue that even if it were not the ideal decade in many ways, than it was still worth it because it offered to Americans something so precious (and something that is in such short supply these days) that it would have been worth giving up..."
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"Shallow Grave" and "The City of Lost Children", 2005.
A comparative analysis of the films "Shallow Grave" and "The City of Lost Children".
675 words (approx. 2.7 pages), 3 sources, AU$ 38.95
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Abstract
This paper examines how the films "Shallow Grave" and "The City of Lost Children" both tell the story of the inevitability of destruction to those who benefit from ill-gotten gains. It looks at how what is unique about each film is how each director fully utilizes their respective genre in terms of place, visual effects and character development.
From the Paper
"The films Shallow Grave and The City of Lost Children both tell the story of the inevitability of destruction to those who benefit from ill-gotten gains. What is unique about each film is how each director fully utilizes their respective genre in terms of place, visual effects and character development. However, in comparison, Shallow Grave is more effective in holding a mirror up to the nature of friendship, greed and morality in self-absorbed societies. Shallow Grave is an example of a black comedy with modern film noir nuances. The characters, perhaps lacking in moral fiber are not criminal, in fact are professionals with gainful employment, until the exact circumstances present themselves. The noir aspects of the film exhibit as paranoia and guilt over the act of dismembering Hugo and continue to grow and become more tangible."
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Lost Women of a Lost Generation, 2002.
This paper discusses lost women of a lost generation, between the 1920s and the 1930s, "The Sun Also Rises" by Ernest Hemingway and "Good Morning, Midnight" by Jean Rhys.
1,150 words (approx. 4.6 pages), 2 sources, AU$ 64.95
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Abstract
This paper states that both novels prominently feature women who live frivolously from day to day, desperately attempting to "buy" their happiness; or, at least, to buy the alcohol with which they may buy "forgetfulness" of their traumatic pasts. The author believes that, in many respects, the character of Sasha Jensen from "Good Morning, Midnight" may be seen as an older version of Brett Ashley from "The Sun Also Rises". The paper states that these two female characters serve as cultural "bookends" or markers to the long intermission between the wars.
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New York City as Represented in Two Films, 2002.
An examination of the portrayal of New York in two films - King Vidor?s "The Crowd" (1928) and "King Kong" (1933), directed by Merian C. Cooper.
2,285 words (approx. 9.1 pages), 3 sources, MLA, AU$ 101.95
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Abstract
This paper examines the way in which New York is portrayed in these two classic movies. The paper shows how in both films, New York is represented as a foreboding steel and concrete landscape, a haven for cynics who care little about naive newcomers and a center for machinery and industry which often does as much harm as good. The paper compares and contrast the storylines of the two movies - "King Kong" about a huge gorilla monster trying to escape the city but causing panic and havoc in his wake; and "The Crowd" which is about a common man, lost in New York City, seeking to find those basic qualities of success, happiness and home.
From the Paper
"The Crowd and King Kong?s use of New York, at lease on the surface, seem to be diametrically opposite. Vidor?s film was a fable, grown out of and set in the most populist and socialist days of the country, when artists were eager to include the struggle of the common man in their themes. Kong, meanwhile was more of a ?B movie,? less well acted and hinging its success on what at the time were breakthroughts in stop-motion animation and special effects."
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Community Policing In New York City, 1999.
Analyzes the effectiveness of this anti-crime program, theory, public attitudes, politics and the role of the media.
1,350 words (approx. 5.4 pages), 6 sources, AU$ 68.95
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Abstract
"Reducing community fear of crime requires, among other things, an active police force. The police must be willing to patrol the streets and focus on improving the quality of neighborhood life. Residents who are afraid to sit on their front porches have lost control of their neighborhoods.
From the Paper
"Reducing community fear of crime requires, among other things, an active police force. The police must be willing to patrol the streets and focus on improving the quality of neighborhood life. Residents who are afraid to sit on their front porches have lost control of their neighborhoods. Police departments like New York City's are helping to restore control by using a concept known as community policing.
People tend to fear crime less when they have freedom of movement within their communities. An example is Maria Hernandez Park in the heart of Brooklyn's Bushwick neighborhood. The park was named for a woman who are accidentally shot by drug dealers who once controlled the area, turning it into an open-air market for the selling of heroin, crack, and cocaine. Now the park is filled with elderly residents, young mothers, and children. The ..."
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Lost Parents, 2002.
Discusses the reversal of the Peter Pan story in today's society, where the lost boys have become the "lost parents".
2,057 words (approx. 8.2 pages), 4 sources, MLA, AU$ 93.95
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Abstract
The paper argues that the story of today?s family is in many ways quite the opposite of Peter Pan. It is the grown-ups who have flown out the window and off to wonderful adventures, while the children wait to see if they?ll come home. The question has become not so much one of losing one?s children, but rather, if they will have left the windows open when one comes back. In more direct terms, the parents of today are often trying to live in a ?Neverland? of work and social involvement and the fear of losing ones children has increasingly changed to a nagging thought that one may instead be lost to them. The paper uses literature on the subject to support its argument, including ?There?s No Place Like Work,? by Arlie Russel Hochschild and Jerry Adler?s ?Building a Better Dad".
From the Paper
"There is more to the story of the Lost Parents, though, than just the history of their escape from the home. There is also the story of the children who are left behind. In the staged version of Peter Pan, the character of Captain Hook is generally played by the same actor as Wendy?s Mother. In a similar fashion, the Wizard of Oz draws parallels between the evil witch and the evil adults in Dorothy?s life. The children, in trying to escape from their families and all those controlling grown-ups, end up encountering those grown ups in far more horrid forms. They have gone from parents and neighbors to pirates and witches. In our parallel story of the lost parents, it seems that a similar phenomena may be occurring. While adults are escaping from their children and families, they are increasingly running in to the same problems returned in a more terrible way. Hochschild mentions this, pointing out today?s children are more likely to run into a host of problems such as drug use, teenage pregnancy, and to be victims of violent crime. One might also remind the reader of the increasing upswing in crimes committed by children. The child whose parents have escaped out the window becomes the pirates of their fantasies -- and this is played out in a host of ways. In many urban areas, gangs of children are widely feared. In a more corporate sense, children getting into trouble with pregnancy, drugs, and even simply at school create a financial drain on the economy, ?stealing? the resources their parents work to create."
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John Milton's Personal Influence on the Writing of "Paradise Lost", 2002.
A look at John Milton's political and religious forum in the novel "Paradise Lost".
2,280 words (approx. 9.1 pages), 27 sources, AU$ 101.95
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Abstract
This paper examines John Milton's "Paradise Lost" and explains how it is more than just another entertaining tale, but rather a religious and political forum for Milton's personal views and feelings.
From the paper:
"Perhaps Paradise Lost was more than just a biblical tale of humankind?s fall from God?s grace, out of paradise. It was more, it was a religious and political forum for Milton to express his views unopposed, by using the conflict of good and evil in Paradise Lost portraying his own philosophies. With each struggle he illustrates his political and religious notions connecting them with the conflict of the main subject introduced in Book I, ?the creation, fall, and redemption of the world and humankind? (Lazzari 367). With certain influences in his life Milton?s beliefs were shaped into what they were during the composure of Paradise Lost. With these influences and these beliefs he wrote a Paradise Lost."
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John Milton's "Paradise Lost", 2007.
This paper discusses the shared characteristics of the poet and Satan in John Milton's Christian epic, "Paradise Lost".
2,290 words (approx. 9.2 pages), 0 sources, AU$ 101.95
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Abstract
This paper explains that, during the time that John Milton was writing "Paradise Lost", he lost his sight and was deeply troubled. The author believes that the parallels he generates between Satan and himself as the poet figure are meant to hint indirectly at his own struggle with his faith and his love of God. The paper establishes this argument, based on textual evidence from the poem, suggesting that these similarities are crucial because they imply a loss of faith on the part of both characters and therefore of Milton.
From the Paper
"Despite the fact that Milton implies that the poet has acquired God's grace by means of the Bible, he admits that God, as represented by light, does not return his sight: "thee I revisit safe,/And feel thy sov'reign vital lamp; but thou/Revisit'st not these eyes". This passage seems particularly troubling; as Milton's mournful tone suggests a lingering sense of loss and disappointment. Later on, Milton inadvertently furthers this sense of loss by listing all of the things the poet can not see:..."
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?The Lost Children of Wilder?, 2002.
Reviews this book on New York's foster care system by Nina Bernstein.
1,712 words (approx. 6.8 pages), 1 source, APA, AU$ 80.95
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Abstract
In "The Lost Children of Wilder", reporter Nina Bernstein examines the failures, disasters and tragedies that continue to plague New York City?s foster care system. The paper shows that to do this, Bernstein tells two stories. The first details the history of New York City?s child welfare system, a system that has been ineffective and mired in bureaucracy for the past 100 years. The second story focuses on the lives of Shirley Wilder and her son Lamont, two generations of children who have both been failed by a chaotic foster care system that refuses to reform.
From the Paper
"To read The Lost Children of Wilder is an experience in frustration with the seemingly-endless loop of child welfare. The only solution appears to be increasing public funding to the city?s shelter system and to mothers like Shirley, so they are in a better position to raise and educate their children. Critics may point out that women like Shirley should not be mothers. However, Bernstein?s narrative leads me to believe that rushing children to foster care has much direr consequences, both for Lamont and eventually, the rest of society (who will eventually shoulder an average of $500,000 per child in foster care). After all, it is in everyone?s best interests to ensure that all children receive a positive upbringing, with access to education, medical care and physical well being."
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Family and 'The Lost Boys', 2007.
This paper looks at how the concept of family is portrayed in the horror film 'The Lost Boys', directed by Joel Shumacher.
1,043 words (approx. 4.2 pages), 5 sources, MLA, AU$ 52.95
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Abstract
In this article, the writer notes that the family plays a large role in horror films. The way that family is depicted in movies usually reflects the typical family makeup of that particular time period. The writer discusses that the 1987 vampire film 'The Lost Boys' echoes the time period by featuring a single parent family, and it ascertains that because of the economic adversity and the damaging effects of divorce on children single parent families are not an ideal situation. The writer maintains that 'The Lost Boys' uses the family situation of the 1980s to promote families that stay together. The writer then concludes that 'The Lost Boys' goes beyond just reflecting the time period by warning of the effects of divorce and advocating a traditional nuclear family.
From the Paper
"The family in The Lost Boys centers around a single parent household run by the mother, Lucy. She has two teenage sons, Michael and Sam. Divorced and struggling financially, she moves the three of them to Santa Carla, California to live with her father. Michael meets a group in town quickly. Slowly both Michael and Sam realize that there is more to this gang of boys than they imagined. Not only are they vampires, but they have made Michael a vampire as well. To save his brother, Sam recruits two vampire hunters to help them in their attempt to kill the head vampire.
"The Lost Boys asserts that children are harmed by divorce and are better served by living in a strong established family environment."
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Cultural Identity in Richard Kim's novel "Lost Names", 2001.
Review of Richard Kim's novel about life in Japanese occupied Korea, "Lost Names".
1,064 words (approx. 4.3 pages), 2 sources, AU$ 54.95
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Abstract
This paper comments on Richard Kim's novel "Lost Names". It comments on growing up in Japanese occupied Korea. "Lost Names", as the paper shows, is somewhere between textbook and novel.
From the Paper
"Lost Names is somewhere between textbook and novel. Because Kim admits that his book is a work of fiction, there is a certain honesty in his story. He describes the boy, himself, as wealthier than those around him, as a boy who is first in his class, and as someone who receives special benefits in the community because of his father?s reputation. He does not attempt to set up this story as the definitive account of the Japanese occupation of Korea, just the story of one family."
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Armistice Day has Lost its Meaning, 2002.
A look at why Armistice Day has currently lost meaning for American society.
1,760 words (approx. 7.0 pages), 7 sources, MLA, AU$ 81.95
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Abstract
This is an argumentative paper that deals with the lost meaning of Armistice Day, or as it is better known, Veteran's Day. The author argues that this American holiday has lost significance and meaning as a memorial day.
From the Paper
"With 500,000 cheering, flag-waving spectators lining the way, and thundering drums flanked by nostalgic Glenn Miller swing music on the autumn air, tens of thousands of proud American warriors marched out of the past and up Fifth Avenue in New York's largest Veterans Day Parade since the end of World War II. This 1995 parade was a victory of sorts due to the fact that, in recent years, Veterans Day observations have become, as Robert McFadden says, "desultory at best, with spectators often limited to passers-by walking their dogs or heading out for a quart of milk"("On Parade"). This parade was evidence of a revival in veteran appreciation, and a renewal of Veterans Day as a much celebrated American holiday. But while this parade can be used to model a renewal in ceremony and enthusiasm, the true meaning of Veterans Day, or Armistice Day as it was originally called, has been lost."
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Allusions to "Paradise Lost" and "Faust" in "Frankenstein", 2007.
A literary analysis of allusions to John Milton's "Paradise Lost" and Johann Wolfgang von Goethe's "Faust" in Mary Shelley's "Frankenstein".
890 words (approx. 3.6 pages), 0 sources, AU$ 45.95
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Abstract
This paper examines Mary Shelley's novel "Frankenstein" and the allusions it makes to Milton's epic poem "Paradise Lost" and Goethe's "Faust". The paper holds that "Frankenstein" includes these allusions to present the reader with a clear explanation of the inner torment of the characters. The paper expands upon the parallels between the characters in each work in detail and concludes that familiarity with "Faust" and "Paradise Lost" adds to our understanding of "Frankenstein" and makes the novel memorable and powerful.
From the Paper
"The monster's epiphany is a catalyst to his destructive path. He realizes that his creator has handled creationism in an irresponsible manner and is repulsed by Victor's utter abandonment. "'Accursed creator! Why did you form a monster so hideous that even you turned from me in disgust? (125) He also realizes that his grotesque appearance will forever condemn him to loneliness. "God, in pity, made man beautiful and alluring, after his own image; but my form is a filthy type of your, more horrid even from the very resemblance... Satan had his companions, fellow devils, to admire and encourage him, but I am solitary and abhorred" (125). This idea drawn from "Paradise Lost", that even Satan has companions, pains the monster terribly; he knows he is a good natured, genuine creature, yet he is rejected by the world."
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Satan?s Human Characteristics in "Paradise Lost", 2002.
A study of Satan's characteristics in "Paradise Lost" by Milton, focusing on Book Four.
730 words (approx. 2.9 pages), 0 sources, AU$ 38.95
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Abstract
This paper presents an explanation of how John Milton makes Satan seem human-like in his work, "Paradise Lost". Satan is shown to have feelings and regret. He also plays with the idea of trying to overthrow God by waging war and realizes that is not an option. Finally, Milton shows how Satan feels pain and even tries to repent. The paper focuses on Book Four of "Paradise Lost" and contains quotes from the book.
From the Paper
"In of Paradise Lost, Milton illustrates Satan as the sympathetic character. He reveals feelings of guilt, despair, jealousy and regret. The reader identifies with these feelings and understands Satan?s actions. This new insight into his character is presented at the opening of book Four: ?By change of pace, now conscience wakes despair. That slumbered wakes the bitter memory of what he was, what is and what must be.?"
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