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"Medea" and "A Doll's House", 2005.
A comparative analysis of Euripides' "Medea" and Henrik Ibsen's "Medea" and "A Doll's House".
1,125 words (approx. 4.5 pages), 2 sources, AU$ 64.95
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Abstract
This paper examines two texts, "Medea" and "A Doll's House" and looks at how they support and/or challenge the western notion where the feminine is associated with the female and the masculine is associated with the male. It looks at how in both the stories the main characters Medea and Nora, start of as the 'typical' females but through out the story challenge many assumptions of how women should be.
From the Paper
"This essay examines how two stories, Medea and A Doll's House support and more importantly challenge our Western concept of what is 'male' and 'female', masculine and feminine. This essay will argue that through themes of sexuality, love, birth and empowerment both these stories challenge the notions that masculine equals male and feminine equals female. Euripides' Medea is an ancient Greek tragedy. It is a story of a jealous woman who sets out to revenge the betrayal of her husband, Jason. He has forsaken her, has decided to leave her for another woman and has ordered her banished. "
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A Doll House and Medea, 2005.
An examination of the concepts of feminine and masculine in "A Doll House" by Ibsen and Euripides's "Medea".
1,575 words (approx. 6.3 pages), 0 sources, AU$ 89.95
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Abstract
The paper looks at the characters in the two works "A Doll House" by Ibsen and "Medea" by Euripides. It examines the way the characters act and their relationships, and draws conclusions of whether males are active and females passive. Both works are interesting in the ways they portrays the very differing roles of the men and women of the time.
From the Paper
"In this essay I have chosen to work with the concepts active and passive and to critically explore the active and passive characteristics of the persons in A Doll House and Medea. The essay will also examine the relationship between the two concepts, the two texts (A Doll House and Medea), and the Western concepts of feminine and masculine. The essay will argue that the two texts and its main characters both sustain and challenge the Western notion that active is associated with masculinity while the passive is associated with femininity as well as the Western concept of 'feminine' and 'masculine' in general."
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"A Doll's House", 2002.
An examination of the story of Medea and Nora's rebellion in Ibsen's "A Doll's House".
1,400 words (approx. 5.6 pages), 2 sources, AU$ 76.95
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Abstract
This paper is written about Medea and Nora's rebellion. Civil society depends on people not acting from their base emotions, such as the rage and jealousy that inspired Medea's terrible massacre. Pasolini's film adaptation of Medea stresses the gap between social customs that are meant to restrain what the Greeks saw as very dangerous potential in human beings who give in to their animal reactions.
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"Medea" ( Seneca ) and "Medea" ( Euripides ), 1999.
Compares the characters, incidents, themes, styles and language of these plays by Roman and Greek writers based on the same myth.
1,350 words (approx. 5.4 pages), 2 sources, AU$ 68.95
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Abstract
This study will compare two plays entitled Medea, by the Roman Seneca and the Greek Euripides. The focus of the study will be on the general superiority of Euripides' presentation of the tragedy. Despite the fact that the plays tell the same story, except for a few minor differences, the dramatic skills and story-telling flair of Euripides outshine the more leaden and much longer-winded Seneca.
From the Paper
"This study will compare two plays entitled Medea, by the Roman Seneca and the Greek Euripides. The focus of the study will be on the general superiority of Euripides' presentation of the tragedy. Despite the fact that the plays tell the same story, except for a few minor differences, the dramatic skills and story-telling flair of Euripides outshine the more leaden and much longer-winded Seneca. Seneca tends to create interminable-seeming speeches with little dramatic or expository reward, especially from his Chorus. In fact, the editors themselves excise one long and obviously irrelevant speech "of great detail" from the Chorus of Seneca (Seneca 318). In addition, Seneca's tendency to flowery language often stops the play in its tracks rather than deepening its emotional impact as the author must have intended. Euripides, on the other hand, uses down-to-earth ..."
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Male and Female Relationships in Literature, 2008.
An analysis of the relationship between the male and female characters in the ancient text, "The Medea" by Euripides and the modern text, "A Doll House" by H. Ibsen.
1,025 words (approx. 4.1 pages), 2 sources, MLA, AU$ 52.95
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Abstract
This paper examines two texts, one ancient, "The Medea" by Euripides and the other modern, "A Doll House" by H. Ibsen. It looks at the roles of the two female characters - Medea in " The Medea" and Nora in "A Doll House" and discusses how the relationships between the male and the female characters reflect the relationship of the colonizer and the colonized. The paper examines what such a relationship entails and argues that this relationship can be changed only under extreme circumstances, which require a drastic action on the part of the colonized.
From the Paper
"Both Medea and Nora have challenged the concept of the passive feminine and the gender roles assigned to men and women within our society. The relationships between the male and the female often resemble the relationship between the colonizers and the colonized. The male/colonizer is active, the female/colonized is passive. The balance of power tips sharply towards the male/colonizer. The female/colonized are often the 'Others'; they are weak, simple creatures that need protection and guardianship, provided by the 'naturally' stronger, dominant male/colonizer. Nora and Medea refused to stay in the roles of the colonized and succeeded in freeing themselves from oppression by taking drastic action. Both however, were punished for it, shunned by the society in which they lived and both lost their children."
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Theodor Adorno, Pop Culture and Dolls, 2006.
An overview of the topic of dolls and how German philosopher, Theodor Adorno, would have viewed the associated phenomena of dolls in pop culture.
3,412 words (approx. 13.6 pages), 6 sources, MLA, AU$ 139.95
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Abstract
This paper provides an insight into dolls, Theodor Adorno, pop culture and how they all tie together. The objective is to describe how Theodor Adorno's views on pop culture would apply to today's mass production of dolls, doll's images and the market for dolls in general. Through reviews of Adorno's work, it looks at how a correlation can be made that tie the many aspects of the doll making industry to the expectations of society.
Outline
Introduction
Adorno
Mass Production
Dolls
How Would Adorno Look at Dolls Made Today?
The Doll -- A Historical Function
Function in Recent Popular Culture
Conclusion
From the Paper
"To understand the modern doll industry, we must also understand the art or science of mass production. Adorno may tell us that the capitalist way of life was built on a foundation of mass marketing and mass production even though that can not provide culture. To have mass production, a system needs factories and places to sell the goods produced by those factories. Capitalism, however, is not easily satisfied with a few places, it requires an ever increasing number of plants and malls to satisfy its voracious appetite. Consider how today there is still a need for more places to build and sell the mass produced nothingness, dolls and doll houses are but one example. The current trends systematically erase resources and even history by building new shopping malls on historic battlefields or whatever land is available."
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Dolls and their Impact on Children, 2005.
A look at dolls from the 1940s to the 1970s and what impact they had on black and white children.
5,665 words (approx. 22.7 pages), 14 sources, MLA, AU$ 198.95
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Abstract
This paper explores the impact of dolls on the black and white children during the periods between 1940's and 1970's. A number of groundbreaking and pioneering research studies have been cited in the paper to provide a comprehensive analysis of the influence of dolls on the psychology of children. Subsequently, the paper explores the promotion and advertisement activities carried out by leading doll manufacturers in that particular era and also the difference of marketing activities between the south and the north. This paper reveals and clarifies the role played by the corporations throughout the specified period in either promoting or demoting interracial harmony.
Introduction: Three Interracial People
Review of Literature
Dolls from 1940's through 1970's and their Impact on Black and White
Children
Sketching Social and Fashion Meanings from Literature on Dolls
Doll Representing Contemporary Fashion
The Marketing and Promotion of Leading Doll Manufacturers
Conclusion
From the Paper
"All through American history, children of interracial groups have been unable to maintain a healthy relationship with each other. This is particularly true for both black and white communities. The blacks are jealous of the whites because of their higher social, political and financial status and the whites hate the distinct color of the black skin because to them the black color resembles overloaded jinx. The situation is not getting any better and with globalization at the doorstep, the challenges confronting the American society, in general, and American corporations, in particular, are enormous. The last thing they need is to single out a particular group on the basis of their color and marginalize them. Ursula M. Brown (2001) writes, "Thus interracial children have to negotiate all the developmental challenges that confront uni-racial children. In addition, they have to face a unique set of emotional hurdles. These stem from their mixed racial background, a world that has deprived them of the right to define themselves as who they are, and communities that may resent them for their blackness, interracialness, or whiteness.""
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Betrayal and Revenge in 'Medea', 2006.
A discussion regarding the emotions and pain that the character Medea endures, in the Greek myth 'Medea'.
1,587 words (approx. 6.3 pages), 1 source, MLA, AU$ 74.95
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Abstract
This paper discusses how betrayal always begins with a relationship of trust. The paper explains how the person who becomes the victim initially trusts the person who does the betraying. The paper uses this explanation of betrayal to understand the position of the Greek mythical legend, Medea, a woman who is exceptionally intelligent and also very angry.
From the Paper
"At first, Medea reacts to Jason's betrayal with extreme grief and even suicidal thoughts: "That lightening from heaven would split my head open. Oh, what use have I now for life? I would find my release in death and leave hateful existence behind me" (747:142-145). What begins as a terrible and unexpected blow producing pain and grief then progresses to murderous rage and a burning desire for revenge. As the children's nurse describes it, "...now there's hatred everywhere. Love is diseased" (744:16).Because Medea lives in a patriarchal culture where women have no rights, she cannot fight back openly (as a woman might do in Court today, for instance). Instead, she has to scheme and manipulate. The nurse describes her nature as full of "wildness," with a "bitter nature," and "proud hearted" (746:103-104). "
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Eliza Doolittle and Medea, 2007.
A comparative analysis of the characters of Eliza Doolittle, from George Bernard Shaw's "Pygmalion" and Medea, from Euripides' play, "Medea".
1,305 words (approx. 5.2 pages), 2 sources, MLA, AU$ 64.95
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Abstract
This paper compares the characters of Eliza Doolittle from George Bernard Shaw's "Pygmalion" and Euripides' Medea by considering their different strengths and weaknesses, and the modes of representation used to distinguish them. Some reflection is also given to the means the authors use to convey the nature of each character and the ways in which the changes within the character are expressed. Finally, an attempt is made to analyze the two characters through considering the ways in which they have changed by the end of the play.
From the Paper
" Although many critics have described Medea as being a woman that is transformed from someone who is suicidal and depressed into a person who is driven by anger and revenge, it is clear that Medea had always been a determined, strong woman. She had often used her magic powers to obtain what she wanted; shown through her actions in helping Jason obtain the Golden Fleece, the murder of her own brother, and through manipulating the daughters of Pelias to murder their own father. Instead, Medea is portrayed through Euripides, as a woman that kills while being completely sane, through an anger that is fuelled by pure jealousy. She is a woman scorned."
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Feminism in "A Doll's House", 2003.
This paper explores the significance of the connections between Henrik Ibsen's play, "A Doll's House" and the rise of feminism.
735 words (approx. 2.9 pages), 2 sources, MLA, AU$ 38.95
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Abstract
This paper explains how the behavior of Nora, the main character in "A Doll's House" by Henrik Ibsen, is connected to the title in the sense that she is like a doll living in a doll's house. This lifestyle was common during the Victorian Era, the time period in which the play was written, and gave fuel to the fire of rising feminism. The paper shows that the play's most significant feature is the real-life change that it sparked in the lifestyles of women in the late nineteenth century.
From the Paper
"A Doll?s House, written by Henrik Ibsen, is a play that shocked audiences upon its release. The author wrote it to say something about commonplace marriages that took place during the late nineteenth century. The title, A Doll?s House refers to the disempowered position of the wife in referring to her as a doll. This play helped to begin the feminist movement, where women began to stand up for themselves and question the legitimacy of the societal conditioning. What makes this play connected to feminism lies in its title, the fact that it was written during the Victorian Era, and the way it began the destruction of the gender roles that are still apparent today."
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"Medea" by Euripides and by Seneca, 2002.
A comparison of two versions of the story.
1,905 words (approx. 7.6 pages), 4 sources, AU$ 87.95
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Abstract
This paper compares the two versions of Medea, one by Euripides and another by Seneca. The Greek mythological Medea is known for her evil nature and dangerous passions, which drove her wild with jealousy, and she committed a series of murders to make her husband suffer. This paper examines the story of Medea.
From the paper:
"Medea is a despicable character of Greek mythology and Euripides later produced a play on her story. The Euripides?s version of Medea is the most popular though many others presented their own versions. Along with Euripides, Seneca also produced a well-known play on the subject. There have been slight differences in all available versions of Medea, but the plot remains the same. Medea was the princess of Colchis who fell in love with Jason and helped him obtain the Golden Fleece through her powers of Witchcraft. She knew magic and sorcery and often used her skills for her ulterior motives."
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"Medea", 2002.
An analysis of the emotional struggles throughout the classic Greek play "Medea" by Euripides.
958 words (approx. 3.8 pages), 1 source, MLA, AU$ 50.95
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Abstract
This paper describes Euripides? play "Medea" as a story about crimes of passion. Through the character of Medea, Euripides illustrates how one woman can become so overcome with rage and vengeance that she disregards all logic. The writer shows how Medea, through bitter revenge, destroys not only what is important to Jason, but to herself as well. Medea?s character demonstrates how one person can escape the realm of sanity and do irrational things in the heat of the moment causing irreversible damage.
From the Paper
"Medea?s weakness is revealed through her excessive love and devotion for her husband, Jason. When he leaves her, she is hurt. Her emotion is expressed when explains to the women of Corinth that her heart is ?crushed? and that her life has no pleasure left. The depth of her sadness is such that she says she wants to die, explaining that Jason was her whole life. (24) Medea?s pain quickly turns to anger, which in turn becomes an intense and irrational need for revenge."
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Medea: The Monomythic Antihero Cycle, 2006.
A paper on the story of Medea as the anti-hero.
1,526 words (approx. 6.1 pages), 4 sources, MLA, AU$ 73.95
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Abstract
This paper defines Medea as the anti-hero of the anti-monomyth. The author traces the stages of the myth of Medea and parallels them with the stages in a typical monomyth. By drawing the parallels, the author is able to show that the Medea myth is a parody of the standard monomyth, showing the phases play out in a manner that is antithetical to the typical monomyth.
From the Paper
"Joseph Campbell might well turn over in his grave to hear Medea's final murder of her children described as an example of the monomyth. Certainly, if one were to take into account other moments of Medea's life and her adventures with the Argonauts, it would be possibly --though difficult-- to make such an argument seriously. However, arguing that Medea's tale as told by Euripides is an example of the monomyth at work seems rather blind to the fact that the hero cycle is meant to be about the exaltation, rather than the denial, of life. The problem may be as simple as the fact that Medea is female. Many critics have noted that, "Joseph Campbell is widely acclaimed for his conception of the hero's journey. However it addresses only half the population by excluding females," (Johnson) and that as such a different schema may be necessary for approaching a woman's experience. Medea is not a hero-she is the goddess or temptress without whose aid a hero neither rises nor falls."
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Medea, 2006.
A summary and analysis of Euripides' work "Medea".
1,706 words (approx. 6.8 pages), 5 sources, MLA, AU$ 80.95
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Abstract
This paper discusses, summarizes and analyzes one of the more famous works by Greek playwright Euripides, "Medea". The paper explains why some see the character of Medea as the villainess while others see her as a victim as much as a victimizer and that this later perspective suggests that the lesson to be learned from "Medea" is to stand up for what one believes in, and overthrow those who oppress and suppress.
From the Paper
"Euripides, one of the great Greek playwrights of yesteryears, even today, remains a constant favorite among readers, more so than Sophocles or Aeschylus could ever become. The reason for this phenomenon is that Euripides more often than not, believed in sacrificing or sidelining propriety and correctness in favor of metaphorical and rhetorical displays of verse, and this may be what made him better known than most of his contemporaries of the middle Ages, when the Classical Greek tragedies came into their own. Euripides's treatment of the genre referred to as the 'tragi-comedy', therefore, is well known for being tame at times, and completely rhetorical at others and the reader often gets a feeling that he is reading the speeches of a great orator than the work of a poet. Euripides was a trained athlete, and was also a famed painter; however, it was his poetry that won him great acclaim and wealth during his lifetime. (Euripides and his Tragedies)"
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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$ 86.95
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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])."
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Henrik Ibsen's "A Doll's House", 2006.
An analysis of the main character in Henrik Ibsen's famous play "A Doll's House".
2,733 words (approx. 10.9 pages), 7 sources, MLA, AU$ 117.95
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Abstract
This paper analyzes Nora, the main character in "A Doll's House" and examines the different facets of her personality. The paper discusses both her businesswoman persona that she has kept secret and the little doll persona that she displays for her father and her husband. The paper also compares the story in "A Doll's House" to Ibsen's real life, pointing out similarities between the two and looks at similarities between dilemmas faced by today's women and the women that lived in the era of the novel. Finally, the paper concludes that Nora, in spite of the persona that she projected to her husband and father for so long, is actually a strong, flexible and proud woman.
From the Paper
"In reading what other critics and readers have written about the character Norma Helmer, it appears that her character evolved or was in the process of evolving through out the play. Definitely, she like many women of the 19th Century, carefully hid her strength behind a sweet doll-like demeanor that was at best a fabrication to placate the expectations of her domineering husband and the belief by society at large, that women were weak silly creatures. On the other hand, in presenting this persona, Nora also lied to herself about her own strength and until she revealed herself, she denied her husband the right of the spouse to really know whom he really married. But then maybe Torvald did not really want to know the darker and stronger side of Nora. He was an unappreciative boor for all of her hard work in his name. So we really see the two central characters as they really are at the end of the play. Nora is strong, flexible but proud, and Torvald is a priggish weak egotistical person."
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