| Papers [1-12] of 1863 :: [Page 1 of 156] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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William Shakespeare's "The Tempest", 2008.
Looks at the protagonist Prospero in William Shakespeare's drama "The Tempest".
2,000 words (approx. 8.0 pages), 2 sources, APA, $ 63.95
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Abstract
This paper relates that William Shakespeare's "The Tempest"
builds its suspense through the interplay of intricate characters. The protagonist Prospero must elude the treacherous Caliban who wants to usurp his bother's throne. There are those who claim that Prospero is just acting on the outside and that on the inside, he is a warm-hearted person. This paper supports the opinion that there is sufficient evidence in the play to suggest that Prospero is not hiding anything and is a selfish and uncaring as he appears on the outside.
From the Paper
"We learn of Caliban's physical appearance from other characters. The audience first learns of Caliban from Prospero's description to Ariel. We learn that Caliban is the child of the witch, Sycorax. Caliban's witch/mother is described as "A freckled whelp, hag-born--not honoured with / A human shape". Trinculo and Stefano describe Caliban as less than human. Trinculo asks if Caliban is "a man or a fish?". Stefano describes Caliban as a "moon-calf". A moon-calf is a medieval expression that refers to a deformed creature."
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Oscar Wilde's "The Picture of Dorian Gray", 2008.
Examines the nature of sin as presented in Oscar Wilde's play "The Picture of Dorian Gray".
855 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
This paper discusses Oscar Wilde's play, "The Picture of Dorian Gray" and how the origins of sin are presented in the play. The paper uses examples from the play to show how, for Wilde, sin has its origin in awareness and knowledge of desire, just like the fall from grace in Eden. The paper explains how the main character, Dorian, becomes sinful in his knowledge and his awareness of his own beauty and this leads to his downfall.
From the Paper
"Again, there is scarlet, but this is the scarlet of blood letting, not an innocent blush of the young Dorian's lips. Once again, at the words of Lord Henry, even the older and more jaded Dorian is moved to tremble. He blanches at the sight of the picture, but for a different reason, because he can see the monster he has become, rather than fears the passage of age as he did as a young man. His own portrait is described as loathsome, like a serpent, and the diction of the passage is Biblical and elevated, "the scarlet of blood," "desire," and "scarlet dew" as a euphemism for blood."
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| Term Paper # 108894 |
temporarily unavailable
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Anglo-Saxon Culture in Macbeth, 2008.
An analysis of the influences of Anglo-Saxon culture on Shakespeare's play "Macbeth".
2,731 words (approx. 10.9 pages), 7 sources, MLA, $ 81.95
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Abstract
The paper examines the aspects of Anglo-Saxon culture that are prevalent in the tragedy "Macbeth", including religious implications, the unique interpretation of the idea of faith and the social customs which ruled over the people of early Britain after the departure of the Romans from the area. The paper shows how these elements help frame the tragic story of a man who rejected the normal behavior allotted to his status and let his ambition ruin an entire nation.
From the Paper
"The tragedy of Macbeth took place in Scotland at the end of the medieval period of Europe. It was based on real accounts of a Scottish Thane who murdered his Lord. William Shakespeare was known for his poetic language, which helped framed the dramatic and tragic story of Macbeth, (Nostbakken 14). By highlighting elements of the Anglo-Saxon culture which existed in that area and later influenced future generations, Shakespeare creates a world torn by war and ruled by fate."
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"A Streetcar Named Desire", 2008.
An analysis of Tennessee Williams' play "A Streetcar Named Desire".
1,289 words (approx. 5.2 pages), 1 source, MLA, $ 43.95
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Abstract
The paper discusses the self-destructive behaviors and illusions that lead to the downfall of Blanche Dubois, the main character in Tennessee Williams' play "A Streetcar Named Desire". The paper then discusses how Blanche chose insanity so she would not have to deal with the harsh and brutal reality of her life. The paper conveys how she is a tragic character in a tragic story and she represents women who can never face the realities of their lives.
From the Paper
"Tennessee Williams play "A Streetcar Named Desire" is filled with various symbols, literary elements, and techniques that carry special meaning and touch the reader's innermost thoughts. It places the reader in a particular historic time when society and a people used to coexist in different ways compared to today's attitudes. One of the most complex characters in the play, Blanche Dubois, experiences numerous incidents and has certain dynamics that solidify her tragic elements, such as leaving Belle Reve, losing her family house, losing a young husband to suicide, deaths of her family members, and these develop into dependence, desperation, superiority, and poverty."
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Responsibility and Guilt, 2008.
An analysis of the themes of responsibility and guilt in "All My Sons" by Arthur Miller, "Long Time since Yesterday" by P. J. Gibson and "The Kidnapped Wife and the Dream Helper" by Susan Hazen Hammond.
1,061 words (approx. 4.2 pages), 3 sources, MLA, $ 37.95
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Abstract
This paper relates that a contrastive analysis of the two plays, "All My Sons" by Arthur Miller and "Long Time since Yesterday" by P. J. Gibson and the short story entitled "The Kidnapped Wife and the Dream Helper" by Susan Hazen Hammond, reveals that, despite the entirely different backgrounds, these three works share common themes: responsibility and guilt. In particular, the paper looks at how the main characters of the three stories are all confronted with the consequences of a past decision, for which they have to pay the price.
From the Paper
"Miller's play is very similar with respect to its main theme. Joe Keller also makes an economical decision at one point in his life: being in charge of the military equipment of the Air Force planes during the Second World War he provides the army with 121 defective cracked cylinder heads. As a result, twenty one of the planes crash and all the pilots die. Thus, faithful to the American Dream of prosperity and wary of his family's finances, Joe knowingly ignores the possible consequences of his act. Years after this tragedy, Joe is still in denial, refusing to acknowledge any personal responsibility or guilt. Thus, the structure of the play is almost identical with that of the short story previously discussed. Joe refuses to take responsibility in two situations, not just one: first for the pilots, and then for the death of his own son, Larry who commits suicide out of shame for his father's immoral act. The self-interest and selfishness are also present in Miller's play. "
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"A Midsummer Night's Dream", 2008.
A discussion on various subject themes in the play "A Midsummer Night's Dream " by William Shakespeare.
914 words (approx. 3.7 pages), 1 source, APA, $ 32.95
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Abstract
The paper discusses "A Midsummer Night's Dream" by William Shakespeare. The paper notes that the play weaves together the three subject themes: a reality in Athens, a dream-state in the woods, and the play-within-the play. The paper discusses that it is a tale of three romances, of love triangles, of jealousy and hilarity. The paper also states that Shakespeare's play is therefore structured to ask its readers and viewing audiences to contemplate the meaning of fiction and its impact on human consciousness.
From the Paper
"They share characters and situations. For example, all four of the play's central human characters fall asleep in the woods and enter its dreamlike world. Hermia, Helena, Demetrius and Lysander all appear in the city and in the woods and have equally significant roles in both worlds. Likewise, Bottom and the rest of the craftsmen troop practice "Pyramus and Thisbe" in the woods but perform it to the king and queen-to-be in Athens. The woods therefore serves as the place in which dreams are created, crafted, and nurtured. Those dreams then impact the daily lives of those living in the concrete world of the city, just as Shakespeare's play impacts the daily lives of those who read and watch them."
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Tragedy, Comedy and Human Nature, 2008.
This paper analyzes how human nature is reflected in the three theater genres of comedy, tragedy and drama.
1,401 words (approx. 5.6 pages), 3 sources, MLA, $ 46.95
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Abstract
This paper discusses the three theater genres that reconstruct human experience: comedy, tragedy and drama. The paper first discusses the theater genre of tragedy using Shakespeare's "Hamlet" as an example and then describes the genre of comedy using Shakespeare's "A Midsummer Night's Dream" as an illustration. The paper also discusses the origins of drama genre and points out how it differs from the tragedy genre. Furthermore, the paper then points out that despite notable difference in characters, plot, outcome and tone, these three genres all reflect human nature. The paper concludes that whether comical or tragic, the main function of the theater is to stir emotions by portraying the frailties of the human condition.
From the Paper
"The theater can be considered as a reproduction of the fundamental conditions of human existence. The theater can be seen as a set of symbols reconstructing the conditio humana as a basic theater representation contains all the trials and tribulations of life. Acting can be deciphered as the attempt to assume a different identity. In this sense, the theater is a continuous creation and changing of identities. Irrespective of cultural and epochal differences, this has remained a constant as far as theatrical performance. There are three theater genres each reconstructing human experience: comedy, tragedy and drama. Nonetheless, despite notable difference in characters, plot, outcome, tone etc. these three genres have one thing in common, i.e. they reflect human nature."
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Sophocles' "Oedipus Tyrannus", 2008.
Reviews the play Sophocles' "Oedipus Tyrannus", especially the theme of fate and free will.
1,320 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper explains that Sophocles' play "Oedipus Tyrannus" asks the question whether Oedipus could have used free will to stop the fulfillment of the prophesy concerning his life and, if not, whether he deserved his self-imposed fate at the end of the play. The paper points out that one of the central flaws in Oedipus' character is his confidence, stubbornness and pride in himself, which led to his fate in the end. The paper concludes that Oedipus cannot be regarded as guilty but rather a victim of forces outside of his control.
Table of Content:
Character
Fate vs. Free Will
Oedipus' Guilt
From the Paper
"The audience is not presented with the impression that Oedipus' fate is the direct result of any flaw in his character. Indeed, the people of Thebes love and respect him. He also shows his integrity in dealing with those seeking his downfall. Creon for example seeks a private audience with Oedipus, but Oedipus refuses this in the interest of disclosure in matters regarding his people. He also shows himself to be a good king, in placing the interests of his people before his own."
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"Othello", 2008.
A discussion on Iago's soliloquies in "Othello" by William Shakespeare in Act I.3.375-396.
1,151 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
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Abstract
The paper states that throughout the play "Othello" by William Shakespeare, the only character to speak to the audience directly and intimately, is the character of Iago. He speaks to the audience and discloses his true motivations for his treacherous actions in the world of the play. The paper comments that Shakespeare uses this literary device specifically to show the audience the true colors of Iago. In the last passage of Act 1, Act 1.3.375-396, Iago's soliloquy is a glance at his manipulative psyche, where he believes himself to be the master of the other characters. His excessive pride and deception later result in the tragic end of the play. The paper notes that the audience develops a strange, but special, relationship with Iago through his manic ridden soliloquies. In the end, however, Shakespeare chooses to end Iago's term as master of the play and reclaims his position as playwright from the arrogant Iago.
From the Paper
"He uses his role as confidant to the other characters to manipulate them into believing he has their best interest in mind, when really he plays them pawns against each other for his own goals. Iago shows the audience his dislike for Roderigo, which therefore allows the audience special access into the real world of Cypress where Iago pulls the strings, and not Othello. This passage also shows the depth of Iago's deception. As seen when he discusses Othello later in his soliloquy, Iago takes great pains to make himself the innocent confidant, when his true purpose is to destroy those who trust in him."
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"The City Match" and British Drama, 2008.
This paper examines the relationship of Jasper Mayne's play "The City Match" (1639) to the British Commonwealth and the Restoration.
1,203 words (approx. 4.8 pages), 4 sources, MLA, $ 41.95
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Abstract
The paper focuses on the work of Jasper Mayne, a popular playwright before and immediately after the Restoration, and the author of "The City Match". The paper explains that "The City Match," is not a tragedy, but it does reflect the political concerns of the day, and its dialogue shows why the Puritan Parliament was so eager to silence the theaters for political reasons. The paper highlights how "The City Match" was written during a critical juncture between two very different styles and eras of British drama.
From the Paper
"One of the most important events in British literature was the closing of the British theater during the period of history known as the Commonwealth, when the monarchy was abolished and the Puritan Parliament was officially in control of the nation. Lord Protector Oliver Cromwell ordered that stage plays were forbidden because such "lascivious Mirth and Levity" did not "comport with public calamities and seasons of humiliation," in other words, because play-going did not conform to the appropriate respect that citizens should feel for the sinfulness of the world and their own fallen nature (Wright 75)."
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Family Betrayal in Myth, Modernist and Post-Modernist Drama, 2008.
A comparison of Susan Hazen Hammond's short story "The Kidnapped Wife and the Dream Helper," Arthur Miller's drama "All My Sons" and P.J. Gibson's play "Long Time Since Yesterday".
1,316 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
The paper examines Susan Hazen Hammond's short story "The Kidnapped Wife and the Dream Helper," Arthur Miller's drama "All My Sons" and P.J. Gibson's play "Long Time Since Yesterday" that all dramatize the struggles of individuals trapped in uncomfortable family relationships. The paper shows how the three works contain vastly different conceptions of what constitutes the human character and how a character should be dramatized over the course of a story. The paper highlights, however, the consistent themes in these works, such as the family relationships that are based on lies and the lesson that true fulfillment cannot be found in material success or in the esteem of the world.
From the Paper
"Hammond's tale is a retelling of a Native American myth. The character, even the most dynamic character of the piece that of the male warrior, father, and husband, is not what a modern reader would call a well-rounded character. He is compltetly 'bad' at the beginning of the piece, ignoring his wife, then suddenly shifts to being a 'good' character, in the quest to recover her. In the Miller piece, Joe Keller and his son Christ are depicted as far more complex, psychologically rounded characters. Joe Keller wants to do good things, and help his family prosper, but he commits evil actions in his quest. Unlike the Native American fable, character, and the failures of character drive the plot of the tale. Finally, the Gibson work, takes a post-modernist view of the characters of Janeen and Layer. The play is a 'memory play,' dramatizing the differences between how we remember the past and the reality of the past."
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