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"A Raisin in the Sun", 2007.
An analysis of the themes expressed in Lorraine Hansberry's play, "A Raisin in the Sun".
2,277 words (approx. 9.1 pages), 2 sources, MLA, $ 70.95
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Abstract
This paper discusses the play, "A Raisin in the Sun", by Lorraine Hansberry. The paper looks at the way that the play is based on one of Langston Hughes's most famous poems, "Montage of a Dream Deferred" and the ways that even the title of the play is derived from this epigraph. The paper delves into the themes of the play and discusses the ways that these themes are expressed.
From the Paper
"There are occasions in the play when we see all characters giving up their dreams even if temporarily only to pick them back up at a later stage. This is the essence of true faith. It never leaves you forever. You can curse your life but you must not abandon it or dreams will be deferred for good. Walter for example gives up his dream of becoming his own boss. He wants to be financially secure- enough to at least raise himself above the servant class. He wanted Travis to have a better future. But all his dreams vanish when he makes the unwise investment and loses money. His dreams have not vanished however from his spirit, they have only started consuming him. this results in extreme frustration as he turns to alcohol for some consolation. George describes him as someone "wacked up with bitterness." (85) Mama cannot see her son consumed by failed dreams and the situation becomes alarming when Walter doesn't take his wife's threatened abortion seriously. Walter becomes a bitter lost soul."
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'The Glass Menagerie', 2006.
A review of the Tennessee Williams' play, 'The Glass Menagerie'.
1,442 words (approx. 5.8 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper discusses the failure of the 'American Dream' in the play 'The Glass Menagerie' by Tennessee Williams.The paper discusses how the Wingfield family tends to blur reality preferring to live an illusion. According to the paper, this leaves the Wingfield family with continuous feelings of rejection, frustration and desperation.
From the Paper
"Initially, from Tom's end, he showed no conscious effort to redeem himself from the fact that will always be poor and underprivileged, in the midst of the affluent lives of other people in the society they lived in. However, eventually as the play comes to a close, he realized that he cannot always live his life based on simple aspirations and hopes fueled by his movie-watching. Interestingly, Tom's fascination with movies eventually became the catalyst for him to realize that life was harshly and radically different from the movies. The sheltered lives of people in movies are hardly what Tom and his family had experienced, a realization that made him hopeless and desperate, but also motivated to take action. "
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'Tartuffe', 2006.
A review of 'Tartuffe' by Richard Wilbur Moliere.
797 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
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Abstract
This paper takes a look at Richard Wilbur Moliere's play, 'Tartuffe'. This paper presents an argument that 'Tartuffe' was Moliere's warning us to be on guard against those that are overzealous about religion, and of those who are overzealous in presenting themselves as pious individuals.
From the Paper
"Cleante questions Tartuffe by asking, "But if this noble and religious zeal, is quite as perfect as you'd have us feel, How is it that it waited to appear, till you were caught embracing Madame here" (Moliere 260). Moliere accomplishes two objectives by these particular words, first he shows that Tartuffe is only pretending to be a pious individual, that when he is alone, or thinks he is alone, with Orgon's wife he immediately makes a play for her which a truly righteous individual would never do, and secondly he shows that Cleante realizes what is really happening, because he knows how a truly righteous individual would act in that situation, and that Tartuffe is not doing so. "
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Tragic Hero, 2007.
This paper analyzes Shakespeare's character of Othello as a tragic hero.
1,812 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
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Abstract
In this article, the writer presents a detailed examination of the Shakespearean character Othello as a tragic hero. The writer discusses the character Othello, as held against the standards of philosopher Aristotle and compared to the character of Creon in Sophocles. The writer explores the six attributes that Aristotle believed were needed to become a tragic hero and argues that Othello fits this description more completely and convincingly than Creon did. The writer concludes that when it comes to Aristotle's definition of a tragic hero Othello clearly outpaces Creon in all six categories of definition.
Outline:
Introduction
Comparing the Characters to the Six Elements
Conclusion
From the Paper
"According to Aristotle there are six significant elements to being labeled a tragic hero. They include nobility and greatness, imperfection, faults or a downfall, punishment exceeding a crime, in other words the misfortune of the hero is not completely deserved by the hero, and there must be a discovery of self or something learned by the hero during the tragedy itself. The final criterion is that the audience is not left feeling a total sense of loss or sadness. When one holds Creon from Sophocles and Othello, from the play Othello against each other one can easily see that Othello is the more convincing tragic hero of the two."
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"A Streetcar Named Desire", 2007.
A discussion on the dual tragedy in the play, "A Streetcar Named Desire", by Tennessee Williams.
1,512 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
The paper discusses how the greatest debate among critics of "A Streetcar Named Desire" may be about who the hero of the play is, Stanley or Blanche. The writer proposes that both are heroes and that the play is a classical tragedy. The paper explores how both Blanche and Stanley fit the pattern for a classical tragic hero. They both have goals, which they themselves compromise because of a tragic flaw. The writer argues that what is unique to "A Streetcar Named Desire" is that there are two heroes, rather than one. The paper examines how their two tragic flaws have to combine in order to create the downfall of each of the heroes.
From the Paper
"Stanley conforms almost exactly to the idea of a tragic hero. Not only does he have a clearly defined goal, but that goal mirrors the goals of the heroes that have come before him. Stanley's goal is the preservation of his kingdom and protecting it from outside threats. Of course, Stanley's kingdom is somewhat smaller than other heroes in literature; rather than an empire, Stanley's kingdom is a two room walk-up apartment in New Orleans. In addition, rather than ruling over thousands of subjects, Stanley rules over Stella. Therefore, Blanche's threats to Stanley's kingdom take on an almost petty cast; she drinks his liquor and takes up too much space in his small apartment."
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'A Streetcar Named Desire', 2006.
A review of Tennessee Williams' play, 'A Streetcar Named Desire'.
1,564 words (approx. 6.3 pages), 3 sources, MLA, $ 51.95
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Abstract
This paper presents an exploration of the play, 'A Streetcar Named Desire' by Tennessee Williams. The paper examines the play and its characters. The paper argues that one of the strongest themes of the play is loneliness, as can be seen in the actions of the character Blanche.
Outline:
Introduction
Overview
Conclusion
From the Paper
"When she has one last chance at happiness, in Mitch she regales in the possibility(Williams pp). He needs her desperately and she needs to be needed. She longs to have somebody care if she is alive or dead and she needs someone to take care of as she believes it is her place to take care of a man. Everything comes crashing down for her however, when her past comes back to haunt her. She is left without Mitch's embrace or adoration and she knows it was the last chance she had to once again dance the loneliness away. She takes the final steps to insanity and gives up any hope of having a grasp on reality. "
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Constantin Stanislavski, 2007.
A critical analysis of the changes and developments in the methods and theories of Constantin Stanislavski.
3,566 words (approx. 14.3 pages), 15 sources, MLA, $ 99.95
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Abstract
This paper discusses the theories and methods for acting that were devised by actor Constantin Stanislavski throughout his life. It provides a brief timeline of his life's work which demonstrates the variety of work he did and the multinational nature of his craft. It also establishes a context for which to look at the evolution of his system and practice.
From the Paper
"Though it is often difficult to demonstrate a diagram or picture of the inner workings of the mind Stanislavski is often credited with coming closer than almost any other dramatic theorist, but once again clarity might have been reached to a greater or lesser degree if he had lived a more complete life and had the opportunity to compile his works in the manner that befitted his years of theatrical experiences. Often these actions that are consistent with the Stanislavski methodologies are not written, in dialogue or scene development and can be seen as demonstrative of the actor's improvisation, which in its own right can be contraindicated by the playwright or director, depending on their own vision. Which of coarse demonstrates a possible incongruence in the two methods, yet Stanislavski's intention was for the theater to be and remain an actor driven institution, hopefully without the ego often associated with the role of actor, as can be seen in earlier expressions of the Stanislavski standard, in this work."
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Fuentes, Greenaway and Joyce, 2006.
An analysis of sexual narrative in works by Carlos Fuentes, Peter Greenaway and James Joyce.
4,904 words (approx. 19.6 pages), 5 sources, MLA, $ 124.95
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Abstract
This paper takes a look at 'Aura' by Carlos Fuentes, 'The Pillowbook' by Peter Greenaway and 'Ulysses' by James Joyce. The paper focuses primarily on the sexual narrative used by the writers to illustrate the interaction between the relevant characters.
From the Paper
"You're my husband..." is a very strange remark coming from this 20-year old woman, but obviously the protagonist is so thrilled by the sex he's just enjoyed, hey, whatever works for her, he is thinking, is cool. Besides, she's invited him to meet her in her room that night, the thought of which is a wonderful magic carpet to ride all day in this otherwise murky environment. He is "emptied of desire," so a reader assumes he has had a climatic ending to the adventure; she was "trembling" and she "surrendered" to him, but it also read like he was surrendering to her, as she joined him under the covers, uninvited by heartily welcomed. They surrendered to one another, and Felipe gets out of bed after being awakened by Aura's knocks, and he is "groaning,"
"So the reader has just been through a very sexy scene, a lovely release from the grim surroundings of Felipe's new job, and now on page 80 there are rats "swarming" around the parched manuscripts Felipe is hired to translate and re-write. The rats are peering at Felipe with "glittering eyes" and there on the bed is Consuelo with a white rabbit. Are readers being set up for another lively, intimate distraction away from the challenge of this haunted palace and the senora? "
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"The Winter's Tale", 2007.
An analysis of "The Winter's Tale" by William Shakespeare.
2,111 words (approx. 8.4 pages), 6 sources, MLA, $ 66.95
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Abstract
The paper discusses how, in William Shakespeare's "The Winter's Tale", the idea of time and time passing are key elements in the drama. The paper analyzes how time is constantly expressed in the play through direct methods such as the use of Time as the chorus at the beginning of Act IV and, more indirectly, in the development and situation of characters. The paper examines how the two characters most controlled by time are Leontes, King of Sicilia, and his beautiful and devoted queen, Hermione.
From the Paper
"It seems that late in his career, Shakespeare chose to play with new forms of drama. However, like his earlier works, The Winter's Tale is based on a story that already existed. In this case, a prose romance called Pandosto by Robert Greene inspired Shakespeare's play (Biemen 67). It is the changes that Shakespeare made to the existing story that make this such an interesting play for the famous playwright. Greene's version ended in complete tragedy. However, Shakespeare's play finds its way out of the tragic mode to end much like many of his comedies. Shakespeare's reason for this change is unknown, but it has raised many questions about his intentions."
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Puck and Fool - A Comparison, 2007.
This paper compares and contrasts the roles of Puck from Shakespeare's "A Midsummer Night's Dream" to Fool from "King Lear."
1,045 words (approx. 4.2 pages), 2 sources, APA, $ 36.95
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Abstract
This paper introduces, discusses, and analyzes the plays "King Lear" and "A Midsummer Night's Dream" by William Shakespeare. Specifically it compares and contrasts the character of "Puck," the mischievous fairy, with "Fool," King Lear's professional court jester. The author argues that although both are minor characters in the plays, they are quite important to the overall impact and import of the works.
From the Paper
"Puck, whose real name is Robin Goodfellow, plays the jester to his fairy king in "A Midsummer Night's Dream." He is the head fairy in this delightful work, and some critics call him the central character or the most important part in the play. Much of the play's action revolves around him or something he has done. He is comical, infuriating, and is part of the reason this play is so magical and still popular today. The "Fool" is also a jester but he is a more serious type of character, who often chides Lear or guides him with his seemingly nonsensical words, such as, "The codpiece that will house / Before the head has any, / The head and he shall louse; / So beggars marry many. / The man that makes his toe / What he his heart should make, / Shall of a corn cry woe, / And turn his sleep to wake" ("Lear," 1993, 3.2.25-32). Fool actually speaks wisely but clouds his wise words with nonsense. Puck, in contrast, is often nonsensical and witty. His part plays for laughs, while Fool may gain laughter but his real purpose is to advise and influence his king. In addition, Fool is hired for his jesting and advice, while Puck serves freely and without pay or responsibility."
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Othello, 2006.
An analysis of the character of "Othello" as reflected in the character's first and last speeches of the play "Othello" by Shakespeare.
1,235 words (approx. 4.9 pages), 1 source, MLA, $ 42.95
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Abstract
This paper reviews the role of the character "Othello" in William Shakespeare's play of the same name. According to the paper, the character of Othello begins as a marginalized figure, both in the eyes of the other men of Venice and in the eyes of the audience. It concludes with the idea that Othello is a man of principle, and except for one tragic mistake, the rest of the actions of Othello's life, including his death, uphold his principles.
From the Paper
"Desdemona does not simply pity Othello; she is inspired by his stories, and wishes that heaven had made her a man, a striking statement of the power Othello wields over his audiences, even though Othello is no longer young. "Desdemona, although still the house-affairs would draw her thence:/Which ever as she could with haste dispatch, /She'ld come again, and with a greedy ear/Devour up my discourse." In other words, more than housekeeping, Desdemona loved to hear Othello's inspiring stories of valor, and he approved of her interest in his manly escapades, rather than thinking a woman should only be concerned about her womanly duties. Although the later events of the play will seem to indicate that Othello has a very narrow or immature view of female fidelity, before becoming poisoned by Iago's misogynistic ideas, here Othello seems to approve of Desdemona's boldness, as it is she who almost proposes to him: "she thank'd me, / And bade me, if I had a friend that loved her, /I should but teach him how to tell my story. /And that would woo her. Upon this hint I spake."
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'Waiting for Godot', 2006.
A review of Samuel Beckett's play, 'Waiting for Godot'.
1,941 words (approx. 7.8 pages), 3 sources, MLA, $ 61.95
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Abstract
This paper reviews and analyzes the play 'Waiting for Godot' by Samuel Beckett. According to the paper, the play is full of instances of repetition, circularity in structure, prose, and action that serve to enforce the play's theme of life always spent in waiting for something or someone that may never occur or arrive.
From the Paper
"Similarly, the endings of both Acts are repetitive. Beckett reuses the ending of Act I with Estragon asking "Well, shall we go?" and Vladimir answering "Yes, let's go," in Act II. This exchange is followed by the stage direction comment "they do not move". The sole difference in Act II, however, is that it is Vladimir who asks and Estragon who answers. The conclusion of the play is deliberately recycled from the end of the first act. Beckett again uses repetition to support his observations of society's failure to act on their words or intentions. Vladimir recognizes this problem after deciding that they should try on the boots. Impatiently he says, "let us persevere in what we have resolved, before we forget." He is clearly aware of his own problem but this just makes his inability to solve it - to act and to move - seem even more exasperating and incomprehensible. Pozzo's and Lucky's scene in Act II also reflects this initial call to action and then subsequent inaction on Vladimir's part. He becomes abruptly passionate in helping Pozzo and shouts, "Let us not waste our time in idle discourse! Let us do something, while we have the chance!" The scene begins like an insistent rally against what he and Estragon have not been doing or have been incapable of doing throughout the play. However, Vladimir's unhurried and dawdling attitude towards helping Pozzo to his feet suggest that, even with the right intentions and resolution, helplessness as a habit cannot be broken immediately."
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