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?The Magic Mountain?, 2005.
Explores Thomas Mann's play, "The Magic Mountain" about the forces of thought imposed upon the people of early twentieth century Europe.
1,541 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
In his play, "Magic Mountain", Thomas Mann expresses the intellectual squalor of the pre-World War I era, that would inevitably lead to violence and destruction. The central protagonist of the tale is a young marine engineer who, taken singularly, is of no particular importance. The paper shows that what makes him-Hans Castorp -significant is what he represents for society: he is the embodiment of humanity, caught between the forces poised to crush individual identity and reduce it to mass conformity. The paper shows that, all together, these forces of thought, to Mann, are mere derivatives of nature, which act to shape each person's mind into a particular archetype. In this way, "The Magic Mountain" is a universal warning to the course of history and of the dangerous capacity of unbound rationality.
From the Paper
"Personally, Castorp comes from a reasonably wealthy bourgeoisie family; and although his parents have both died, he remains well positioned and is "obviously on the way to important positions in his life." (Mann, 54). Largely, this is also a consequence of his association with Hamburg-an emerging port city during the early twentieth century. Symbolically, Hamburg's rising prominence comes at the expense of other, older, and better established cities. Accordingly, Castorp's path to important positions rests on the shoulders of the new age: technologies and industrial might. Additionally, Castorp's occupation makes him poised to build Germany into a naval empire, which is also a drive of the new age. Naval dominance, as seen by many of his time, was the only true way to establish Germany's rightful place within the world."
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"Look Back in Anger", 2006.
An examination of John Osborne's 1956 play "Look Back in Anger" and its impact on society.
2,090 words (approx. 8.4 pages), 11 sources, MLA, $ 65.95
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Abstract
This paper examines how John Osborne's 1956 play "Look Back in Anger" is considered one of the revolutionary plays of the time. The play deals with some painful realities of social and political structure of England in 1950s when the country was experiencing some significant shift in terms of cultural and social values. It looks at how it was considered a 'proletarian upsurge' of liberated working class writers rebelling against the establishment and how it turned the theater into an instrument of social change.
From the Paper
"The very success of the play indicated that people were willing to accept new role of theatre. They wanted change and they would accept anything that served as an instrument of social change. British theatre in 1956 became that instrument: 'for a short time at least...a mirror in which the nation could observe, stark and naked, its own image' (Edgar 1981:38). Theatre suddenly found itself at the center of major wider realignment in British society, where people especially new breed of New Wave writers actively began challenging post-war certainties. 'Retrospectively, 1956 has become an annus mirabilis...crudely; Suez and Look Back in Anger seem part of the same event' (Hewison 1981:127)."
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Arthur Miller?s Play "Death of a Salesman", 2005.
This paper discusses the protagonist Willy Loman, in Arthur Miller's play "Death of a Salesman", as the epitome of the modern-day tragic hero.
1,590 words (approx. 6.4 pages), 1 source, MLA, $ 52.95
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Abstract
This paper explains that while Willy Loman, in Arthur Miller's play "Death of a Salesman", is not what Aristotle would consider to be a tragic hero; his character is a everyman's tragic hero and his experiences depict those of ordinary people in post-war America. The author points out that Willy possesses a fatal flaw that causes him to make a series of serious mistakes from which he is unwilling to learn or accept responsibility. The paper relates that, in order for a tragic hero to be truly tragic, he must evoke pity or sympathy from the audience; it is easy to feel sympathy for Willy because he does have dreams and does not intend to fail.
From the Paper
"Here we see how Willy stretches the truth for no real reason at all. Perhaps Willy acts this way because of his need to feel loved and appreciated but, whatever the cause, it certainly evokes sympathy from the audience. To compound things, Willy even lies to Happy later when he tells him that he is well liked in his profession. Willy not only lies to himself, he also lies to everyone else, with exceptional ease. Instead of hating Willy, we are moved to feel pity for him that he must behave this way. It is also pitiful when Biff attempts to tell Willy that he is nothing "but a hard-working drummer who landed in the ash can like all the rest of them!" "
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Margaret Edson's "Wit", 2006.
This brief, yet concise, paper examines the use of role reversal in Margaret Edson's textually rich stage production of "Wit", while also detailing the plot of the story as well as the main characters.
695 words (approx. 2.8 pages), 3 sources, APA, $ 24.95
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Abstract
This paper traces the ordeal of Dr. Bearing, distinguished scholar of 17th-century metaphysical poetry, from her diagnosis of ovarian cancer through her treatment under the watchful eye of Dr. Kelekian, as depicted in Margaret Edson's play "Wit." This paper analyzes Edson's stage production which is rich with word play, inter-textual gestures and most importantly, with irony. "Wit" is built primarily on the complex ironies available through the dramatic strategy of role reversal. The writer of this brief yet concise paper details the plot and main characters of the play.
From the Paper
"This clearly delineated division in Donne's corpus of work reflects Dr. Bearing's own divided self. On the one hand a scholar of renown, she is a woman who has essentially turned away from her own body, relegating social life and personal relationships to a place of minor importance in her life. Without partner, lover, or even close friend, Bearing is, despite her claims to the contrary, negligent in her scholarship, unable and unwilling to even attempt to reconcile Dr. Donne (the spiritual) with John Donne. Ironic, too, is the fact that, in the end, the scholarly lover of the intensely spiritual poems is, like all patients in the ward, a prisoner of a body ravaged by cancer, a body that suffers and fails, and a body that can and does overwhelm even the strongest mind and strongest spirit."
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| Term Paper # 67637 |
temporarily unavailable
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Nora in "A Doll?s House", 2006.
A literary analysis of the character Nora in Ibsen's "A Doll's House".
940 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
This paper studies Henrik Ibsen's "A Doll's House", a three-act play which affords the audience an insightful perspective on one woman's epiphany. The paper's analysis focuses on the character of Nora Helmer who, when the story opens, appears to be the prototypical pampered wife. The paper dissects Nora's relationship to her husband, and comments on the changes in that relationship as a metaphor for the transformation of women's role in society. The paper also analyzes several literary techniques used by Ibsen in the play, including the retrospective technique to reveal important incidents from the past as the play progresses. Finally, the paper explores the feminist undertones of the play, and its commentary on the position of women in the late 19th century.
From the Paper
"One soon learns that Nora is not quite the empty-headed spendthrift she appears. Rather, she has need of money in order to repay a debt owed Nils Krogstad from years past--one incurred in order to save her husband's life, but requiring that she forge her father's name. Her husband, of course, is completely unaware that all this has transpired. When Torvald assumes the bank presidency, Nora's creditor will lose his position there. So Krogstad threatens blackmail in an attempt to convince her to use her influence to save his job. Nora certainly tries, but Torvald is determined to dismiss Krogstad. The desperate man delivers a letter revealing his past association with the woman. After Torvald has read the letter and rejected Nora, Krogstad has a change of heart--at which point, so does Torvald. But it is too late. Nora realizes that her marriage to Torvald has never been a relationship between equals. She has lived with a stranger but cannot bear to continue as his mere toy, a doll in this doll's house. Nora leaves Torvald and her three children."
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Hamlet and the Gravediggers, 2005.
This paper discusses the final act of Shakespeare's "Hamlet" about gravediggers and views on death.
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper explains that, at the beginning of the final act of "Hamlet", William Shakespeare foreshadows the bloody and carnage-filled conclusion to this tragedy by introducing views concerning the inevitability and finality of death through the dialogue between Hamlet and the two gravediggers. The author points out that, as Hamlet ponders the past profession of a skull, which has been carelessly tossed out of its grave, he is forced to realize that in death there is no social distinction. The paper concludes that, through Hamlet's reversal of opinion about the desirability of death and the discussion with the gravediggers, Shakespeare, who is readying the audience for the slaughter that is soon to commence, uses the scene as a means of commenting on his perception of death, the only lasting condition and the oldest profession.
From the Paper
"With the new light shed upon the dark subject of death, Hamlet forces himself to reevaluate his death wishes. Through out the play, Hamlet sees death as a desirable end, worrying only about where his soul would go if he were to commit self-slaughter. At the height of his misery, he makes known his yearnings, exclaiming "O, that this too too sullied flesh would melt..." (1-2-129). It is clear that his coveted will is for a quick demise. Hamlet explains this further when he reveals his belief that his life is useless. After promising to bend his eye away from Wittneberg and towards Elsinore, Hamlet states "How weary, stale, flat, and unprofitable/Seem to me all the uses of the world!" (1.2.133-134)."
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Creon?s Transformation: From "Oedipus" to "Antigone", 2006.
This paper analyzes the transformation of Creon from innocent spectator to corrupt ruler in Sophocles' "Oedipus the King" and "Antigone."
890 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper follows the transformation of Creon in two of Sophocles' plays "Oedipus the King" and "Antigone." Throughout the course of the two plays, Creon transforms from an innocent spectator in "Oedipus the King," to a corrupt ruler and tragic figure in "Antigone." Creon's character in "Oedipus the King" depicts a kind, selfless and forgiving person. His good nature allows him to value the opinion of the people of Thebes. Yet in "Antigone," Creon uses his power as a king to punish and dictate laws without the consent of the people of Thebes. The writer contends that Creon's transformation which leads to his own suffering manages to invoke pity from those who dislike his character. A perfect ending for a tragic play.
From the Paper
"Creon's character in Oedipus the King shows a kind, selfless, and forgiving person. His good nature allows him to value the opinion of the people of Thebes. As he expresses in a speech to Oedipus and the citizens of Thebes, "I stand / In all men's favor, I am all men's friend." Creon is loved by the Thebans and they manifest this in their loyalty towards him. In the midst of Oedipus' troubles he accuses Creon of being a traitor. To devise the proper punishment, Oedipus asks the Thebans to decide on Creon's fate: death or banishment. The Thebans respond in Creon's favor."
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"A Streetcar Named Desire", 2005.
This paper discusses Tennessee Williams' "A Streetcar Named Desire"-- especially scene three, The Poker Night.
1,750 words (approx. 7.0 pages), 1 source, MLA, $ 56.95
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Abstract
This paper explains that, in Tennessee Williams' "A Streetcar Named Desire", one of the most recurring images is the overpowering masculinity of the protagonist Stanley and how it pervades the atmosphere in Stella and Stanley's home, which is shown through dialogue, stage direction and description of the surroundings. The author points out that this masculinity serves to highlight the striking difference between Stanley and Blanche, a delicate remnant of the old ways of gentility and femininity and emphasizes not only the contrast between the primitive and the civilized, which is present throughout the play, but also the difference between the Old South and the New South, a difference that Blanche cannot accept. The paper relates that, in scene three, Stella and Stanley's relationship is without tenderness, only a raw feeling that manifests itself in anger or sex; their relationship is contrasted with Blanche and Mitch who calmly sit down to smoke on the steps, looking up at the night sky.
From the Paper
"Scene three opens with a description of the surroundings during a poker night. The kitchen is bathed in a "lurid nocturnal brilliance, the raw colors of childhood's spectrum," (p. 2301). It is not an innocent child's scene, though; the amount of bright color in the room makes it look crude and garish. However, the mention of the colors as "childhood" colors could indicate the immaturity of the men, their childish way of acting during the night to come. The poker players are introduced, and they are described as wearing vividly colored shirts. These men are "at the peak of their physical manhood, as coarse and direct and powerful as the primary colors." These men are strong and powerful, and yet they have a childish aspect to them, in the ways they use this physical strength they possess. The hard alcohol, namely whisky, on the table also underlines the masculinity of these men."
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"Oedipus the King", 2006.
An evaluation of tragedy in Sophocles' "Oedipus the King".
1,300 words (approx. 5.2 pages), 4 sources, MLA, $ 43.95
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Abstract
This paper studies the Greek play "Oedipus the King" by Sophocles. The paper attempts to understand the play within the framework of the traditional tragedy. The paper shows how the main characteristics experience a sense of moral dilemmas associated with Oedipus and his mother's tragic demise within the play. Specifically, the paper demonstrates Sophocles' use of tragedy in classical form with his portrayal of deviant family relations and violent instances of madness. The paper also underscores the stylistic elements, in order to elucidate the play's subtext.
Outline:
I. Introduction
A. Traditional Text Analysis
B. Summary of Text
C. Presentation of Text
D. Thesis: Tragedy in Classical Form, Deviant Family Relations, and Violent Instances in Tragedy
II. Critique
A. Tragedy in Classical Form
B. Deviant Family Relations
C. Violent Instances in Tragedy
III. Conclusion
IV. Works Cited
From the Paper
"The first stylistic theme of using the tragedy as a format is the structure of the characters in the play is easy to be seen. They all seem ignorant of what the other is doing, and this eventually causes the tragic scenes in the play. This forms "the criterion for the tragedy in the textual format of character relations within the plays of Sophocles." (Bloom p.133) By understanding this element of the text, we can see why Sophocles sets a tragic tone by the utter ignorance the characters have of each other. A second point in the stylistic aspects of the text are the pride that causes the characters to act unreasonably. They tend "to refuse the offers of the Oracle of Tiresius," (Jebb p.67) and think they are exempt from this. By adding this sense to the play, we can learn by accepting the destiny handed to Oedipus and his mother, a tragedy will eventually bring them to death and misery."
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"Hamlet", 2006.
Examines the revenge play within William Shakespeare's "Hamlet".
1,220 words (approx. 4.9 pages), 0 sources, $ 41.95
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Abstract
Perhaps the most significant scene in William Shakespeare's "Hamlet "is the revenge play, portraying the death of King Gonzago that is acted out inside the actual play itself. The paper shows that the importance of this play entitled 'The Murder of Gonzago', lies in the alterations imposed upon by Hamlet. Hamlet changes the framework of this play in a ruse that he hopes will tell him of the true cause of his father's death
From the Paper
"Hamlet makes clear the importance of the intensity of the dramatic scenes when parleying with the players, as well as in his single dialogue. He fears that if the play were carried out like a typical revenge play, then his uncle will not be affected enough to show his guilt with his own eyes."
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Shakespeare's "Hamlet", 2005.
This paper discusses the character Horatio in Shakespeare's "Hamlet".
1,570 words (approx. 6.3 pages), 0 sources, $ 51.95
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Abstract
This paper explains that the character Horatio in Shakespeare's "Hamlet"
is the one person whom the main character Hamlet trusts and is the only prominent character that finds himself alive at the end. The author points out that Horatio is the antithesis of two other characters Rosencrantz and Guildenstern, Hamlet's old friends upon whom he feels he can no longer rely. The paper relates that Horatio is the pure soul of the play, the herald of Hamlet's story whose behavior parallels Christian tenets because his honesty and goodness rise above the shadowy dealings of many other characters; they are punished and the good Horatio is rewarded. Several quotations.
From the Paper
"The reader senses that Horatio has never given Hamlet any reason to doubt his love and devotion towards him. The service of a true friend is something that is never forgotten and rarely questioned. Hamlet certainly seems sure of the worth of this true friend. Some may see Horatio as a simple "yes-man," which may be a valid argument. Surely, Horatio was never said to have brought grand insight to Hamlet's plan, nor an amazingly original idea. His worth comes from another source. His agreements with his friend are based on true sincerity. Certainly, Claudius recognized that sincerity and found Horatio not to be a worthy candidate for the recognizance work required."
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