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Religious Myths in Modern Times, 2008.
A look at the fine line between between ancient myths and modern religious beliefs.
1,312 words (approx. 5.2 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses how mythology may be discriminated from theology in that the stories may be discriminated from the beliefs arising from them and how most religions are made up of stories which become part of the belief system of the believer. It looks at how most religions in the world have as their source the writings of the Koran and Pentateuch, or the Old Testament. The stories in these books were written down sometime within recorded history, and, in fact, make up part of recorded history. It also discusses how myths continue to be made and how today the Internet has spawned thousands of "myths" that tell new stories about "miracles" and strange happenings related to participants' religions. Over the Internet, these stories travel at the speed of light around the globe and are changed and twisted till they become as believable and astounding as the first myths were. Often they are based on some former, or biblical happening or related to something in the Bible or concern some religious leader.
From the Paper
"The myths that Christians and others who follow the teachings of the New Testament believe today are constantly changing in form and content. The Church has something to do with this. The Catholic Church regularly makes edicts that tell believers how they are to act and believe from that point on (dogma). One example is the myth of Mary, the mother of Jesus. Paul makes no reference to her being a virgin when Jesus was conceived and his books predate all the four gospels. He had not heard of this "myth." It was a story that evidently was circulated and gained acceptance after 50 A.D. The story of Mary continued to grow and her character was modified and changed to suit the times (Symes 2007)."
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Grotesque Characters, 2008.
An analysis of the grotesque characters in Eudora Welty's "Petrified Man," Flannery O'Connor's "Good Country People" and William Faulkner's "Barn Burning."
1,745 words (approx. 7.0 pages), 0 sources, $ 56.95
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Abstract
This paper explains that some characters can be characterized as grotesque because of their behavior or some unusual feature that sets them apart. The paper then examines the grotesque characters in Eudora Welty's "Petrified Man," Flannery O'Connor's "Good Country People" and William Faulkner's "Barn Burning." The paper shows how in each story, the grotesque stand out as embodying certain types and attitudes in a stark fashion, making them bigger than life but still realistic.
From the Paper
"As it happens, the characters in all three stories can be seen as conveying local color to the reader and as representing a partial view of a segment of the country, and in all three cases, that part of the country is the South. This does not mean that grotesque characters are associated only with the South, for they are not. Such characters serve to illustrate a particular vision of the South in these three stories, though, and also suggest a certain heightened treatment of character and narrative in order to convey a theme."
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Humanities, 2008.
A discussion on transposing the environment of Shakespeare's "Romeo and Juliet" to the atmosphere and setting to the 1930s depression-era of "Bonnie and Clyde."
997 words (approx. 4.0 pages), 6 sources, APA, $ 35.95
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Abstract
The paper compares the era of "Romeo and Juliet" with the times of "Bonnie and Clyde". The paper, by comparing the two works, speaks of the bloody environment in the times of Romeo and Juliet and the desperate economic circumstances during the 'Bonnie and Clyde' era in American history. The paper continues with a discussion on the similarities between these two time periods, noting the similar themes of "romantic outlaws", "passionate lovers", an emphasis on youth, and the anger at society. The paper concludes that the tales of both lovers show how, in a society that seems to have no future, desperate young people seeking validation and autonomy, resort to desperate measures.
From the Paper
"Although Shakespearean love may be beautiful, especially love forged out of passion and the laws of a society that denies the freedoms of the young, it is not the society of Renaissance Italy that is beautiful and romantic. The fact that love can exist even in an atmosphere that a modern audience can identify as hopeless, crime-ridden, and decadent like Depression-era America will underline the most important aspect of Shakespeare's play, elements that might remain hidden in a production set in the Renaissance. Adult society and the laws of the land are corrupt in "Romeo and Juliet," likewise America ignores the suffering and despair of Americans living in the dustbowl during the Depression. Bonnie and Clyde rob banks, but during that era before banking reform many Americans lost their money in the stock market, or in bank runs, thus showing a lack of regard for the laws was something that was endemic to society and government, not just the outlaws."
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Literary Symbolism, 2008.
A discussion on the literary symbolism in Nathaniel Hawthorne's works, "Young Goodman Brown" and "The Scarlet Letter".
893 words (approx. 3.6 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper discusses Nathaniel Hawthorne's works, "Young Goodman Brown" and "The Scarlett Letter" in relation to Ralph Waldo Emerson's view that the entire world is emblematic, due to the idea that "the whole of nature is a metaphor of the human mind". In particular, the paper examines Hawthorne's use of emblematic symbols in the short story "Young Goodman Brown" and in his novel "The Scarlet Letter". The paper specifically examines the symbol of the pink ribbon of Goodman Brown's wife Faith and the scarlet "A" embroidered on the dress of Hester Prynne in "The Scarlet Letter".
From the Paper
"The reader is first introduced to Prynne's "badge" in Chapter Two of The Scarlet Letter when she emerges from jail--"On the breast of her gown, in fine red cloth, surrounded with an elaborate embroidery and fantastic flourishes of gold thread, appeared the letter A." Upon being led to her "place of punishment" for committing adultery with Arthur Dimmesdale, all eyes are immediately drawn to the scarlet "A" which "had the effect of a spell, taking (Hester) out of the ordinary relations with humanity and enclosing her in a sphere by herself" (Bell, 163-164). Obviously, this scarlet emblem upon Hester's dress seems to emit a life of its own, much like a flaming torch burning in the darkness. It is also a symbol of her "evil doings," for Hester "hath raised a great scandal. . . in godly Master Dimmesdale's church" (Bell, 170).
"In Chapter Five, this weird property of the scarlet "A" is made even more pronounced when Hester walks out of prison--"She came forth into the sunshine which. . . seemed, to her sick and morbid heart, as if meant for no other purpose than to reveal the scarlet letter on her breast" (Bell, 185). Notice that Hawthorne intentionally equates Hester's "heart" with the scarlet letter, i.e., both are emblematic/symbolic of the color red, much like Faith's pink ribbons."
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Mary Shelley's "Mathilda", 2008.
This paper examines "Mathilda" by Mary Wollstonecraft Shelly.
2,038 words (approx. 8.2 pages), 6 sources, MLA, $ 64.95
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Abstract
The paper analyzes how Mary Shelley's novel "Mathilda" offers insights into Shelley's own personal life. The paper describes the difficult and dark story of incest, love and loss and shows how "Mathilda" mirrors many aspects of Shelley's life, from the estrangement with her father to her growing distance from the poet she loved.
From the Paper
"It is important to understand elements of Shelley's life to see just how this novel parallels her own short and difficult life. Mary Wollstonecraft Shelley was born in August 1797 in London. Her mother died eleven days after she was born, and her father raised her along with her half-sister. Both of her parents were well-known writers of the time, and so it seems fitting that Mary would follow in their footsteps. In addition, her parents had led scandalous lives before they met and married. Her mother had an illegitimate child before she met William Godwin, and they had only married five months before she was born, because they did not believe in marriage."
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St. Augustine's "The Confessions", 2008.
Explores the books of St. Augustine's "The Confessions" ("Confessions"), a great theological and religious masterpiece.
1,810 words (approx. 7.2 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper explains that St. Augustine underscores his positions and personal views on the Incarnation and the Trinity (Father, Son and the Holy Spirit) in his book "The Confessions" ("Confessions"). In the last three books, Augustine presents a very detailed account of Genesis and the creation of man and his environment by interrelating the work of the Holy Spirit into the act of creation. The paper points out that this book, in which Augustine relates his conversion through his own spiritual journey from hedonist to teacher to bishop to priest, serves as one of the most important and influential works praising God.
From the Paper
"In Book Eleven, Augustine contemplates the possibilities that lay in wait upon his death, possibilities that surely would have come to fruition if he had not converted to Christianity, being damnation and eternal punishment at the hands of Satan and his hosts in Hell. In Part 16, Augustine poses the question, "But do I ever pass away? O my soul, commit whatsoever you have to him, for at long last, you are now becoming tired of deceit. Commit to Truth. . . and you will lose nothing. What is decayed will flourish again; your diseases will be healed'."
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Hawthorne: The Unpardonable Sin, 2008.
A discussion of the theme of unpardonable sin in Nathaniel Hawthorne's works.
1,160 words (approx. 4.6 pages), 3 sources, APA, $ 39.95
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Abstract
This paper discusses the many forms through which Hawthorne's definition of 'unpardonable' sin evolves in his works of fiction, focusing on "The Birthmark," "Ethan Brand," and "The Scarlet Letter." Whatever the form the sin takes it becomes the sinner's obsession and ultimate destruction. The writer examines its relationship to another important and related theme, death, and describes how Hawthorne showed that sin continues to affect others even after the sinner's death. Finally, in "The Scarlet Letter," the concept of sympathy emerges as a redeeming product of the unpardonable sin, bringing the characters closer together and deepening their humanity.
From the Paper
"In "The Birthmark," Hawthorne begins to talk about the unpardonable sin, but he really does not develop the concept to the extent that it could be developed in that particular work. Instead, the evolution of the unpardonable sin takes place through several of his books. While it begins in "The Birthmark," real development of it is seen in "Ethan Brand" where it achieves more definition. At that point the reader is much more aware of what Hawthorne is actually talking about and this helps to show the importance and the seriousness of the issue of the unpardonable sin. Full realization of the unpardonable sin, however, comes in another Hawthorne work, "The Scarlet Letter.""
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"A Rose for Emily", 2008.
An examination of the limited lifestyle of women in the South after the Civil War, as illustrated by William Faulkner in "A Rose for Emily."
1,023 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper introduces, discusses and analyzes the short story, "A Rose for Emily," written by William Faulkner. Specifically, it discusses the roles of women in the South following the Civil War, as illustrated in the story. The paper shows how this tragic story illustrates how the limited lifestyle of women at that time living in the South affected the main character and other women.
From the Paper
"The women will not leave her alone, they judge her when she is seen with the northerner Homer Barron, and they judge her when he abandons her. They meddle in her affairs, send the minister to talk to her, and even notify her relatives of her "scandalous" behavior. They concern themselves with what she does, but never make an attempt to help her, or even understand her, and so, they are essentially the villain of the tale. Their gossip drives her to become a recluse, and perhaps even drives her mad. The women have little role in society, and so they fill up their time with gossip and unreal expectations for others, to make up for what is lacking in their own pitiful lives."
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Gender in "Twelfth Night", 2008.
This paper explores Shakespeare's gender constructions and cross-dressing in the play "Twelfth Night".
2,016 words (approx. 8.1 pages), 8 sources, MLA, $ 63.95
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Abstract
The paper explores Shakespeare's gender disguise that distorted female identity and investigates early modern constructions of gender as distinct from sexual difference. The paper examines the play "Twelfth Night" in order to show how it was Shakespeare's intention to challenge gender taboos of the Elizabethan age.
From the Paper
"Considered by critics as Shakespeare's best achievement in the comic genre, the play Twelfth Night or, What You Will affords an elaborate exploration of love and power relationships, gender roles and taboos. Identity poses highly confounding problems, as there are numerous layers to the characters' gender roles and their maze-like relationships and (homo) erotic affinities. Through a range of female characters and the implications of (wo)man disguises, Shakespeare exposes gender issues. Several heroines of the comedies appear in disguise on the Renaissance stage, which represents the cultural context of the play."
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Metamorphosis, 2008.
A review of the book "Metamorphosis" by Franz Kafka.
1,738 words (approx. 7.0 pages), 4 sources, MLA, $ 56.95
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Abstract
The paper discusses Franz Kafka's "Metamorphosis", a tale verging on science fiction, that weaves the idea of industry and learned helplessness into one family's lives. The paper explains that "Metamorphosis" expresses the need to allow metamorphosis to engage you and help you create a better way for yourself, without relying blindly on others to do so for you, no matter their good intentions. The paper also states that all of the characters in the work experience a metamorphosis of sorts, allowing them to re-engage in the industry of life. The paper comments that Kafka's book expresses the need to allow metamorphosis to engage you and help you improve yourself, without relying blindly on others to do so for you.
From the Paper
"If one were seeking to understand this work, solely on the metamorphosis of Gregor, there would be confusion and oversimplification. In a sense the dramatic nature of Gregor's position is a literary device possibly an illusion to what might happen to such a family if Gregor where to become an invalid in any other manner, and yet the dramatic and complete transformation of Gregor into an insect instead is far more engaging and holds an element of the need for the reader to suspend disbelief."
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"Stolen Lives", 2008.
This paper examines the cinematic elements in Malika Oufkir's memoir "Stolen Lives".
998 words (approx. 4.0 pages), 3 sources, MLA, $ 35.95
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Abstract
The paper describes the story of Malika Oufkir's life as recounted in her memoir "Stolen Lives" and shows how Malika's childish desire to become a glamorous actress sustained her through the ordeal she suffered. The paper maintains that, despite its subjective nature, the book is a compelling portrait of political imprisonment and injustice that took away the best years of a young woman's life. The paper concludes that as recent events have brought the question of the rights of the politically imprisoned to the forefront of our own national consciousness, "Stolen Lives" is a worthy dramatization of the issue.
From the Paper
"The story of Malika Oufkir's life rivals that of the made-up tale of the supposed surviving princess and daughter of the last czar, Anastasia. Only Oufkir's memoir is nonfiction, and perhaps more worthy of cinema. "Although Stolen Lives would be a smashing good tale if it were fiction, it is all the more compelling since it is true," wrote one reviewer (Sherrer, 2001). Imagine this beginning of a film. A young girl, selected by the capricious hand of fate, is given the honor of becoming the adopted daughter of the King of Morocco, King Muhammad V and is sent away at the age of five from her parents to be raised with the king's daughter as the girl's companion in a harem. The girl has been taken away from all that is familiar, but she lives a charmed life of luxury. When she is a teenager, she is sent back to live with her parents, her usefulness exhausted to the royal family. She must get to know her parents and siblings again, for they are now strangers."
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Coping With Dysfunctional Families, 2008.
This paper compares and contrasts Anne Tyler's novel "Dinner at the Homesick Restaurant", Roddy Doyle's "Paddy Clarke, Ha Ha Ha", and Nino Ricci's "Lives of the Saints".
986 words (approx. 3.9 pages), 3 sources, MLA, $ 35.95
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Abstract
The paper examines the family structure in Anne Tyler's novel "Dinner at the Homesick Restaurant", Roddy Doyle's "Paddy Clarke, Ha Ha Ha" and Nino Ricci's "Lives of the Saints". The paper explains that because of a lacking or dysfunctional family structure, the children of the Tyler and Doyle novels become mired in loneliness and isolation. The paper contrasts this to Ricci's young protagonist who still manages to emerge as a resilient narrator, because he looks positively at the difficulties he experienced.
From the Paper
"In Dinner at the Homesick Restaurant, Cody, Ezra, and Jenny are abandoned by their father and raised by a difficult mother, Pearl. Pearl finds it difficult to emotionally cope with her husband's abandonment, because of the financial stresses of her circumstances and the fact that she has no real friends or family members willing to help her survive. Her children grow up to become functional members of society, vocationally, but their family lives are fraught with difficulties. Even as Pearl lies on her deathbed, the family has difficulties communicating."
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