| Papers [1-12] of 1817 :: [Page 1 of 152] | | 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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The Black Arts Movement, 2008.
Explores today's black arts movement, which includes music, stage, film, television, literature and the visual arts.
2,310 words (approx. 9.2 pages), 8 sources, MLA, $ 71.95
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Abstract
This paper explains that the black arts movement is an extension of the Harlem renaissance period. The author points out the contributions of black persons to different genres or mediums of the arts in an overall social context. The author also stresses the impact of the black arts movement on all artists, regardless of color, and to the general culture to the extent that today the lines between white and black performers has been successfully blended.
From the Paper
"It was a well known fact that, by the time many young black men reached their early twenties, they had been arrested or came of age during incarceration. Rap reflected this, not just in the music, but in the music labels that were born to promote the industry: Death Row Records; Jive Records, Def Jam; Quannum Projects. All depicted labels that told the contemporary black story, and it wasn't a pretty a story. Black community, who had supported and marched with the Dr. Martin Luther King, Jr., finally began speaking out against the violence message in rap aimed towards black women."
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Conflict in "Antigone", 2008.
An analysis of the main thematic conflict in the drama "Antigone" by Sophocles.
1,379 words (approx. 5.5 pages), 1 source, MLA, $ 46.95
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Abstract
This paper discusses the main thematic conflict in the tragic drama "Antigone". Specifically, the paper relates that the main thematic conflict in "Antigone" is Antigone's rebellion against authority and law. The paper then looks at how Creon represents the power of the state, while Antigone represents the individual. The paper explains how the conflict is resolved in a tragic way; Creon loses some of his pride while Antigone loses her life.
From the Paper
"Early in the play, it becomes clear that Antigone is not afraid of the power of Creon or the state. She believes the laws are unfair, and she is not afraid to stand up against them and challenge Creon and his power. She believes the gods are the only ones who can truly make the laws, and this sets up the conflict between Antigone and Creon that lasts through the entire play. She says, "Creon is not strong enough to stand in my way" (Sophocles 1304), and she truly believes this, which is why this tragic conflict continues. She loves her brother enough to sacrifice herself to make sure he is properly buried and she will not let the laws of a powerful king stand in her way."
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Revenge in Drama, 2008.
Compares the theme of revenge in Henrik Ibsen's "The Wild Duck", William Shakespeare's "Hamlet" and Aeschylus' "The Oresteia".
1,325 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
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Abstract
This paper states that revenge makes for some of the best stories ever written and suggests that "The Wild Duck" by Henrik Ibsen is one of the best revenge tales ever told. The paper maintains that the theme of revenge in "The Wild Duck" is far stronger than that in "Hamlet", which is more similar to "The Oresteia". The paper relates the plots of each of these stories and argues that, in "Hamlet" and "The Oresteia", the characters are motivated by the death of someone they love. Thus, their revenge is more justified than Gregers' motivation in "The Wild Duck" because they are avenging the death of a loved one.
From the Paper
"Gregers' first plan of action is confronting his father about his past. He argues with him about his mother and tells his father that it was the "suffering and humiliation she had to undergo, till at last it broke her down and drove her to such a miserable end." It is clear from their conversation that nothing is going to be resolved. What we do learn from this conversation is Gregers inability to forgive or forget his father. That is not to say that Werle asked for forgiveness or deserved it even but the fact that Werle is not remorseful at all does not make things between the two men any better."
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Play: Susan Glaspell's "Trifles", 2008.
Examines the background, the plot and the critical views of Susan Glaspell's play "Trifles".
1,325 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper relates that Susan Glaspell, a reporter, based her one-act play "Trifles" on events that actually happened in Iowa near the turn of the 20th century, which she covered. The author points out that the plot of the play is as if Glaspell didn't like the outcome of the real-life situation and then got to craft her own ending. The paper relates that the themes in "Trifles"are gender relationships, the tug-of-war battles between the sexes, women's perceptive intuition vs. men's bullishness, male chauvinism and the good-old-boy network of criminal justice
From the Paper
"After leaving newspaper work, her writing was strictly fictional; until that is her husband, George Cram Cook (a classics scholar with whom she had been involved during his second marriage in a long affair) urged her to write a play. "Glaspell may have been trying to buoy up Cook's artistic reputation by making him out to be the party responsible" for her literary success, something he, Cook, had never achieved. Meanwhile, even though Glaspell herself carried on an affair with a married man, thus hurting another woman, she painted men in "Trifles" as the bad guys."
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Sophocles' Theban Plays, 2008.
This paper discusses the merits of reading Sophocles' Theban play cycle, "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order.
1,323 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
The paper argues that reading the three plays "Oedipus the King", "Oedipus at Colonus" and "Antigone" in chronological order gives us more insight into Sophocles' narrative skill. The paper explains that one is able to fully savor the strange fusion of character and destiny that Sophocles manages to pull off as a playwright and storyteller. The paper argues further that although the play cycle has occasional lapses in chronology and internal inconsistencies, the plays also show us how certain characters, in particular, Creon, are able to radically transform themselves over time.
From the Paper
"Sophocles composed the Theban plays during a thirty-six year span. The three plays were actually not composed in chronological order; Antigone was penned first, followed by Oedipus the King, and finally, Oedipus at Colonus, shortly before Sophocles's death. As such, the three plays are rife with inconsistencies that come out when one reads them closely in chronological (i.e. sequential) order. Most notably, at the end of Oedipus the King, Creon has emerged as the undisputed King. He decides to expel Oedipus from Thebes after consulting with Apollo. Creon is then asked to look after Antigone and Ismene, the two daughters of Oedipus, which he agrees to do. In the subsequent plays, however, the two daughters are found wandering about on their own, either having fled with Oedipus or actively campaigning against Creon, who is supposed to be looking after them."
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William Shakespeare's "King Henry the IV, Part I", 2008.
Looks at the treatment of women in William Shakespeare's "King Henry the IV, Part I".
920 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper examines the apparent roles and functions of women in William Shakespeare's "King Henry the IV, Part I". Specifically, the paper looks at the impact of women upon other characters and whether or not their roles should have been different and, if so, how they should have been different. The paper contends that Shakespeare accurately captures the gender divisions of his age but fails to highlight the central contribution of Henry IV's first wife, Mary de Bohun, in the establishment of this man as a powerful king over a flourishing empire.
From the Paper
"One other thing that becomes evident is that much of the play is about men seeking power - about them accruing titles or lands, in short. As a result, by as early as Act 1, Scene 3, it is fairly clear, at least as we listen to Hotspur denounce the Prince of Wales and "Bolingbroke" (Henry IV), that power in fourteenth century England is a "man's thing" and that women are only referenced in these matters if they are bearing children who may become lineal descendants to a throne or baronetcy or if the behavior of one nobleman or another is so intemperate that he is described by his colleagues as a "woman" who cannot hold his tongue or think rationally."
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Materialism and "Death of a Salesman", 2008.
This paper discusses the false materialistic values of the American dream in 'Death of a Salesman' by Arthur Miller
888 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
In this article, the writer analyzes the false values of the American dream that arise in 'Death of a Salesman' by Arthur Miller. The writer maintains that the attitudes of Willy Loman toward his family is a representation of the unrealistic expectations that define the American Dream as being financially secure and living up to external social stereotypes about materialistic success in American society. The writer notes that by understanding the false values of Loman's insatiable desire to accept and follow the American Dream, he invariably destroys his own life, as well as that of his family. The writer discusses the various aspects of materialism that are found within the false values of the American dream within the play and within society.
From the Paper
"Within the American Dream, the common man offers a new perspective on what is good about human nature and the ability to improve oneself, even though Willy is unable achieve his goals. However, Wily is psychologically impaired, and cannot seem to grasp the real depth of his beliefs and suspicions about life beyond what external society expects of him. The false values of Wily's life are essentially dictated by a social expectation--the American Dream-but this is a dream that can never be actualized because of his behaviors within personal relationships. This is how tragedy is expressed in Miller's ideology, especially when Wily cannot realize he is trying to live a dream--not adhering to reality and human error in his judgments about his family. This is how Wily is able to realize the reality of family's own limitations, and how he eventually succumbs to the dream of American life, which is not possible within the error and fallibility of the human condition. "
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Two Tennessee Williams Plays, 2008.
Compares Tennessee Williams' plays "Cat on a Hot Tin Roof" and "Streetcar named Desire" as films and as stories.
990 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper relates that two of Tennessee Williams' most notable plays "Cat on a Hot Tin Roof" and "Streetcar named Desire" have been made into movies, which have become classics. The paper then discusses the similarities and the differences between the plays and concludes that, while both are good movies, "Cat on a Hot Tin Roof" has an element of truth that "Streetcar Named Desire" lacks. The paper includes dialogue from both films.
From the Paper
"For all the fierceness of the conflicts among the various members of the family, in the end, "Cat on a Hot Tin Roof" is a story of triumph. The story opens with Goober and Mae, with their children in tow, trying to get control of Big Daddy's fortune, and while they claim to be acting for everyone's good, their greed is transparent. Maggie and Brick are fighting and he is drunk so consistently that there seems little hope that they can weather this crisis. But they do. "
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George Bernard Shaw's "Major Barbara", 2008.
Looks at the idealism in a world of hypocrisy as presented in George Bernard Shaw's play "Major Barbara".
1,385 words (approx. 5.5 pages), 1 source, MLA, $ 46.95
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Abstract
This paper argues that George Bernard Shaw presents his belief that religious organizations for the most part are a sham because their minions will gladly embrace the money of the most wretched people if it will help them to pay their own bills. The paper then suggests that, at the same time, the character of Major Barbara in Shaw's play of the same name, while dismayed by the seeming hypocrisy of the Salvation Army, does not so much recoil from her holy mission as she returns to it with a more realistic understanding of how the world really works - and that doing good may, in the final analysis, involve making certain accommodations that the idealistic and naive might find appalling.
From the Paper
"In the end, Barbara dejectedly walks away from the Salvation Army (Shaw, 113-114; for a good description of how the experience seared Barbara to the quick, please see page 145 of the text) and assumes - it is her father's idea - control of the munitions factory (Shaw, 123-124). From her experiences she has learned a few things that are of the greatest importance: money really is power; Christian organizations can surely be bought for the right price; all men, like her father, who deign to be good men only have the luxury of being so when they are wealthy (for her father's treatise on why he finds poverty so abominable, please see pages 147-148); and evil in life (and those with blasted principles) cannot be avoided."
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Women in Shakespeare's Tragedies, 2008.
A proposal for a project to study the representation of women in Shakespeare's "Romeo and Juliet" and "Othello".
940 words (approx. 3.8 pages), 34 sources, MLA, $ 33.95
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Abstract
This paper explains that the project will be a detailed analysis of two works by William Shakespeare, "Othello" and "Romeo and Juliet", focusing primarily on the feminist and philosophical elements of the two plays, as well as the significance of the historical context in which they were written. The author points out that feminists, who are preoccupied with the commentary being made in Shakespeare's plays concerning women, question whether his representations of women truly reflect reality. The paper includes an outline of the method by which the project will be completed.
Table of Contents:
Project Overview
Subject to be Studied
Intended Outcomes
Learning Objectives
Detailed Work Plan
Project Outline
Method
Literary Resources
On-Line Resources
Faculty Supervisor's Role
Proposed Timetable
From the Paper
"The project proposes to examine the genius of Shakespeare as a dramatist who possessed a deep psychological understanding of women and who usually was able to anticipate a feminist perspective on women's issues and roles. Being a male author during the Elizabethan period, Shakespeare exhibited profound insights into the psyche of his female characters. Desdemona is unafraid to confront her father and is fascinated by the violent aspect of life yet she is also incapable of taking any real action to resolve her situation."
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Emotion and "Twelfth Night", 2008.
This paper looks at the overabundance of emotion in Shakespeare's work 'Twelfth Night'.
1,274 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
In this article, the writer points out that many scholarly articles and studies of 'Twelfth Night' tend to downplay the literary importance of the play by categorizing it as a genial and charming play. The writer maintains that there is not anything inherently abominable about being either genial or charming, but these two words do not do justice to Shakespeare's deceptively "light" play. 'Twelfth Night' is not a tragedy, but this does not prevent Shakespeare from exploring, through comedy, several fundamental themes of human existence: love, grief, and desire. This paper analyzes Shakespeare's exploration of these existential themes as they appear in 'Twelfth Night' and argues that the playwright, through comedy, unveils the ludicrousness and inappropriateness of extravagant and sentimental emotion.
From the Paper
"The question and the man who asks it barely register in Orsino's mind, but he is quick to pull out his readily available stock of conventional wisdom as soon as he breaks his reverie, and responds to Curio's question with a trite metaphor on love and hunting. No wonder, then, that the servants show signs of impatience and restlessness: their master is luxuriating in a state of complete self-absorption, and the outside world (or the beings that inhabit it) have ceased to exist. Of course, this matters not at all to the extravagant Orsino, as he is completely clueless as to what transpires around him and simply lacks the energy (in the manner of all love-sick gentleman) to engage in hunting or other depleting physical activities.
"Olivia, too, embodies these same characteristics, and it is perhaps unfortunate that the two do not make their own happy ending. Similarly to her determined pursuer, Olivia's emotional "disorder" reveals itself through her conversations with Cesario. The reader knows, before even encountering Olivia, that she is in mourning for a beloved brother. "
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On "Dinner at the Homesick Restaurant", 2008.
An analysis of the theme of pain and growth in Anne Tyler's play "Dinner at the Homesick Restaurant".
1,430 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper takes a look at Anne Tyler's 1982 play, "Dinner at the Homesick Restaurant", with particular focus on the growing pains of the character Cody. The paper discusses Cody's relationship with his mother and recently deceased father. It also examines the theme of pain and growth in relation to the other characters in the play. In the final analysis, the paper holds that only Cody appears to eventually find the peace of mind and personal growth he needs.
From the Paper
"Suffice it to say, Pearl's problem is that her introspection does not give way to a mind-set that allows her to "open up" before her children. Specifically, she not only fails to tell the children what has happened to their father, but she fails to come to terms with what has happened to her, not even giving into her emotions when she has a few minutes alone (Tyler, 18). As one might expect, the pressure of keeping everything inside frequently becomes so great that she explodes in bursts of anger, especially when the children present her with accidents or when they do something to irk one another and then noisily ask for their mother's intercession (Tyler, 19). To this psychologically damaging outlook must be added the fact Pearl is usually over-burdened with work (Tyler, 25). She is forced to shoulder the responsibilities of both a father and a mother. In the end, it is hardly revelatory that she is a mostly withdrawn woman."
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