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"A Raisin in the Sun", 2006.
This paper reviews and analyzes Lorraine Hansberry's play "A Raisin in the Sun" while focusing on the symbolism of light and its significance on both the plot and the characters.
1,412 words (approx. 5.6 pages), 3 sources, MLA, £ 29.95
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Abstract
This paper details the plot and main characters in Hansberry's "A Raisin in the Sun" which focuses on an African-American family residing in Chicago. The writer analyzes the significance of light in Hansberry's work which makes its first appearance in the opening of the play when the sun shines in on the Younger's cramped apartment. The writer contends and explains the manner in which the light provides emotional nourishment to the protagonists as well as heartache and despair. This paper also looks at the symbolism of Mama's plant which although she knows will never fully grow and reach its ultimate potential she continues to care and nurture it, much in the same manner as she cares for her own family.
From the Paper
"The plant does not simply symbolize Ruth and Walter's inability to fully grow and flourish as a couple and a mother and a father in the apartment. It also has more personal symbolism. It symbolizes the dream of Mama to own her own home, a place of her own rather than the rented territory of others, with a cramped and small bathroom for five (and perhaps six, given Ruth's impending pregnancy) other people, all dreaming and yearning to break free. The plant is a more specific and powerful symbol, too, because it is a green and living thing. It underlines Mama's desire to have a garden and a yard. Clearly, Mama could make many things grow. If she made a plant grow in a terrible apartment, with little help, just as she and her husband helped her children Beneatha and Walter flourish with little help from society, think of what Mama could do with her own yard, full of sunshine and space."
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"A Midsummer Night's Dream", 2006.
This paper discusses and analyzes the play "A Midsummer Night's Dream" by William Shakespeare.
1,050 words (approx. 4.2 pages), 2 sources, MLA, £ 22.95
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Abstract
The writer of this article studies various acts of Shakespeare's play "A Midsummer Night's Dream". The paper provides a view of one of Shakespeare's most famous and most loved works. In particular, the paper looks at how an all-male cast affects three pivotal scenes and explains how this staging tactic demands that audiences respond in a particular way. The writer explains that using only men in all the roles would have been common in Shakespeare's time, but today, it seems to take away from the impact and humor of the play.
From the Paper
"Clearly, the implications and consequences of the play are different when all the cast members are one gender. Some of the passion goes out of the play, and some of the scenes may even seem ridiculous or far-fetched. Personally, the play is funny and emotional, and some of that might just seem like farce to the audience when the cast was all male. It might seem more like "The Bird Cage" or other gay films. Giving hints of femaleness may work with some of the cast, but in other scenes, giving hints may simply take away the dramatic effect and lessen the impact of the play. The femaleness of the female characters is very important to the play, but it can be overcome with actors who believe in what they are doing and deliver their lines with conviction. Tongue-in-cheek lines will ruin the entire meaning and impact of the play."
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"A Doll's House", 2006.
An analysis of gender and Marxist criticisms of "A Doll's House" by Henrik Ibsen.
1,021 words (approx. 4.1 pages), 1 source, MLA, £ 22.95
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Abstract
In the play "A Doll's House," writer Henrik Ibsen centered on the development of protagonist Nora Helmer's character, as she shifted from being a materialistic, self-centered and submissive wife to being a willful and independent woman. This paper examines how both gender and Marxist analyses can be applied as literary theories in discussing Ibsen's play because both centers on two important themes in the literary work: power play between the male and female sexes, not to mention the socio-economic control that males seemed to have over females, particularly in Nora's case.
From the Paper
"Nora's submissiveness and evident dominance of Torvald, Dr Rank, and Krogstad was shown in Acts I and II. In the first act, Torvald showed his low regard for his wife Nora when he referred to her as his "my little skylark" and "my little squirrel" when they were discussing issues about money. The playful manner he regarded his wife while questioning her about money matters made Nora look like a child who had committed offense against Torvald, giving the reader the impression that their marital relationship was not based on mutualism and equality, but was rather dependent upon Torvald's implicit dominance and Nora's willingness to become submissive for the sake of being given the money that she needed."
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Henrik Ibsen's "A Doll's House", 2005.
This paper explains that, although exaggerated for theatrical purpose, Henrik Ibsen's "A Doll's House" presents an accurate portrayal of women's status in marriage at that time.
2,075 words (approx. 8.3 pages), 3 sources, MLA, £ 41.95
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Abstract
This paper explains that, at the time Henrik Ibsen wrote his play "A Doll's House", the popular culture of the day encouraged women to focus obsessively on their home and families. The author relates that Torvald's attitude towards Nora is reflected throughout the play in his use of amusing names for her, which emphasize his superior position; the only time he calls her by her real name Nora is when he is lecturing her about her careless spending, scolds her for speaking to Krogstad and essentially orders her to never lie to him. The paper relates that, while clearly Torvald sees Nora as an entertaining child who must be guided, Nora's conversations with her friend Mrs. Linde show that, to some extent, he is right.
Table of Contents
Thesis
Introduction
Women at the End of the 19th Century and the "Cult of Domesticity"
How Torvald Relates to Nora
Examples from Act I
Examples from Act II
Examples from Act III
How Nora Relates to Torvald
Manipulation
Lies
Nora's Solution
From the Paper
"Finally, she lies and says that one of the children tampered with the mailbox. Nora is distressed by her lying, believing as Torvald does that her lies may somehow result in the ruination of her children. Nora's life as a wife is defined by the "cult of domesticity." Her action to get a loan to save her husband's life was a strong and independent thing to do, and in conflict with beliefs at that time regarding women. She had to hide her actions or risk looking like a woman who did not know how to behave properly."
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Medea, 2006.
A summary and analysis of Euripides' work "Medea".
1,706 words (approx. 6.8 pages), 5 sources, MLA, £ 34.95
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Abstract
This paper discusses, summarizes and analyzes one of the more famous works by Greek playwright Euripides, "Medea". The paper explains why some see the character of Medea as the villainess while others see her as a victim as much as a victimizer and that this later perspective suggests that the lesson to be learned from "Medea" is to stand up for what one believes in, and overthrow those who oppress and suppress.
From the Paper
"Euripides, one of the great Greek playwrights of yesteryears, even today, remains a constant favorite among readers, more so than Sophocles or Aeschylus could ever become. The reason for this phenomenon is that Euripides more often than not, believed in sacrificing or sidelining propriety and correctness in favor of metaphorical and rhetorical displays of verse, and this may be what made him better known than most of his contemporaries of the middle Ages, when the Classical Greek tragedies came into their own. Euripides's treatment of the genre referred to as the 'tragi-comedy', therefore, is well known for being tame at times, and completely rhetorical at others and the reader often gets a feeling that he is reading the speeches of a great orator than the work of a poet. Euripides was a trained athlete, and was also a famed painter; however, it was his poetry that won him great acclaim and wealth during his lifetime. (Euripides and his Tragedies)"
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"Brodie the Broadsword", 2005.
This paper reviews and analyzes the comedic play "Brodie the Broadsword" written by Scottish playwright Alan Richardson.
1,888 words (approx. 7.6 pages), 5 sources, MLA, £ 38.95
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Abstract
This paper opens with a brief biographical profile of author and playwright Alan Richardson who is well known for his numerous publications on a wide variety of topics including: Gender issues and issues of race, colonialism as well as topics related to children. This paper examines the plot and characters in "Brodie the Broadsword" while discussing the author's unique style of writing. Richardson's play is set in an average Scottish community during the 16th century amid old castles and forts. This paper details the personality of the title character Brodie who, for the most part, has been wasting his life engaging in the trivial pursuits of looting and robbery. This paper cites the various scenes in the play which pay homage to Richardson's creative writing and comedic sense.
From the Paper
"The characters in 'Brodie the Broadsword' are all interesting and full of beans. Some of them are: Sir Archibald Brodie, who has been nicknamed 'the Broadsword', Sir Henry Milburn, the illustrious neighbor of Brodie Broadsword, Lady Kate, or rather, lady Catherine, the wife of Brodie, Ina, Lady Catherine's servant, Clarty Sim, the an-of arms of Brodie, Young Effie, another servant, Alison, the daughter of Brodie and Lady Catherine, Stephen Milburn, Sir Henry Milburn's son, and Kirsty Boyd, who is from the nearest village. As the play is set during the early sixteenth century, and close to the English border, which is where Brodie's castle is located, the language and the dress of the characters would be suited to the setting and the period. When Lady Kate starts off with making a very insightful comment about Brodie's deeds and misdeeds, by saying, "A fine mess Brodie's in this time", the audience gets a glimpse of the comedy that is yet to come during the course of the play."
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Brian Friel?s ?Translations?, 2005.
This paper discusses cultural effects of translations upon the central protagonist Owen in Brian Friel's play "Translations" (1980).
1,385 words (approx. 5.5 pages), 0 sources, £ 29.95
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Abstract
This paper explains that the notion of change, both of the Irish nation through colonizing British politics and the character of the central protagonist Owen of Brian Friel's play "Translations" (1980) is continually debated throughout the play, which is set in Baile Beag during the 19th century, then an Irish-speaking community in County Donegal. The author points out that, between Act II and Act III, Owen's attitude towards the Irish begins its most fundamental change as he realizes that the true purpose of the English solicitation of translation is not to modernize or improve Ireland but to make taxation of Irish provinces easier for the Mother Country and to make sites of potential military unrest more easily identifiable in the case of military turmoil. The paper relates that the play "Translations" is presented as a series of conflicts between the Irish and English military as well as between ancient and modern attitudes to the world beyond Ireland.
From the Paper
"Towards the end of the play, as Owen's views begin to change, he also begins to rediscover his Irish roots through his new immersion in Irish culture. The town has changed-it has grown more radically opposed to Britain. At first, Owen is purely frustrated with individuals such as Manus, who can speak English, yet chooses not to, to demonstrate his local rather than national pride and says, "What's 'incorrect' about the place-names we have here?" Magnus rages against the enforced renaming. Manus is far from uneducated-as a student from a local hedge school he can speak Irish, Latin, and Greek. Magnus prefers, however, to dwell in the Classical rather than the present day, something that Owen first believes is simply ludicrous, even while he gradually begins to appreciate the difficulties of translation more fully, as he attempts to give County Donegal English names."
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"Oedipus Rex", 2005.
This paper discusses the use of irony in Sophocles' "Oedipus Rex".
1,045 words (approx. 4.2 pages), 1 source, MLA, £ 22.95
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Abstract
This paper explains that the most tragic destiny is a man having to murder his father and husband of his mother as was prophesied for Oedipus. The author points out that Sophocles artfully sprinkles ironies throughout the tale of Oedipus, which compounds this tragedy that is Oedipus' fate; moreover, Oedipus not knowing until much later in the play causes the reader to have an emotional response to the story as it progresses and the tensions build dramatically. The paper relates that the most bitter of ironies comes when Jocasta scoffs at the art of prophecy, beginning her speech, meaning only to comfort Oedipus, by showing him that the prediction that her son would kill Laius did not come true.
Table of Contents
Introduction
Overview
The Ironies
Conclusion
From the Paper
"Desperate for any clues, Oedipus asks for details of Laius' death. He is told that robbers killed King Laius, but further inquest into the matter was halted. When pressed to why no one would investigate the murder of royalty, it is ironically the Sphinx that compelled them to "let slide the dim past and attend instant needs" (Sophocles). These needs were the establishment of Oedipus as King and consort of the Queen, his mother. If not for this intervention by the Sphinx, who placed Oedipus on the throne, perhaps it would've been discovered that he was Laius' murderer, prior to him becoming the new King of Thebes, and bedding his mother."
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Fantasy in Arthur Miller's Plays, 2006.
A look at the theme of fantasy in the plays "The Glass Menagerie" by Tennessee Williams and "Death of a Salesman" by Arthur Miller.
2,462 words (approx. 9.8 pages), 4 sources, MLA, £ 47.95
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Abstract
This paper examines how the plays "The Glass Menagerie" by Tennessee Williams and "Death of a Salesman" by Arthur Miller share a similar theme in that they both explore themes related to living in reality versus living in a fantasy or a dream life. Both plays feature a main character that is living in a fantasy. In "Death of a Salesman, the main character is Willy Loman, an unsuccessful salesperson who lives in a fantasy world where he believes he is successful. In "The Glass Menagerie" the main character is Laura Wingfield, a young girl who escapes into a fantasy world to avoid the problems of her life. The issues of reality versus fantasy are explored by comparing and contrasting the two main characters of the two plays.
From the Paper
"The first consideration related to the two plays is why people escape into a fantasy world. For both Willy Loman and Laura Wingfield, it is a means of escaping from the real world. For Willy Loman, it is a way of escaping from his own failures, namely his failures in being able to provide for his family. This is especially related to his perception of what a man should achieve. These views are based on the American dream, which he has come to accept as truth. Loman's dream is simply to be a good husband and provide for his family. It must be noted that Loman's dream is not based on a need to achieve great success, power, or a lot of money. He simply wants to be a good provider for his family."
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Iago in "Othello", 2005.
Examines the character of Iago as the evil genius in William Shakespeare's "Othello".
781 words (approx. 3.1 pages), 1 source, MLA, £ 17.95
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Abstract
One of the most popular characters to illustrate the theme of evil is Iago from William Shakespeare's play, "Othello". Iago is the definition of true evil genius. By observing his character and actions, this paper shows that we can understand his philosophy of life, which includes no regard for others. In fact, the more pain and destruction he can cause, the happier he seems to be. The paper shows that, through Iago, Shakespeare has painted the portrait of evil in human flesh.
From the Paper
"Iago also demonstrates his capacity for evil when he tricks Othello. He uses what he knows about Othello against him. In fact, he can manipulate him so easily because he knows him so well. For example, he convinces Othello that he actually cares for him and that he is concerned about his future. He cautions him that being jealous might lead to ruin by telling him, "O, beware, my lord of jealousy!/It is the green-eyed monster, which doth mock/The meat it feeds on" (III.iii.166-9)."
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The Tragic Existence of Willy Loman, 2006.
An evaluation of the character Willy Loman in Arthur Miller's play "Death of a Salesman".
1,100 words (approx. 4.4 pages), 0 sources, £ 24.95
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Abstract
This paper examines Willy Loman, the main character in the play "Death of a Salesman" by playwright Arthur Miller. The paper demonstrates how "Death of a Salesman" -- and in particular its protagonist Willy Loman -- serves as a commentary on the tragedy of the lost American Dream. The focus of the paper is on how Willy suffers because of the internal and external conflicts in his life, and how he is ultimately faced with the dramatic questions that broach the nature of the disintegration of his family.
From the Paper
"The main protagonist of Death of a Salesman is Willy Loman, a traveling salesman. He represents the common American man and is a symbol for every person who has put faith into the American Dream and been betrayed by it. Willy is a ritual head of his family, though his family may or may not actually respect and love him as the husband and father. Willy is the personification of the values that are held in the utmost importance by the civilized men of the twentieth century, being dedicated to his long-standing employer despite unfair treatment, holding materialistic values to prove success to himself, and wanting good things for his football-hero son. Willy is seeking meaning for the events of his life, trying to interpret a design and pattern to life when it seems the most illogical and the most chaotically paradoxical. Willy experiences his life as a whole, not in a linear and separated form, and the way in which events of his life interact as independent entities is both an expression of his removal from logic as well as a force which disrupts reality as he understands it. Willy's ideals are unattainable, for he wants to please everyone all of the time, he wants to be successful in a way that is not possible for him, and he wants to make an impression on the world in a way that a traveling salesman simply is not destined to do. When Willy realizes that he has failed at reaching the American Dream, and that he is not capable of attaining the material things he thinks are vital to proving his personal worth, he projects his own desires onto his son, and sees Biff as a way to redeem himself despite his failings. Unable to provide for his family in the way he sees fit during life, Willy martyrs himself so that his family can receive life insurance benefits, and his son, as a replacement for himself, can reach the American Dream with the money."
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Different Heroic Ideals, 2006.
A comparison of the characters of King Gilgamesh and Odysseus in "Gilgamesh" and Homer's "The Odyssey".
1,700 words (approx. 6.8 pages), 4 sources, MLA, £ 34.95
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Abstract
This paper analyzes the heroes of King Gilgamesh from an unknown author's poem "Gilgamesh" and Odysseus from Homer's epic poem "The Odyssey". The paper examines how both of the men are heroes, but with very different ideals. Given these differences, the paper attempts to compare the characters as men, leaders and wanderers, rather than as heroes. The paper first discusses how both men take epic, life-changing journeys; but while the journey itself is similar for both men, the purposes they serve are very different. Next, the paper studies similarities between the two, such as the authors' early description of the character as heroic, their strength of character to reject women who are not right for them, their industriousness and their morality. The paper concludes with another discussion of the differences between the two characters, focusing on their maturation, in particular the fact that Odysseus is a father.
From the Paper
"First, both men complete difficult journeys throughout their stories. Odysseus takes twenty years to make it home to his wife and family, while Gilgamesh goes on a quest to seek life forever after he loses his friend Enkidu. Their journeys are similar, but they serve very different purposes. Odysseus' journey's ultimate purpose is to return home and reunite with his family, who he loves above all else. His reason for his journey is heroic but also filled with passion and deep love. Gilgamesh's journey is based on his own needs and wants, rather than those of family or loved ones. Grieving after the death of his best friend, he begins a search for everlasting life. In the end, he finds himself instead, and finds happiness in understanding himself, but his journey is far more selfish than Odysseus' journey, and has very different goals. This helps point out a major difference in the two heroic characters - their motivation. Odysseus is heroic in his journey - he saves his men, kills and defeats monsters and evil gods and goddesses, and always has his eye on his family and returning home. He is strong, but he is also motivated, and this adds to his heroism and his high ideals. Gilgamesh is motivated by his own desires, and so his heroism is self-motivated, rather than motivated by others. He is selfish and willful, and sometimes seems like a child when compared to Odysseus."
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?Man and Superman?, 2005.
Examines the genre known as 'New Comedy' in this work by George Bernard Shaw.
2,457 words (approx. 9.8 pages), 12 sources, MLA, £ 46.95
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Abstract
In English literature, George Bernard Shaw represents a manifestation of New Comedy in the British social order, and the comedy in his plays serves as a tool for criticizing the hypocrisy of British society and the direction taken by the social and political order. This paper examines how Shaw uses New Comedy in his famous play, "Man and Superman". It also touches on how Shaw uses New Comedy in several of his other plays.
From the Paper
"The older generation places obstacles in the path of the lovers, difficulties which have to be overcome before the match can take place. The lovers in these comedies represent ideas, movements, or ideologies which serve them in overcoming the obstacles, and thus it is important how they overcome the obstacles because it furthers the themes inherent in the work. The young lovers will be successful, of course--this is comedy and not tragedy--and their success is celebrated. Why this celebration takes place is important--they have proven the worth of themselves and of what they represent. Ultimately, the structure affirms a celebration of life and of the vitality of the young."
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The Globe Theatre, 2005.
A look at the history of the physical and sociological development of the modern theater, focusing on the Globe theater and the involvement of William Shakespeare.
1,850 words (approx. 7.4 pages), 7 sources, MLA, £ 37.95
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Abstract
The origins of theater in the ancient world were centered around religion and the gods and the Globe theater continued that tradition in Elizabethan England with the help of contributions from Shakespeare. The paper examines how the design of the open-air theaters in Athens may have inspired the architecture of theaters, such as the Globe, that were built in England many years later. It also discusses how William Shakespeare was one of the partners from among the actors and how his own money, as well as artistic work, went into the theater.
From the Paper
"In the 1570s, a man named James Burbage obtained for himself a theatrical license, which allowed him to actually lease a piece of land to be used exclusively by a theater. It was a long-term lease which gave him a great deal of control over the land and the freedom to construct or deconstruct buildings on it as he pleased. This was a landmark event all around, for this was the first theatrical license granted in England; The Globe Theatre was a part of many landmark events in English theater. The location was on the north shore of the Thames River, and it sat just outside of London. The location was actually a strategic move for Burbage, for within the city limits of London he would have faced far more scrutiny and protest for building a theater, which was not considered to be an upright establishment, and ranked in many people's minds right along brothels so far as morality is concerned."
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