| Papers [71-84] of 1817 :: [Page 6 of 130] | | 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 —> | |
|
|
"Oedipus Rex" versus "Hamlet", 2007.
An analysis of the influence of the Sophoclean Grecian tragedy, "Oedipus Rex" on William Shakespeare's "Hamlet, The Prince of Denmark".
2,414 words (approx. 9.7 pages), 2 sources, MLA, £ 42.95
»
Click here to show/hide summary
Abstract
This paper evaluates the influential aspects of the Sophoclean Grecian tragedy on the latter forms of Shakespearean tragedy used within the Elizabethan period. It discusses the various psychological and political issues that abound in "Oedipus Rex" by Sophocles and how Oedipus acts as a clear role model for the insanity that Hamlet exhibits within Shakespeare's "Hamlet, The Prince of Denmark".
From the Paper
"In conclusion, the reemergence of the Greek tragedy in the Elizabethan era can be readily seen through the works of William Shakespeare through the influence of Sophocles. The plays Hamlet: The Prince of Denmark and Oedipus rex provide textual examples of the psychological and political disposition of the heroic character that is doomed to death due to errors in judgment. By understanding the principle aspects of the tragic hero in the work of Sophocles, one can realize why Shakespeare uses many of the literary devices that define tragedy along the Greek model. This inevitably appears in Hamlet and Oedipus through the presence of insanity in their thought process, but also in their lack of control over the political forces that seek to destroy them. This is how William Shakespeare readily provides an example of the reemergence of Greek tragedy in the Elizabethan era through the tragic works of Sophocles."
| |
|
Iago's Plot, 2007.
This paper examines a passage from William Shakespeare's tragedy "Othello."
796 words (approx. 3.2 pages), 1 source, MLA, £ 16.95
»
Click here to show/hide summary
Abstract
The paper analyzes a passage from "Othello" in which Iago first conceives of his plot to inflame Othello's jealousy against his wife. The paper shows how it is in this passage that Iago effectively defines his plan of action that leads to the tragic destruction of the play's primary characters. The paper highlights how the passage is critical to our understanding of both the action of the play and the complex character and motivations of Iago.
From the Paper
"This passage is situated in the play directly after the failure of Iago's initial plot to hurt Othello; in which he had stirred Desdemona's father, Brabantio, into a rage at the thought that the Moor had seduced and "stolen" his daughter (I.1). This plot fails when both Othello and Desdemona are brought before the Duke of Venice, where both Othello's nobility and Desdemona's protestations of her love for him sway the Duke in favour of the couple (I.3). Yet, this plot having completely failed, Iago nonetheless continues to scheme. At this point, Shakespeare is compelled to reveal the reason why Iago seems so driven to hurt his master. Significantly, it is Iago's own jealous belief that Othello has slept with Iago's wife that, Iago states, fuels his rage: "I hate the Moor,/ And it is thought abroad that 'twixt my sheets / He's done my office" (I.3.380-382)."
| |
|
Hamlet, 2007.
This paper analyzes the state of Hamlet's mind in William Shakespeare's play of the same name.
1,188 words (approx. 4.8 pages), 2 sources, MLA, £ 23.95
»
Click here to show/hide summary
Abstract
This paper discusses Hamlet's inability to carry out his desire to avenge his father's murder. The paper describes Hamlet's schizophrenic shock and shows how he was suffering from manic depression. The paper labels "Hamlet" a dark play and demonstrates how it was staged in Hamlet's mind.
From the Paper
"We first see Hamlet dejected in black mourning in contrast to the brightly lit court of the new King (Act I, Sc. 2). His melancholy attire mirrors the foreboding of the ghost on the ramparts and his passionate, broken hearted soliloquy contravenes the staid, artificial dialogue of the familial scene at court. It reveals his depression as a result not just of his grief for his father but also for his mother and her "disgusting dexterity to incestuous sheets" (Act 1, Sc.2). The sordidness he sees reflect the schizophrenic shock that is beginning to affect his ability to act. The forbidden idea of suicide, the image of his father as "Hyperion" to his uncle's "satyr", the counterpoint between things divine and those of earth grossly profane, "unrighteous tears" and "galled eyes", twist his
depression into a knot in his throat "for I must hold my tongue", and a desperate feeling of low self-esteem and inadequacy "no more like my father than I to Hercules"."
| |
|
Sophocles and Memory, 2007.
This paper focuses on the issue of memory in Sophocles' three Theban plays.
1,017 words (approx. 4.1 pages), 1 source, MLA, £ 20.95
»
Click here to show/hide summary
Abstract
The paper highlights how memory is a major element in the three Theban plays by Sophocles. The paper looks at "Odeipus the King", "Oedipus at Colonus", and "Antigone" and illustrates the aspects of individual and cultural memory.
From the Paper
"In Odeipus the King, cultural memory is central and often represented by the Chorus, which recognizes the nature of the prophecy that Oedipus has essentially ignored. The prophecy itself is a cultural memory, a warning meant to be heeded, and when broken, a sign to others not to make the same error. Oedipus's parents, Laius and Jocasta, are told that their offspring will kill the father and marry the mother. In order to avoid this fate, the parents place the child on a hill and leave him. The boy is instead raised in another household, but he is told about the prophecy by the Oracle at Delphi."
| |
|
Impression Management, 2007.
This paper examines Erving Goffman's theory of impression management.
724 words (approx. 2.9 pages), 3 sources, APA, £ 14.95
»
Click here to show/hide summary
Abstract
This paper draws upon Erving Goffman's dramaturgical approach to discuss how several groups, including athletes, college instructors, parents, physicians and politicians, engage in "impression management." The paper explains that social interactions invariably entail a sort of "performance" in which we act in accordance with the pressures exerted upon us by environment. The paper illustrates how we put on a facade in order to achieve our personal objectives.
From the Paper
"According to Goffman (1959), impression management is fundamentally about "expressive responsibility;" that is to say, it is about self-consciously crafting an exterior appearance that will not offend the sensibilities of the audience. In other words, social interaction is an act of dramaturgy in which we "perform" in accordance with the pressures exerted upon us by environment, the nature of our environment and with the goal of manufacturing "performances" that are "consonant" with our own desired goals (Barnhart, n.d.). To sum it all up, we put on a facade because we believe that doing so will enable us to gain the favor of those around us whose good will we need in order to achieve our personal objectives (like a well-dressed person speaking in proper English and with an upright posture at a job interview)."
| |
|
The Tragic Hero, 2007.
This paper discusses the heroic nature of Sophocles' "Oedipus the King".
793 words (approx. 3.2 pages), 1 source, MLA, £ 16.95
»
Click here to show/hide summary
Abstract
The paper explains that the character of Oedipus, in Sophocles' "Oedipus the King", is a hero because he is tested by the gods and a tragic hero because this testing comes from flaws within himself. The paper describes how Oedipus meets the challenges that have been set for him, learns from them and grows as a person even as he loses his status as king. The paper concludes that despite his many flaws, Oedipus truly is a hero.
From the Paper
"A man who kills his father to marry his mother seems an odd figure to call a "hero." Rather, it would seem that such a man would be the villain of the piece, due to his violent and arrogant nature. Oedipus is every bit the hero, however, in that he is a tragic hero. Not only is he permitted to have these major flaws, he is expected to have them."
"Oedipus is a tragic hero both because of his flaws and for how he handles them. He is destined to lose everything because of those flaws, but both his attempt to change his fate and his ability to learn from his experiences make Oedipus heroic. Oedipus is also a human, feeling character. Unlike a typical villain who might discount the human lives he has affected by his actions, Oedipus responds in a strong and emotional fashion. These things can be summarized by three events: Oedipus' decision to leave Corinth to avoid killing Polybus, his reaction to learning that Jocasta is both his wife and his mother, and by his decision to defer ruling Thebes to his sons."
| |
|
The Iroquois Theater Fire, 2007.
This paper discusses the Iroquois Theater Fire which took the lives of roughly 600 people in December of 1903 in Chicago, Illinois.
977 words (approx. 3.9 pages), 3 sources, MLA, £ 19.95
»
Click here to show/hide summary
Abstract
The paper outlines the causes of the Iroquis Theater Fire, what regulations were violated and what corrective actions could have been taken to prevent the fire from having taken place. The paper contends that poor planning, derelict management and shoddy inspection work contributed to the tragedy.
From the Paper
"To begin with, the incident began at around 3:15 pm on December 30th. Inside Chicago's Iroquois theater roughly 1900 souls were crammed together to watch the popular musical, "Mr. Bluebeard, Jr.". The on-duty fireman charged with battling any blazes that broke out was armed with only two tubes of "patent powder" (which proved useless in combating the huge blaze) and the theater lacked fire hoses and any other means by which fires breaking out over the fireman's head could be battled. Furthermore, the asbestos fire curtain got "stuck" before it reached the full "down" position inasmuch as projecting lamps and/or cheap wooden tracks got in the way. These problems, coupled with others which will be discussed shortly, led to the inevitable tragedy."
| |
|
Tennessee Williams' "The Glass Menagerie", 2007.
This paper analyzes the play "The Glass Menagerie" by Tennessee Williams.
1,086 words (approx. 4.3 pages), 2 sources, MLA, £ 21.95
»
Click here to show/hide summary
Abstract
The paper discusses the theme of escape in the "The Glass Menagerie". The paper explains how this play seems to revolve around Tom's escape from his family, but in reality, each of the characters is attempting to escape something. The paper looks at how Laura escapes from reality by spending her entire life inside the apartment with her beloved glass animals and Amanda retreats to the past to escape her present life.
From the Paper
"Escape is a central issue in this play, from Tom's escape at the end of the play, to his distancing from the family as he becomes increasingly frustrated with his life and his job. One method Tom uses to escape the tension of the family is to go to the movies. His mother even criticizes his attempt at escape. She says, "'I don't believe that you go every night to the movies. Nobody goes to the movies night after night'" (Williams 998). Tom does go to the movies because it is the only place he can find peace, quiet, and a measure of normalcy. His dysfunctional family is far from normal, and that is the main reason Tom is so desperate to escape. However, he is not happy with his job, either, and is afraid of being trapped in it forever. Therefore, he must escape his job as well as his family if he is ever to create a new life for himself."
| |
|
Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, £ 42.95
»
Click here to show/hide summary
Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
| |
|
Male Prostitution in "Sweet Bird of Youth", 2007.
An analysis of the theme of male prostitution in Tennessee Williams' "Sweet Bird of Youth".
2,379 words (approx. 9.5 pages), 7 sources, MLA, £ 42.95
»
Click here to show/hide summary
Abstract
This paper contends that male prostitution has two contradictory meanings in Tennessee Williams' play: It symbolizes corruption on the one hand, but at the same time, it symbolizes "love-making" as opposed to hatred and intolerance. The paper looks at how Williams makes prostitution a token of corruption and how he advocates that this pagan state is actually the natural condition of man. The paper also discusses how the castration of the character of Chance can be interpreted both as a just punishment for prostitution as well as a crime against the natural state of man, in which the primitive instincts reign.
From the Paper
"At a first glance, William seems to imply merely that "guilt is universal", as he says in the forward to the play, and that all men are equally sinful and corrupted. It is very difficult to say if the scale tips in the play in favor of sexual freedom or in favor of abstention. The two extreme poles of interpretation, that is prostitution as corruption or as a mere token of love making, are caught in the mixed symbolism of the play, which is partially Christian and partially pagan. (Mitchell, 209) Thus, in the first place, the male prostitute Chance Wayne is a corrupted and egotistical man, who deceives himself with his two impossible dreams: to be a Hollywood film star and to marry the ideal Southern belle, appropriately named Heavenly. "
| |
|
"Oedipus the King", 2007.
A comparison of two translations of the play of "Oedipus the King" by Sophocles.
1,279 words (approx. 5.1 pages), 2 sources, MLA, £ 25.95
»
Click here to show/hide summary
Abstract
This paper discusses some of the significant differences that can exist between different versions of the play "Oedipus the King" by Sophocles. The paper specifically focuses on the different ways that translators interpret and represent the ancient Greek play. It compares the translations of the play by Dudley Fitts and Robert Fitzgerald, with that of Robert Fagles, focusing on one pivotal moment in the play.
From the Paper
"The influence a translator can have on the final form of a translated text, in this case Sophocles' Oedipus the King, is quite obviously very significant. At times, the differences--like stanza and line break--can seem subtle, but have important effects on the play's presentation. Other times, the language is so wildly different that it would take a reader as blind as Oedipus not to note the extreme variation in translation. The cautionary tale of Oedipus, his pride, his fate, and his downfall is evident in both translations presented above. What differences exists are simply a matter of interpretation and intention. For Fagles: "These are the griefs that burst upon them both, / coupling man and woman" (ln. 1416-1417) while for Fitts and Fitzgerald the same play illustrates that "from the unhappiness of two this evil has spring. / A curse on the man and woman alike" (ln. 1231-1232)."
| |
|
"Hamlet", 2007.
An analysis of the significance of time and its context in William Shakespeare's "Hamlet."
926 words (approx. 3.7 pages), 1 source, MLA, £ 18.95
»
Click here to show/hide summary
Abstract
This paper describes the significance of time in William Shakespeare's "Hamlet." It focuses on Hamlet's exclamation when he meets his father's ghost, that "the time is out of joint" and explains how this fits in with the concept of time throughout the rest of the play. The paper analyzes the context of this statement by Hamlet and uses quotes from the play to support its explanations.
From the Paper
"The state of things gone awry is endemic to every aspect of Danish society, from the lowliest to the highest realm, and parallels Hamlet's internal state of personal angst and grief over his father's death. The death of Hamlet's father is a personal tragedy, but because Hamlet's father was a king, his death has cosmological significance. Now, Denmark has a new king who may not be good, has a suspicious relationship with his new queen, Denmark is about to go to war, and signs from the great beyond suggest that things are only going to get worse, unless Denmark's oath diverted from its current state course. The times truly are "out of joint," even before Hamlet speaks this famous phrase."
| |
|
Hamlet, 2007.
This paper examines the play 'Hamlet' by William Shakespeare.
1,100 words (approx. 4.4 pages), 1 source, MLA, £ 22.95
»
Click here to show/hide summary
Abstract
In this article, the writer explains that normally, when reading William Shakespeare's play, 'Hamlet', the theme is the main element discussed. The writer maintains, however, that in this work of art, as in others by Shakespeare, the play's construction is just as complex and remarkable. The writer then discusses the plot, characters and themes in the play. The writer concludes that conflict, confusion and even death result because the characters purposely do not tell the truth, act on the sly for negative or positive reasons, and keep information from each other that could have somewhat resolved the situation or at least saved some unnecessary deaths.
From the Paper
"Every story needs an antagonist, and that is Claudius. Where the other character's motives may be veiled, his are very apparent. His desire for power drives him to murder his brother and marry his brother's wife. On the other hand, Gertrude's actions are left unanswered. Whether or not she conspired with Claudius depends on how the play is interpreted. However, through her words and actions, it appears that she loves her son, and cares greatly for Ophelia and Polonius."
"Although little is known about Horatio, he plays an important role as the objective observer whose comments can be believed. Hamlet also uses him as a way to express himself and help make decisions. The other characters in the play are secondary to the action, but whose deaths make the ending all the more tragic because they meant nothing but good."
| |
|
"Much Ado about Nothing", 2007.
This paper discusses the tragedies that never happened in Shakespeare's "Much Ado about Nothing."
1,298 words (approx. 5.2 pages), 2 sources, MLA, £ 25.95
»
Click here to show/hide summary
Abstract
The paper relates that there are no real events in Shakespeare's "Much Ado about Nothing", or any real action; nothing happened in the play although many tragic things might have. The paper shows how the play can be considered tragic because the characters simulate and dissimulate, manufacture plots out of "nothing" and play with reality in a dangerous way that could have serious consequences for everyone.
From the Paper
"Shakespeare's play Much Ado about Nothing effectively combines the comic and tragic elements in its structure. The title is the point where the reading should begin: Shakespeare himself indicates that the play is about "nothing", that is, there are no real events in the text, no real action, only deceiving and misprision. The plot focuses on the two couples that are the main protagonists: Berenice and Benedick, Hero and Claudio. The dissembling, deceiving and misprisions in the play seem endless and are directly related to the tragic undertones of the text."
|
|
|
