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Ambivalence and Ambiguity in "Frankenstein", 2000.
An analysis of Mary Shelley's novel "Frankenstein". An examination of the themes and writing style in included.
2,395 words (approx. 9.6 pages), 1 source, £ 50.95
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Abstract
This paper investigates the issues of ambivalence and ambiguity in Mary Shelley?s "Frankenstein". The author claims that Shelley herself had some trouble making personal convictions on issues such as ambition and nature. It also contains information on current criticism circulating about this work.
From the Paper
?Many shudder at the mere mention of the words ambiguity and ambivalence. It seems almost against human nature to be satisfied with it. We are constantly searching for the answer, whether it is the quest of the answer to what it is that brings about life or a longing to find the answer to the reason man was placed on this earth. However, it is debatable whether or not this aspect of humanity is commendable or condemnable. According to Frankenstein, Mary Shelley believes that there is some comfort to be sought in ambivalence and in ambiguity. Rather than being so pretentious as to believe that we can find the answer to everything, she addresses both sides to the questions brought up in the themes of the book. She finds two answers to each question she addresses. Victor should both be condemned for taking his Promethean desires too far, and congratulated for trying to move forward in the field of science. Walton should both move forward towards his goals of discovery and exploration, and abandon his dreams in order to protect human life. Nature should both be left alone, and cultivated by human hands.?
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Ambiguity of Terrorism, 2008.
This paper looks at the concept of the term terrorism, noting its ambiguity and the implications of this ambiguity.
1,173 words (approx. 4.7 pages), 3 sources, MLA, £ 27.95
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Abstract
In this article, the writer notes that very few words in the English language are meant to be as intentionally ambiguous as terrorism. To some people it is simply a fighting tactic. To others it is associated with a type of person that is sneaky and underhanded. The writer points out that the term is associated with creating fear, but it also insinuates that the terrorist is immoral and illegitimate. The writer concludes that the United Nations is shortchanging the world by not having a concrete definition of the word terrorism. If they did, they would be able to identify countries that commit acts of terrorism and take the appropriate measures in response.
From the Paper
"The terrorist group, Al-Qaeda, have committed the most well known examples of terrorism. They engineered the 9/11 attacks on the United States. Their attacks are perceived as terrorism because they attacked the military and economic hubs of the United States. This attack was in response to the group's belief that Western civilization and culture were threatening their way of life.
"Their attacks had a profound impact on the psyche of the United States. It traumatized millions of Americans who either lived in one of the cities or had a connection to someone involved in the attacks. The terrorists instilled fear in Americans by making them realize just how vulnerable the country was. Airplane travel has gone from an ordinary experience to a hassle that is equal parts fear and inconvenience."
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"Mary Shelley's Frankenstein" ( Kenneth Branagh ) and "Frankenstein" by Mary Shelley, 1995.
This paper compares the film director Kenneth Branagh's and book author Mary Shelley's depictions of "Mary Shelley's Frankenstein" and "Frankenstein" respectively: Characters, relationships, plot, focus, images, pacing and style
1,350 words (approx. 5.4 pages), 6 sources, £ 32.95
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From the Paper
"The recent motion picture version of Mary Shelley's novel Frankenstein hews closely to the plot of the novel while failing to capture its essential purpose. The full title of the movie is Mary Shelley's Frankenstein, but the possessive does not mean that this version can be considered mary Shelley's vision. Janet Maslin of the New York Times notes this when she writes that the film will not strike anyone as chiefly Mary Shelley's invention. Its principal architect is Kenneth Branagh. . . [who] takes on the godlike, idealistic young scientist's role while also directing this "Frankenstein" as an overheated romantic fable .
An examination of the book and the film shows where the attitudes ... "
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'The Ethics of Ambiguity', 2008.
This paper discusses the book 'The Ethics of Ambiguity' by Simone De Beauvoir
1,361 words (approx. 5.4 pages), 1 source, MLA, £ 31.95
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Abstract
The writer of this article notes that to keep track of the many different "personality types" introduced by Simone De Beauvoir in her book, 'The Ethics of Ambiguity', is no small task. In chapter two, she introduces many of the personality types, and they do not at first paint a favorable picture of a person who has an opportunity to evolve from childhood to adulthood without a greater probability of becoming asocial as opposed to socially indoctrinated in a positive way. The writer points out that this somewhat dismal perspective is really explained - perhaps unwittingly - by De Beauvoir herself, as she explains in detail the plight of women as a continuation of childlike behavior-play at being an adult, because women are, like slaves, like the Mohammedan woman. These are, however, issues that De Beauvoir claims is in fact the ethics of ambiguity. This paper explores the different personalities and characteristics that De Beauvoir discusses in chapter two of her book.
Outline:
Mankind Begins in a State of Unhappiness
From the Paper
"De Beauvoir further asserts that the dominating features of man's individual personality begin forming in childhood. Again, this is not an idea that would draw disagreement and argument. However, De Beauvoir discusses the reaction of a child, as though that child were a blank slate, to the world around him or her. However, De Beauvoir is asserting that these experiences are not experiences which tend to be deflected by a child's growth as much as the reflected in a child's growth. She paints mankind as beginning his existence in an unfortunate way, rather than a celebratory way, and assuming that the birth of a child is less than celebrated. The suggestion is that mankind is an unfortunate being, subjected to the circumstances of having been born at all. The choices man makes throughout his life - focusing on those that are poor choices - arise out of his childhood. "
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Ambiguity in Literature, 2005.
This paper discusses the use of ambiguity in "A Short Story" by George Bowering, "Young Goodman Brown" by Nathaniel Hawthorne, and "A Sorrowful Woman" by Gail Godwin.
1,145 words (approx. 4.6 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper explains that, while many writers lure their readers with vivid and detailed descriptions of the characters, plot, and setting in their stories to draw the reader into the book, others use ambiguity to force the readers to question their own views. The author points out that, in "A Short Story," Bowering leaves the ending purposely ambiguous in order to get the reader to think more about the "whys" than the "whats" of the plot. The paper relates that, in "Young Goodman Brown," Hawthorne never tells the reader if the character's experience is dream or reality; and, in "A Sorrowful Woman," Gail Goodwin presents a story that is already in progress.
From the Paper
"In "A Short Story", George Bowering uses a very broken layout to emphasize the elements of his story. The story is broken into parts titled setting, characters, protagonist, symbolism, conflict, dialogue, flashback, foreshadowing, plot, and theme. Using the first eight sections, Bowering builds to a dramatic climax in the "plot" segment. Donna, the protagonist, alludes to an abusive experience between her stepfather (Art) and herself in the recent past. Donna is hurt by her mother's defense of Art, and we find out that she is returning home after a long absence. Donna visits her mother, and Bowering writes "When Art propelled the bedroom door open, Donna was pointing a loaded shotgun at his head" (546). Then, "Donna turned a smooth quick arc, & shot her mother's face off." "
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Self-determination and its Ambiguity in International Relations, 2002.
This paper examines how the definition of self-determination has changed and what international causes and consequences have occurred as a result.
3,080 words (approx. 12.3 pages), 20 sources, MLA, £ 62.95
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Abstract
The author discusses how self-determination has altered the face of international relations in the last century. The first section of the paper presents an overview of the chronological history of the principle of self-determination, including how it has changed over the last century. Some of the topics discussed in this section includes several examples of self-determination and how it was defined slightly differently in each of the examples. This section also discusses how changes in Europe and the collapse of imperialism, the establishment of the United Nations and its charter and the Cold War all played a role in the pushing the issue of self-determination to the forefront of international relations. The second section discusses the problems that have arisen as a result of self-determination issues in contemporary world politics. Particular attention is paid by the author to the consequences of its change, particularly because of its ambiguity and contradiction with the existence of the nation-state as the main actor in world politics.
From the Paper
"Thirdly, self-determination issues escalated in world politics as the result of the end of the Cold War as well as the spread of the effect of globalization. In the case of former Soviet Union, the motive was quitesimilar with that of decolonization era: independence from outside power seizing their sovereignty, while in the other cases are more complex because of the assortment of many factors: ethnical and historical differences, injustices, undemocratic central government or human rights violation. At the end of this section, it could be concluded that the principle of self-determination, through its redefinitions, has played and is still playing a pivotal role in world politics. In its early period, self-determination had close relationship with the conception of sovereignty, nationalism and nation-state, which the latter now becomes the main actor in world politics; while on the contrary, in recent times the right of self-determination tends to subordinate the principle of sovereignty."
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Ambiguity in Three Modernist Short Stories, 2006.
A look at "A Worn Path" by Eudora Welty, "Hills Like White Elephants" by Ernest Hemingway and "The Use of Force" by William Carlos Williams.
2,072 words (approx. 8.3 pages), 3 sources, MLA, £ 45.95
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Abstract
This paper reviews three modernist short stories and looks at how ambiguous work is a significant mode of modernist art. The three stories this paper reviews are "A Worn Path" by Eudora Welty, "Hills Like White Elephants" by Ernest Hemingway and "The Use of Force" by William Carlos Williams.
From the Paper
"Eudora Welty wrote her short story "A Worn Path" in 1941. It centers on "an old Negro woman" (795), as she makes her way slowly across the rural countryside toward the neighboring town of Natchez. It is a simple story, and told in a straightforward, matter-of-fact style. This simplicity however, is merely a veneer spread over innumerable underlying ambiguities. The canvas Welty paints at the outset is one of a stark frozen rural landscape. The only color that interrupts this cold early morning picture, is the bright red rag tied about the head of the main character: Phoenix Jackson. What is this old woman doing hobbling back and forth along a rural path in the middle of winter, in the early morning? This is a central question that essentially remains unanswered in any complete way.
Welty allows us to understand that there has been identical earlier journeys made by the old lady, as when Phoenix says to herself: "Seem like there is chains about my feet, time I get this far [...] something always take hold of me on this hill - pleads I should stay" (795). This is the first of many passages that are conversations with herself. The author gives only the character's inner thoughts about things, thus leaving us deprived of any comfort in an objective reality. Phoenix is not a dependable witness by any means. She sees things symbolically, or historically or biblically, but rarely as things really are. Just as she has troubles finding her way through this landscape, so the reader also has trouble finding the truth or meaning of the narrative. "
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Jekyll And Hyde: Study in Ambiguity., 2002.
Examines the life of the author of "Dr. Jekyll and Mr. Hyde".
1,400 words (approx. 5.6 pages), 6 sources, £ 36.95
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Abstract
A six page essay that briefly examines the life of the author of "Dr. Jekyll and Mr. Hyde" and how his life and times affected how he recast the ancient struggle between good and evil that thrives in the heart of every man.
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Role Ambiguity of Nurses, 2004.
This paper discusses the respective roles of the Registered Nurse, the Licensed Practical Nurse and Unlicensed Assistive Personnel.
1,130 words (approx. 4.5 pages), 7 sources, MLA, £ 27.95
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Abstract
In this article, the writer examines the role of the Registered Nurse (R.N.), Licensed Practical Nurse (L.P.N.) and the Unlicensed Assistive Personnel (U.A.P.). The writer compares and contrasts the role of the R.N. versus the L.P.N. and the U.A.P. In addition, the writer discusses the functions that each of the different types of nurse serve within the hospital hierarchy.
From the Paper
"According to Kopishke, the shortage of qualified nurses has resulted in the need for more frequent delegation of tasks. Because many of these tasks are repetitive, routine and involve activities that really do not require the level of medical knowledge and competency expected of a Registered Nurse, more and more medical agencies and institutions are requiring that Registered Nurses delegate certain tasks to either a Licensed Practical Nurse (LPN) or to an ... "
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Existentialism & Human Emotions by Jean-Paul Sartre & Ethics of Ambiguity by Simone De Beauvoir, 1996.
Compares French philosophers' ideas on being, ethics, subjectivity, humanism, freedom, responsibility, metaphysics, Marxism.
3,825 words (approx. 15.3 pages), 2 sources, £ 93.95
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From the Paper
"The purpose of this research is to examine Sartre's Existentialism and Human Emotions and de Beauvoir's The Ethics of Ambiguity. The plan of the research will be to set forth the general pattern of ideas in each work, and then to compare and contrast the means by which the ideas emerge.
The pattern of ideas in Existentialism and Human Emotions is an elaboration of existentialist thought, as both protest against previous modes of philosophical discussion and meditation on the human condition in the modern period. Sartre's enterprise is to describe in objective terms the philosophical platform of intensely subjective human ontology, or conception of the nature of human being-ness or reality, that existentialism proposes. He then develops an existential interpretation of such being-ness around the familiar subjects of human concern: freedom and responsibility, the ..."
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Victor Frankenstein, 2004.
A discussion of the irrationality of the character of Victor Frankenstein in Mary Shelley's "Frankenstein".
987 words (approx. 3.9 pages), 1 source, MLA, £ 24.95
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Abstract
This paper reviews Mary Shelley's "Frankenstein" and, in particular, examines the irrational behavior of the protagonist, Victor Frankenstein. It looks at how Victor Frankenstein?s irrational behavior begins with his ambition, and what begins as a healthy curiosity about nature and science turns into an obsession that he cannot control. It analyzes the effect of this irrationality on the other characters in the story and shows how Frankenstein?s irrational behavior leads to the death of four innocent people and, eventually, his own demise.
From the Paper
"The next character to suffer from Frankenstein?s irrational behavior is Justine. She is accused of murder and Frankenstein is still unable to tell what he knows. This scene demonstrates the depth of Frankenstein?s irrational behavior. Even as he hears the judges condemning Justine, all he can do is leave the courtroom ?in agony? (69). This scene is amazing because it demonstrates Frankenstein?s selfish nature. He says, ?The tortures of the accused did not equal mine: she was sustained by innocence, but the fangs of remorse tore my bosom and would not forgo their hold? (69). Even as Justine confesses to a murder she did not commit, Frankenstein is not moved. He admits feeling despair, but not so much as to save the girl?s life."
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"Frankenstein", 2007.
An analysis of the significance of thunderstorms in "Frankenstein," by Mary Wollstonecraft Shelley, as discussed by John Clubbe in his article "The Tempest-toss'd Summer of 1816: Mary Shelley's Frankenstein."
1,032 words (approx. 4.1 pages), 5 sources, MLA, £ 25.95
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Abstract
This paper discusses the moody character of Frankenstein in the book "Frankenstein," by Mary Wollstonecraft Shelley. The paper then describes the significance of thunderstorm in the book, as discussed by John Clubbe in his article "The Tempest-toss'd Summer of 1816: Mary Shelley's Frankenstein." The paper suggests that Shelley uses thunderstorms to signal doom in three important spots in the novel and then describes these instances.
From the Paper
"John Clubbe's article examines the importance of thunderstorms in Mary Shelley's novel and also in her life, and even in the works of other writes if her time. Clubbe describes the unusual climate in Europe in 1816, looking at its significance and he observes how this was apparent in the works of the writers at that time, especially those around Mary Shelley, who summered at Geneva on the lake. It is no surprise that this phenomenon shows up in her novel and that it symbolized evil. Lightening has been a dramatic voice from heaven in many works and the romantic poets thought it to be a revelation signaling dramatic change. Clubbe thinks every appearance of thunderstorms in Frankenstein have inner significance, and, for Shelley, it signifies what cannot be know, the secrets of the universe. That lightening could both create and destroy life is the central theme surrounding the novel, and that it, and all things in creation, can be used for either good or for evil."
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Film: "Frankenstein" (1931), 2005.
This paper examines the societal aspects of the classic Frankenstein story as presented in the 1931 film production of "Frankenstein", directed by James Whale.
925 words (approx. 3.7 pages), 0 sources, £ 22.95
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Abstract
This paper explains that, in the 1931 film production of "Frankenstein", directed by James Whale, religion is a prevailing theme; as the movie begins, a narrator introduces the theme of creation relating that Dr. Frankenstein wants to create a man after his own image. The author points out that the movie portrays a society with a rigid set of behavior, values and roles, such as when evil lurks, women cringe and hide but men conquer over evil. The paper states that the film settings in which the various scenes take place are very clear as to which are good and which are bad, such as the laboratory is portrayed as a dark, ominous place but the wedding of Dr. Frankenstein and Elizabeth is set in a sunny location.
From the Paper
"The servants knew their place, provide food and refreshment to the upper classes, the common class to follow the instructions of those above them, and the upper class to provide the wisdom, bravery, and leadership to confront evil. Occupations played a role in class formation. The farmer and laborer comprised the commoners. Those in government, perceived as the leaders and having the best interest of society in mind, are the upper class. Those occupations involving the medical sciences were elevated, but feared and created suspicion, based on the ignorance of the commoner and the religious values, which were threatened by the doctor's attempts at "playing" God."
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"Frankenstein" and "The Birthmark", 2003.
A comparative analysis of the characters of Alymer and Frankenstein in Mary Shelley's "Frankenstein" and Nathaniel Hawthorne's "The Birthmark".
920 words (approx. 3.7 pages), 4 sources, MLA, £ 21.95
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Abstract
This paper analyzes two works of literature that explore the destructive fascination for science and nature: Mary Shelley's "Frankenstein" and Nathaniel Hawthorne's "The Birthmark." It discusses the characters of Alymer and Frankenstein, both men of science, and how they are responsible for their fate.
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