| Papers [1-12] of 12 | Search results on "AMERICAN MELODRAMA": |
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American Melodrama, 2002.
Discussion of the origins, evolution and impact of American melodrama.
1,150 words (approx. 4.6 pages), 5 sources, £ 30.95
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Abstract
Perhaps the most concise definition of a melodrama is that it is basically a theatrical performance consisting of a romantic plot in which the author manipulates events in order to act upon the emotions of the audience without very much professional regard for either character development, character motivation, plot consistency, or common logic. In the early years of the Nineteenth Century most of the melodramas presented in American theaters were romantic, exotic, or supernatural. By the 1820's the style had evolved somewhat regarding types of settings and traits of characters, and by the 1830's the content of melodramas had become much more elevated and gentlemanly compared to those popular a generation earlier.
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"The Love Song of J. Alfred Prufrock", 2005.
A discourse of the validity of Nina Baym's theories of 'Americaness' as applied to T.S. Eliot's "The Love Song of J. Alfred Prufrock".
2,186 words (approx. 8.7 pages), 6 sources, MLA, £ 47.95
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Abstract
Closely linked to the arguments in this essay are those that regard Eliot's loyalty and identity as an American poet and, perhaps, as an American patriot. However, the following discourse tests the validity of Nina Baym's critical account of American literary criticism, "Melodramas of Beset Manhood: How Theories of American Fiction Exclude Women Authors," by examining the way in which three different critics have treated T.S. Eliot's "The Love Song of J. Alfred Prufrock". As it follows, Baym's essay seeks answers to the question of how and why women authors have been excluded from the American literary canon.
From the Paper
"In 1914, when T.S. Eliot published "The Love Song of J. Alfred Prufrock" in Chicago based Poetry, the face of American poetry changed forever. There is little doubt that Ezra Pound saw it coming: "An American called Eliot this P.M.," London-based Ezra Pound wrote to Poetry magazine's editor in 1914. "I think he has some sense tho' he has not yet sent me any verse." A week later, according to Joseph Parisi and Stephen Young's Dear Editor: A History of Poetry in Letters (Norton), Pound wrote again about the 26-year old T.S. Eliot: "I was jolly well right . . . He has sent in the best poem I have yet had or seen from an American." The world was changing. War will do that to a society. So, not only did modern poetry get a face-lift, but also post-modern American literary criticism was born. Eliot had a major influence on these developing sensibilities as well as the poets who came after him. However, to call Eliot an American poet is controversial because he did in fact become a British citizen in 1927."
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Author Lorrie Moore, 2006.
This paper discusses the life and style of author Lorrie Moore (Marie Lorena Moore) especially as demonstrated in her writings "How to Be the Other Woman", "How to Be a Writer" and "Charades".
1,985 words (approx. 7.9 pages), 8 sources, MLA, £ 43.95
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Abstract
This paper explains that Lorrie Moore expertly uses her humor to provide readers with an in-depth look at character identity. The author points out that Moore is mostly known for her short stories, which rely on a clever play of words, irony and sardonic black humor that normally hides the characters' underlying sorrow or traumatic experiences. The paper concludes that one of the most remarkable things about Moore's style is the total lack of melodrama. This paper includes many quotations.
Table of Contents:
Introduction
Moore's Humor
Making Readers Laugh at Human Nature
Clever Play of Words, Irony and Black Humor
Humor Provides Character Analysis
Biographical Life
Birth and Family
Writing background
Literary Honors
Graduate School
Employment
Subject Matter
"Self-Help": " Lives Can Be Improved by Golf "
Shows Contemporary Life among Yuppies
"How to be the Other Woman"
"How to be a Writer"
Moore's Identity Search under Laughs
Quote by John Blade about Moore's Lighthearted Approach
"Charades"
Moore's Identity Analysis of Several Characters
Conclusion
From the Paper
"However, under the laughs and guffaws in "How to Be a Writer" is the woman who is attempting to be taken seriously as an author and make her way in an occupation that is treacherous at best and deadly at worst. As all writers do, Francie begins to look at her own abilities. Here Moore once again shows the underlying search for identity. Francie begins to doubt her own worth as a writer: "Begin to wonder what you do write about. Or if you have anything to say. Or if there is even such a thing as a thing to say. Limit these thoughts to no more than ten...""
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"Written on the Wind", 2003.
An analysis of Douglas Sirk's "Written in the Wind".
1,840 words (approx. 7.4 pages), 5 sources, MLA, £ 43.95
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Abstract
This paper analyzes Douglas Sirk's 1956 social melodrama "Written on the Wind". It discusses how the film reflects the ideology of its period. The paper also explores issues of sexuality, gender and materialism. The author includes a discussion on the relationships between the main characters, the plot line and main themes of the film.
From the Paper
"Director Douglas Sirk's social melodrama, "Written on the Wind" reflects the ideology of its period but the film may also be seen as a criticism of American dream of materialism. Film critic, Roger Ebert called Sirk a sly subverter of American postwar materialism ..."
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Historical Accuracy in "Midway", 2008.
A film review of Jack Smight's "Midway".
1,045 words (approx. 4.2 pages), 4 sources, APA, £ 25.95
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Abstract
This paper introduces and analyzes the film "Midway" directed by Jack Smight. Specifically, it discusses the film and its depiction of the historical battle of Midway. The paper points out that "Midway" is a historical film that uses archival footage to make the action seem more realistic. The paper claims that the historical perspective of this film is overall very accurate, but that there are some lapses in truth. It argues that Hollywood melodrama makes some of the information in the film questionable at best. The paper concludes that, to watch the film for entertainment makes sense, but to base historical fact on the film will only disappoint and misinform the viewer.
From the Paper
"The film shows how military choices and tactics led up to the battle, and how, for the first time, the battle was essentially fought from the air, with the two navies never actually seeing each other. For this reason, the battle is extremely historic, and that is one of the reasons the filmmakers chose to create the film. In addition, it seems in the 70s that there was considerable anti-war sentiment after the war in Vietnam and college unrest, and several WWII films were created during this time, such as "Tora, Tora, Tora!" (1970) which tells the story of the Pearl Harbor attacks from the Japanese point of view, and "Patton" (1970), which tells the story of the life of General George Patton. It seems that Hollywood was attempting to create more patriotism in America by reminding Americans of the great victories during World War II, and this film fits into that category quite nicely."
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'Josephine: A Life of the Empress', 2008.
This paper discusses the work 'Josephine: A Life of the Empress' by Carolly Erickson.
2,700 words (approx. 10.8 pages), 1 source, MLA, £ 55.95
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Abstract
In this article, the writer introduces and analyzes the book "Josephine: A Life of the Empress" by Carolly Erickson. Specifically, the paper contains a review and summary of the book. The writer explains that "Josephine" covers the life of de Beauharnais Bonaparte, the Empress of France and wife of Napoleon. She was born Yeyette Tascher in Martinique, and she grew to be one of the most well-known and powerful women on earth. The writer notes that it was not an easy journey, which is one of the things that makes this central character so important and so interesting. How she came to be Empress is almost a fairy tale story, but her fall from grace makes it more of a melodrama and tragic tale of woe. The writer maintains that the author handles both quite well, for the most part.
From the Paper
"Josephine was Empress, but Napoleon never trusted her or loved her completely again. She gave up her lover, but he was still bitter, and he often treated her with cruelty or patronization. He took mistresses, treated her harshly, and criticized her for aging after she turned forty. As Napoleon gained more power, he became more ambitious, more dictatorial, and crueler, certainly to his wife.
"Josephine discovered him with another woman, and he became so furious he struck her and threatened to ban her from his homes. He actually told her that when she was no longer politically suitable for him, he would abandon her, and because she had nowhere else to go, now that she had abandoned her lovers, she stayed on. It was a low point in her life, and in their relationship."
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Character Exploration in "The Great Gatsby", 2006.
An analysis of the characters of Daisy, Tom and Gatsby from F. Scott Fitzgerald's "The Great Gatsby".
1,032 words (approx. 4.1 pages), 4 sources, MLA, £ 25.95
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Abstract
This paper explores how the character descriptions found in "The Great Gatsby" create melodrama and set the pace of the story. It looks at how Fitzgerald does this by paying attention to how the characters act, react and behave within their environments. It also discusses how by looking at how Daisy treats both her husband and lover, we can gain a greater understanding of the conflict that leads to Gatsby's demise.
Outline
Introduction
Daisy
Tom
Conclusion
From the Paper
"For the character of Daisy, Fitzgerald establishes her beauty on a pedestal or that of the symbol of the attainable, perfect woman. Everything about her body exudes grace and fine breeding. Even though much attention is paid to her body as symbolizing wealth and affluence, it is her voice that the author focuses on, as a way of establishing her as a sensual woman or a woman every man wants by his side. Her voice represents the divide between the classes as its richness and tone captivates the narrator. It remains rich and sensual. Gatsby says, "her voice is full of money" (Fitzgerald 120)."
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Love in "The Brute", 2005.
An analysis of the theme of love in Anton Chekhov's "The Brute".
815 words (approx. 3.3 pages), 1 source, MLA, £ 20.95
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Abstract
The paper explains that "The Brute" is about two individuals that have sworn against love only to find them in a passionate kiss at the end. This one-act play is an excellent example of a melodrama operating on the theme that love has a mind and a will of its own and truly does change people. It shows how the characters' dialogue and actions prove that love can blossom in the strangest circumstances. The writer discusses how, through humor, Chekhov demonstrates that love is a force that knows no reason.
From the Paper
"The humor and melodrama in this play revolve solely around the characters' dialogue. In the beginning of the play, Mrs. Popov and Luka carry on a rather civil conversation. For example, Mrs. Popov tells Luka, "My life is done. He is in the grave. I have buried myself alive in this house" (Chekhov 1096). She also declares that her life has been "an empty dream" (1097) and even declares, while looking at a picture of her dead husband, "Till death do us part" (1097). She is even civil to Smirnov when he first appears, telling him that he will "receive you're money the day after tomorrow" (1098). Similarly, Smirnov speaks to Mrs. Popov in a civilized manner. While the characters treat each other with a certain amount of respect, we already have a sense of the melodrama that is taking place. This technique is successful because we are engaged with the play and curious as to how it will end."
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Can Murder Ever Be Acceptable?, 2002.
An analysis of Stephen Sondheim?s ?Sweeney Todd?, focusing on the concepts of justice, crime detection and law enforcement.
1,630 words (approx. 6.5 pages), 13 sources, MLA, £ 36.95
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Abstract
Stephen Sondheim?s ?Sweeney Todd? is a musical thriller that explores the issues of justice, crime detection and law enforcement through its amoral characters and its macabre plot. This paper endeavors to investigate the merits of this crime melodrama through the aforementioned issues and the message the play conveys in relation to these issues.
From the Paper
'In ?Sweeney Todd? vengeance is seen as a legal equalizer. Vengeance is seen as a method of meting out justice. Sweeney Todd returns to 19th century London after serving 15 years on false charges. He hopes to reunite with his wife and daughter but discovers that after he was taken by the authorities, his wife was raped (and later committed suicide because of the shame). His daughter was adopted by the very man who assaulted his wife and sent him to Australia for 15 years, Judge Turpin. (Kenney, 1998, 1) Todd vows to avenge his wife as well as the good life that could have been. ??Fifteen years sweating in a living hole on a trumped up charge. Fifteen years dreaming that perhaps, I might come home to a loving wife and child. Let them quake in their boots ? Judge Turpin and the Beadle ? for their hour has come.? (http://www.geocities.com/Broadway/Wing/9617/PoorThing.html, 3) If the innocent cannot be protected, than the guilty will surely be punished for their crimes.'
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"Don Giovanni", 2002.
A review of the opera "Don Giovanni" by Wolfgang Amadeus Mozart.
660 words (approx. 2.6 pages), 1 source, MLA, £ 16.95
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Abstract
This paper examines the story of "Don Giovanni," a morality tale of what occurs when a man does wrong and evil is punished, told through Mozart's opera of the same name. When the Don?s castle is in ruins, the surviving revelers weave in and out of the ruins and sing ?such is the fate of a wrong doer.? It discusses how the contrast of irony and melodrama in the final scene, suggests a far more nuanced moral vision of Mozart in his opera. It describes how at the end, as the Don is engulfed by flames, the music sweeps up into a more religious, reverent tone and the chorus takes over, rather than individual voices. Although this is supposed to be pious and the Don only gets what he deserves, there is a sense of loss at very end.
From the Paper
"The scene being referenced is, of course, the ending deus ex machina of the opera, where the murdered father of a woman Don Giovanni has raped, the Commendatore, comes back from the dead in the form of a living, breathing, animated statue. The depiction of this phenomenon is alone a theatrical marvel and a challenge in and of itself. However, the Don?s apparent casualness in the face of this event makes the striking nature of the Commendatore, even more astonishing. When the statute, who was unwillingly invited by the Don?s surprised servant Lepordello to the Don?s banquet, arrives, he pounds on the door of the Don?s castle with great clashing blows, an entrance that is underscored by ominous music. He solemnly informs the Don that his time has come."
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?A Tale of Two Cities?, 2004.
An analysis of the plot and literary style of Charles Dickens's ?A Tale of Two Cities?.
1,872 words (approx. 7.5 pages), 8 sources, MLA, £ 41.95
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Abstract
This paper examines how "A Tale of Two Cities" is a pure novel with elements of melodrama and how this magnum opus by Charles Dickens provides a descriptive analysis of the happenings around the French Revolution, partly in order to intensify the element of imagery. It looks at how it is set against a historical background and how the success of the plot, as well as the characters, largely depends on the setting. It also shows how the novel brings out the spirit of the late 18th century and continuously reminds the reader of the past or the time depicted in the novel.
From the Paper
"A Tale of Two Cities is a novel that brings out the spirit of the late eighteenth century and the outbreak of the French Revolution. The year is 1775 and the countries of England and France are experiencing the extremes in the form of ?the best of times? and ?the worst of times?. The time is both of enlightenment and brutality coupled with injustice that paves way for revolution. But sacrifices made in the end by Carton for Darnay and Lucie stand for the rebirth of affection, union, joy, solidarity and a world that offers security for the generations to come. Jarvis Lorry informs as well as takes Lucie Manette to her father whom she thought was dead since last eighteen years."
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"Emma", 2004.
An analysis of Jane Austin's novel "Emma".
1,743 words (approx. 7.0 pages), 0 sources, £ 39.95
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Abstract
This paper reviews Jane Austin's popular novel,"Emma", examining how the author artfully picks apart the melodrama of Victorian era love and relationships. The paper contends that the story itself is reminiscent of a soap opera and its main characters are all flimsily created hyperbole of their culture. The paper explores how satire contributes to the ridicule of the Victorian perception of love, marriage and relationships, providing an examination of the story's characters, plot twists and its ending.
From the Paper
"The main character of this novel is Emma Woodhouse, a product of her upper class society. While she is extremely clever and sophisticated, she is also vain and extremely rich. The combination of these qualities makes her the ideal central character for the book. She exhibits all of the qualities that Jane Austin attempts to satirize. The first example of her satire is Emma's perception of class; she believes that marriages and love in general should be an issue of class as well as love. She tells her friend Harriet to marry Mr. Elton rather than Mr. Martin because he is wealthier and has more stature in the town. Her beliefs especially about class are predicated on the Victorian era belief that marriage should occur between those of a similar class. Therefore, Emma's well intentioned belief that Harriet should not marry beneath her stature pokes fun at this Victorian era convention. The purpose of Jane Austin's creation of the character Emma is to show that she is the Victorian typical heroine. She is a noble born woman who is kind hearted but at the same time believes in class division."
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