| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "FANTASIES": |
|
|
Sexual Fantasies, 2002.
Discusses sexual fantasies as a means of erotic release for both men and women.
1,150 words (approx. 4.6 pages), 4 sources, £ 27.95
»
Click here to show/hide summary
Abstract
This paper explores sexual fantasies and how fantasies are experienced as a means of providing release from social limitations on erotic behavior for men and women alike.
| |
|
"Rape Fantasies", 2006.
This article discusses Margaret Atwood's short story "Rape Fantasies".
750 words (approx. 3.0 pages), 1 source, MLA, £ 16.95
»
Click here to show/hide summary
Abstract
This article studies the book "Rape Fantasies" and the writer asks the question "Who is the victim when a woman is raped?" The writer maintains that the women of Margaret Atwood's short story "Rape Fantasies" suggest that women often cannot identify who is a victim and who is not a victim when they are raped. The story is told as a monologue in the first person voice of a woman named Estelle. It chronicles a group of women indulging in spoken fantasies about rape, specifically being raped by men. At first, the women's joking tones suggest that they are not really talking about being raped at all, but enjoying their sexuality. The women desire sex with strangers but use the word 'rape' as a way of discussing their unspoken and unacknowledged sexual desires in a culture that does not permit women to openly acknowledge their sexuality in a positive fashion. But at the end of the story, as Estelle is revealed to be speaking her monologue to a man she has met in a bar, Atwood suggests that ultimately, even when women are joking about rape, rape is still a very serious act against women in terms of female victimization.
From the Paper
"In defiance of the warnings cited by the narrator from popular women's magazines, Chrissy says she fears men. But Chrissy is still a victim, because she cannot enjoy sex other than in terms of being forced to enjoy sex. In her daily life Chrissy dresses to attract men and to win male approval. In Chrissy's private life she uses the idea of forced sexuality as a way of enjoying male attentions without the pressures of the consenting to sex. Thus, Chrissy is still a victim of rape ideology.
Estelle, the office worker responds to Chrissy's comments by noting how popular the topic of rape has become in women's magazines, citing titles like "Rape: Ten Things To Do About It" is less open in her attitude. At first, Estelle pokes fun at the magazine's obsession, noting that the carefulness urged by the magazine on the part of women makes it seem like avoiding sexual assault is a step-by-step process ''like it was ten new hairdos or something," not a serious criminal and personal issue. The story evolves from Estelle's point of view. But there are hints that Estelle initially finds the conversation of her female colleagues uncomfortable, as is evidenced by her focus on the beginning pursuit of the women, a bridge game and by concentrating on her bidding."
| |
|
Epic Fantasies, 2002.
Contrasts two epics.
650 words (approx. 2.6 pages), 4 sources, £ 16.95
»
Click here to show/hide summary
Abstract
This essay provides a comparison and contrast between two of the greatest epics ever written - "Sir Gawain and the Green Knight" and "The Hobbit".
| |
|
Margaret Atwood's "Rape Fantasies", 2000.
How the character of Estelle analyzes the other characters, proves her competitiveness, and tries to identify with people and situations, which allow us to make our own opinions on her.
1,260 words (approx. 5.0 pages), 1 source, £ 26.95
»
Click here to show/hide summary
From the Paper
"The plot in Margaret Atwood?s ?Rape Fantasies? is rather hidden, but is revealed through the mind and conversations of Estelle. This story exhibits character traits of Estelle as she speaks to the reader about her and her colleague?s rape fantasies. As Estelle voices her opinions on this anomalous topic and on her critical opinions of the other women, Darlene, Greta, and Chrissy, we develop a certain perspective of her character. Estelle reveals her own persona by expressing her thoughts and attitudes toward the rape fantasies of her colleagues and her own, and Atwood allows us to begin to understand to person Estelle is because she goes beyond first person, via a narrator who befriends the reader. Estelle is the only wholly developed character, and has many pleasant and unpleasant personality traits that give this story its voice. Throughout the story she analyzes the other characters, proves her competitiveness, and tries to identify with people and situations, which allow us to make our own opinions on the character of Estelle..."
| |
|
Margaret Atwood "Rape Fantasies", 1993.
Analyzes short story & its perspectives on the meaning of rape.
1,125 words (approx. 4.5 pages), 4 sources, £ 24.95
»
Click here to show/hide summary
From the Paper
" Margaret Atwood's "Rape Fantasies" is an interesting mixture of stream-of-consciousness speculation and fiction, a short story with elements of non-fiction, a story and an essay combined. What makes the piece work as it does is the tone the author takes, a tone that maintains a sense of humor while having an underling sense of the importance of the issue. In the final analysis, the last line of the piece is what gives it its real poignancy and its strength, while everything that has gone before serves both to bolster the importance of the subject while poking some fun at the degree to which the media seems to have suddenly "discovered" it, as if prior to that it was not a problem at all.
The irony of the piece is inherent in its title. The use of the word "fantasies" coupled with the word "rape" leads to some misunderstanding in the story itself as the women playing cards.."
| |
|
The Fantasies of Sleepy Hollow, 2003.
The following essay discusses the daydream of Ichabod Crane in Tim Burton's film, "Sleepy Hollow".
650 words (approx. 2.6 pages), 3 sources, £ 14.95
»
Click here to show/hide summary
Abstract
This essay draws on the similarities and comparisons between Washington Irving?s "The Legend of Sleepy Hollow" and Tim Burton?s film, "Sleepy Hollow" with specific reference to the daydream scenes.
From the paper:
? Yet this daydream has no few of the aspects of a nightmare as well. In the real world, the worst Ichabod will ever endure is a fall from his faithful, and borrowed, steed Gunpowder. In the daydream film, he shall be skewered with a ghostly sword, beaten, choked, and otherwise bodily assaulted. The horsemen will not be a possible figment, a traveler who merely keeps pace and tosses pumpkins; to the contrary, he shall kill any number of people.?
| |
|
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
»
Click here to show/hide summary
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."
| |
|
Male Fantasy in ?Le Morte D?Arthur?, 2006.
Examines how Thomas Malory expressed male fantasy characteristics through the protagonist, Sir Lancelot in his book.
2,256 words (approx. 9.0 pages), 4 sources, MLA, £ 43.95
»
Click here to show/hide summary
Abstract
In order to analyze people's fantasies, Sigmund Freud says that we can look at their creative writing, thereby seeing the wishes and desires that they have. By approaching an analysis of the character Sir Lancelot in Sir Thomas Malory's "Le Morte D'Arthur" in this way, this paper provides insight on what was important to men in that society. Lancelot is made the primary hero of the story. The paper shows, therefore, that Lancelot becomes the vehicle through which Malory and male readers can stop being "ashamed" of their fantasies and find a release of tension through the adoration Lancelot receives from women and the excellence of Lancelot's fighting skills.
From the Paper
"Guenivere's desire for Lancelot throughout Malory's story shows us how Lancelot is the figure of a daydream. Guenivere is the wife of the king. This attribute of Guenivere's places her on a pedestal. She is the most important woman in the territory controlled by King Arthur. Having an affair with a married woman such as Guenivere would make the person having the affair seem important. Guenivere's actions toward Lancelot characterize her as someone who is in desperate need of the hero's love. When Lancelot is trying to draw attention away from his interest in Guenivere, Guenivere says, "Sir Lancelot, I see and feel daily that they love beginneth to slacken, for ye have no joy to be in my presence, but ever ye are out of this court (403). It makes a male feel good to have an important woman want his "love" and not want the "love" to "slacken.""
| |
|
Eros in Fantasy, 2005.
Reflections on Eros in literary fantasy.
3,982 words (approx. 15.9 pages), 19 sources, MLA, £ 68.95
»
Click here to show/hide summary
Abstract
This paper presents a study of Eros in literary fantasy based on seven short stories (Ambrose Bierce's "The Death of Halpin Frayser", Charles Dickens's "The Signalman", Nathaniel Hawthorne's "The Minister's Black Vei"l, Patricia Highsmith's "The Snail-Watcher", H. P. Lovecraft's "The Festival", Richard Matheson's "Born of Man and Woman", Edgar. Allan Poe's "The Black Cat") and two short excerpts from Gothic novels (M. G. Lewis's "The Monk" and Ann Radcliffe's "The Mysteries of Udolpho"), but occasional references are made to other works by these authors and also to Henry James, the Bronte sisters and Le Fanu. The paper begins with a brief presentation of the Greek myth of Eros. The second part of the study considers the problem of knowledge in relation to the erotic dimension of literary fantasies. In the third part of the study, the paper turns to the different manifestations of Eros in fantasy and the process of attraction-repulsion, before examining, in the fourth and final part, two erotic motifs which, latently or overtly, introduce an erotic dimension.
From the Paper
"Indeed, when looking into the texts that form the corpus of our study, one recurring particularity is noticeable in all of them - all narrators are very much concerned with seeing and knowing. The reader is confronted with the narrator's or protagonist's persistent questioning and that questioning also becomes the reader's. We could call it the "wh-" of fantasy - Halpin Frayser does not know "whence and whither" he travels; Dickens's narrator wants to know "what" the signalman's trouble is and asks "Who is it?"; the snail-watcher has to know "what" his snails are up to and "how" they breed; Antonia earnestly demands "How came I here?... Where am I?", while Ambrosio needs to know "why" she refuses him and their mutual questioning goes on in two consecutive paragraphs; Radcliffe's Emily asks her attendant a thousand questions. The reader is a witness of countless who-what-when-where-how-s and for the most part, they remain unanswered. It is as if the signalman answered on our behalf - "I don't know." The texts become desperate attempts to pass on the same biblically borrowed message that stands out in Le Fanu's In a Glass Darkly, the message that "we know in part, and we prophesy in part". These intense efforts to see, to find out, to know are easily explained by the fact that we are dealing with fantasy which, partly by definition, is the literature of the unknown. But the work of many authors of fantasy also carries a heavy cultural heritage that feeds on centuries of known written history, on repeatedly told legends and on established myths."
| |
|
Reality and Fantasy in Works by Lewis Carrol, 2006.
A commentary on the treatment of the themes of reality and fantasy in the first set of novels by Lewis Carroll.
12,800 words (approx. 51.2 pages), 0 sources, £ 154.95
»
Click here to show/hide summary
Abstract
This paper argues that the treatment of reality and fantasy in works by Lewis Carroll is unique in the annals of literature, for never has it been accomplished with such an effectiveness, subtlety, delicacy and poignancy. The paper first outlines the realms of reality and fantasy, before positing a commentary on the treatment, the juxtaposition and the eventual merging of these existential states in the earlier set of works by Lewis Carroll. The works considered are: "Alice in Wonderland" and "Through the Looking Glass".
From the Paper
"Looking at these works, an extremely interesting fact emerges. The author has made use of a skillful set of frames in the narration of works that aspire almost to the status of epics. Literary frames are devices that enable an author to activate various levels of demarcation in a work, enabling the author himself to remain relatively discrete of his own work. The first frame used in 'Alice in Wonderland' is the concept of a dream into which Alice tumbles, thus entering the world of Wonderland. The figure of the White Rabbit, the harbinger of chaos, a denizen from the other world setting foot into this one is the first element of fantasy that one finds in the book."
| |
|
"Eight Etudes and a Fantasy", 2004.
This paper analyzes "Eight Etudes and a Fantasy for Woodwind Quartet" by Elliott Carter, who was born on December 11, 1908, in New York City.
1,670 words (approx. 6.7 pages), 13 sources, MLA, £ 34.95
»
Click here to show/hide summary
Abstract
This paper relates that Elliott Carter?s ?Eight Etudes and a Fantasy for Woodwind Quartet?, composed in 1949, is defined as an etude because it is a musical composition for a solo instrument designed to give practice in some point of technique. The author describes the first etude, entitled "Maestoso", which means majestically, in which all the instruments play a very similar part dynamically and rhythmically, with each stressing a wide range. The paper concludes that the final and ninth movement, "Fantasy" is a culmination of all the previous techniques demonstrated in all the eight etudes in a fugue setting, with direct musical ?quotes? taken directly from the etudes.
From the Paper
""Quietly" is the second etude, meant to tax a musician?s ability to play extremely quickly while maintaining a very quiet dynamic. Each instrument encounters the same melodic line that remains identically every time it is repeated. The majority of the movement stays below a mezzo forte with a few statements of the melody rising to forte. Carter said that the melody "?sounds like four birds that sing as birds do, sporadically, the same song, over and over." The flute states the melody first which is then followed by the clarinet, oboe and bassoon in that order."
| |
|
Fantasy in "A Midsummer Night's Dream", 2002.
Examines the way Shakespeare uses the concepts of mystics and fantasy in his play "A Midsummer Night's Dream".
806 words (approx. 3.2 pages), 1 source, MLA, £ 17.95
»
Click here to show/hide summary
Abstract
This paper briefly discusses how the fantasy in "A Midsummer Night's Dream" involves magic and a belief in fairies and sprites. It explains that the first of several conflicts of opposites in the play is between reality and fantasy, between the reality of life in the city and fantastic nature of life in the woods.
From the Paper
"In A Midsummer Night's Dream, one reason for the fantasy element is to create a dramatic stage on which to test human constancy and human worth. Lysander states that "the course of true love never did run smooth" (I.i.134), and this represents a theme that runs through many of Shakespeare's plays and indeed through much of world literature. The statement itself embodies several ideas. First, it assumes that there is such a thing as true love and that it is a conception based on the idea that two people are literally meant for each other. Second, it states that these two people, though meant for each other, may have to endure a good deal before they can actually achieve the love that is their destiny. In terms of A Midsummer Night's Dream, this statement helps characterize Lysander in a way that makes it evident the objections raised to the young man by Egeus are wrong and that Lysander is not one to feign love at all as Egeus believes he is doing. Lysander does indeed love Hermia as she loves him."
| |
|
Fantasy and Reality in Lewis Carroll's Novels, 2006.
An examination of the themes of reality and fantasy in Lewis Carroll's first set of fiction: "Alice in Wonderland" and "Through the Looking Glass".
12,547 words (approx. 50.2 pages), 0 sources, £ 152.95
»
Click here to show/hide summary
Abstract
This paper begins by presenting an outline and definition of the realms of reality and fantasy. It then posits a commentary on the treatment, the juxtaposition and the eventual merging of reality and fantasy in the earlier set of works by Lewis Carroll. The works considered are "Alice in Wonderland" and "Through the Looking Glass".
From the Paper
"The treatment of reality and fantasy in works by Lewis Carroll is, shall I say, unique in the annals of literature, for never has it been accomplished with such an effectiveness, subtlety, delicacy and poignancy. The principal idea in this first set of works is one of a visible, palpable and tangible 'transition point', from which the protagonist enters a realm of fantasy from a realm of reality. That 'point de depart', so to speak, is symbolized by the rabbit hole in the first work, and a looking glass in the second, both of which have a special significance as motifs of transition between the planes of reality and fantasy. Once Alice crosses these points, she passes into a realm where logic and reality as she knows it no longer applies. The idea of a definite transition point, through which one may pass in order to get to another realm is a form of subconscious demarcation used by Carroll between reality and fantasy. A portal through which one may pass automatically represents a gateway back from the other realm to this one, thus preserving the integrity of both worlds."
| |
|
Fantasy Literature, 2002.
A comparison of the fantasy novels "Wheel of Time" and "Lord of The Rings".
1,240 words (approx. 5.0 pages), 0 sources, £ 26.95
»
Click here to show/hide summary
Abstract
This paper compares Robert Jordan?s "The Wheel Of Time" to J.R.R. Tolkien?s "The Lord Of The Rings". It explorers the these great examples of fantasy literature through their similar characters, themes and names. The paper describes that the books are both magical with similar dark lords, heroes, keepers of the lands, monsters, and parents to the heroes.
From the Paper
"Like all other fantasy books, some resemble others greatly. Robert Jordan?s "The Wheel Of Time" closely resembles J.R.R. Tolkien?s "The Lord Of The Rings". The resemblances are mostly resembled in the first few books. Some resemblances occur in many other fantasy series too.
The first and most obvious parallels are the heroes, Frodo in "The Lord Of The Rings" and Rand in "The Wheel Of Time". The heroes in both books are unwilling characters approached by guides and are sent off on dangerous missions where they must fight fear, and face overwhelming chances of failure. They are from far-away places that most kingdoms have never heard of. In "The Lord Of The Rings" they must go and destroy the ring, in "The Wheel Of Time" they must fight Shai'tan. They are targeted by a dark leader. The dark leader in "The Lord Of The Rings" is Sauron, and in "The Wheel Of Time" it is Shai'tan. They have moments of truth where they must have the courage to go beyond their boundaries like going into Shayol Ghul in "The Wheel Of Time" and into Mordor. It is all up to them to save the world."
|
|
|
