| Papers [1-14] of 100 :: [Page 1 of 8] | | Go to page : 1 2 3 4 5 6 7 8 —> | Search results on "GUYS DOLLS": |
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"Guys and Dolls", 2005.
Examines the musical aspects of this 1955 movie.
900 words (approx. 3.6 pages), 4 sources, £ 25.95
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Abstract
"In this paper, it is shown that "Guys and Dolls" offers a limited range of vocal sensibilities that are needed to fulfill plot expectations and important cues for character development. Since Brando had not been able to sing as well as Sinatra or other members of the cast, it is clear that this limitation devolves the criterion for a successful film musical. The paper argues that without the full camera view to envision the dance movements of the Broadway, the film also is ineffectual in giving the full musical experience to viewers.
From the Paper
"This movie review will analyze the cinematic ineffectiveness of Guys and Dolls (1955) in contrast to the theatrical "popularity" of the Broadway version. The basis of the Broadway production elicits a far greater range of songs, and with a more variety in how spatial movements can be placed in the theater. The film actually diminishes the wider format of a stage view, and limits the facets of movement, vocal projection, and presence of the actors. In essence, this film presents many innovative stage design principles found in theater, but lacks a "Broadway authenticity" due to the inexperience and limitations of cinematic direction and cast. The plot of Guys and Dolls revolves around Sky Masterson (Marlon Brando) and Nathan Detroit (Frank Sinatra) who make a bet on a romantic intrigue. Detroit needs the money from Masterson, since he wishes to get involved in a high stakes gambling venture."
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Theodor Adorno, Pop Culture and Dolls, 2006.
An overview of the topic of dolls and how German philosopher, Theodor Adorno, would have viewed the associated phenomena of dolls in pop culture.
3,412 words (approx. 13.6 pages), 6 sources, MLA, £ 68.95
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Abstract
This paper provides an insight into dolls, Theodor Adorno, pop culture and how they all tie together. The objective is to describe how Theodor Adorno's views on pop culture would apply to today's mass production of dolls, doll's images and the market for dolls in general. Through reviews of Adorno's work, it looks at how a correlation can be made that tie the many aspects of the doll making industry to the expectations of society.
Outline
Introduction
Adorno
Mass Production
Dolls
How Would Adorno Look at Dolls Made Today?
The Doll -- A Historical Function
Function in Recent Popular Culture
Conclusion
From the Paper
"To understand the modern doll industry, we must also understand the art or science of mass production. Adorno may tell us that the capitalist way of life was built on a foundation of mass marketing and mass production even though that can not provide culture. To have mass production, a system needs factories and places to sell the goods produced by those factories. Capitalism, however, is not easily satisfied with a few places, it requires an ever increasing number of plants and malls to satisfy its voracious appetite. Consider how today there is still a need for more places to build and sell the mass produced nothingness, dolls and doll houses are but one example. The current trends systematically erase resources and even history by building new shopping malls on historic battlefields or whatever land is available."
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Dolls and their Impact on Children, 2005.
A look at dolls from the 1940s to the 1970s and what impact they had on black and white children.
5,665 words (approx. 22.7 pages), 14 sources, MLA, £ 98.95
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Abstract
This paper explores the impact of dolls on the black and white children during the periods between 1940's and 1970's. A number of groundbreaking and pioneering research studies have been cited in the paper to provide a comprehensive analysis of the influence of dolls on the psychology of children. Subsequently, the paper explores the promotion and advertisement activities carried out by leading doll manufacturers in that particular era and also the difference of marketing activities between the south and the north. This paper reveals and clarifies the role played by the corporations throughout the specified period in either promoting or demoting interracial harmony.
Introduction: Three Interracial People
Review of Literature
Dolls from 1940's through 1970's and their Impact on Black and White
Children
Sketching Social and Fashion Meanings from Literature on Dolls
Doll Representing Contemporary Fashion
The Marketing and Promotion of Leading Doll Manufacturers
Conclusion
From the Paper
"All through American history, children of interracial groups have been unable to maintain a healthy relationship with each other. This is particularly true for both black and white communities. The blacks are jealous of the whites because of their higher social, political and financial status and the whites hate the distinct color of the black skin because to them the black color resembles overloaded jinx. The situation is not getting any better and with globalization at the doorstep, the challenges confronting the American society, in general, and American corporations, in particular, are enormous. The last thing they need is to single out a particular group on the basis of their color and marginalize them. Ursula M. Brown (2001) writes, "Thus interracial children have to negotiate all the developmental challenges that confront uni-racial children. In addition, they have to face a unique set of emotional hurdles. These stem from their mixed racial background, a world that has deprived them of the right to define themselves as who they are, and communities that may resent them for their blackness, interracialness, or whiteness.""
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"Guns and Dolls", 2002.
An analysis of the essay "Guns and Dolls" by Laura Shapiro which examines the causes of behavioral difference in boys and girls.
564 words (approx. 2.3 pages), 1 source, £ 14.95
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Abstract
This paper introduces, discusses and analyzes the essay "Guns and Dolls," by Laura Shapiro in which she cites evidence from scientific studies and reports on the differences between boys and girls and what causes them. The paper uses three different quotes from the article that express the idea that the differences between girls and boys are learned (social), rather than innate (biological), and explain why each quote was chosen.
From the Paper
"Harvard professor of psychology Jerome Kagan explains, "'If, in our society, nature stands for the giving of life, nurturance, help affection, then the girl will conclude unconsciously that those are the qualities she should strive to attain. And the boy won't. And that's exactly what happens'" (Shapiro). Here the professor concludes because boys do not bear and raise children, they simply do not have or learn the same qualities that girls do. He contends girls learn early on they are the nurturers and caregivers, and understand they are different from boys. Kagan has studied young children for 35 years."
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"Our Guys", 2002.
A look at the book "Our Guys," written by Bernard Lefkowitz.
1,650 words (approx. 6.6 pages), 4 sources, £ 44.95
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Abstract
This psychopathology paper is based on the book "Our guys," written by Bernard Lefkowitz. The paper analyzes the Glen Ridge rape case from a systems perspective and has been described in the book in detail.
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Hegemonic Masculinity and Lefkowitz's "Our Guys", 2006.
Using the construct of hegemonic masculinity, this paper discusses the rape of a woman as described in Bernard Lefkowitz's "Our Guys".
1,350 words (approx. 5.4 pages), 4 sources, £ 37.95
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Abstract
This paper considers a rape in Glen Ridge, NJ, as described in Bernard Lefkowitz's, "Our Guys", and attempts to show how the rape occurred and why the society reacted as it did, using the construct of hegemonic masculinity. The events are outlined, as well as the theory of the rape. The construct is applied and an alternative critique suggested that if implemented could help to avoid such crimes in the future.
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"Our Guys" by Bernard Lefkowitz, 2006.
A review of chapter 2 of the novel "Our Guys" by Bernard Lefkowitz.
937 words (approx. 3.7 pages), 0 sources, £ 23.95
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Abstract
This paper discusses a chapter dealing with the gang rape of a girl and the author's reaction to the narrative. The author elaborates on how society, in the story, related to such an event then and how society may view such an event in the present time (according the the author's personal opinion and experience).
From the Paper
"The chapter also underscored for me of how cruel and non-reflective young people, especially in peer groups, can be, unless taught otherwise. Kevin, Kyle, Chris and the others seemed never to have been held accountable for any of the destructive or illegal things they had done at school and elsewhere; so they must have believed that they would get away, similarly, with the gang rape of Leslie."
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Katsina Dolls, 2003.
Discusses the art of the Katsinam.
1,350 words (approx. 5.4 pages), 11 sources, £ 33.95
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Abstract
Examines the evolution of the artistic production from the early traditional form of the Hopi to the late action form and the commodification by the Western world. Discusses the religious and cultural symbolism of the Katsinam, the Hopi culture, and the spiritual meaning of Katsina.
From the Paper
"For several decades, the Hopis' Katsina dolls and other artistic representations have captured the imagination of art collectors and museum curators from all over the world with their vivid colors,..."
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Feminism in "A Doll's House", 2003.
This paper explores the significance of the connections between Henrik Ibsen's play, "A Doll's House" and the rise of feminism.
735 words (approx. 2.9 pages), 2 sources, MLA, £ 18.95
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Abstract
This paper explains how the behavior of Nora, the main character in "A Doll's House" by Henrik Ibsen, is connected to the title in the sense that she is like a doll living in a doll's house. This lifestyle was common during the Victorian Era, the time period in which the play was written, and gave fuel to the fire of rising feminism. The paper shows that the play's most significant feature is the real-life change that it sparked in the lifestyles of women in the late nineteenth century.
From the Paper
"A Doll?s House, written by Henrik Ibsen, is a play that shocked audiences upon its release. The author wrote it to say something about commonplace marriages that took place during the late nineteenth century. The title, A Doll?s House refers to the disempowered position of the wife in referring to her as a doll. This play helped to begin the feminist movement, where women began to stand up for themselves and question the legitimacy of the societal conditioning. What makes this play connected to feminism lies in its title, the fact that it was written during the Victorian Era, and the way it began the destruction of the gender roles that are still apparent today."
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"A Doll's House", 2002.
A study of the themes and characters in Henrik Ibsen's revolutionary 19th century drama "A Doll's House".
1,900 words (approx. 7.6 pages), 6 sources, MLA, £ 43.95
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Abstract
The author of this paper shows how in Henrik Ibsen's "A Doll's House" the home of Nora and Torvald Helmer is a microcosm of society at large and specifically, society's prevalent sexual divide. He points out that, like dolls in a dollhouse, every character is incomplete: they are fragile, have faults and are easily breakable. The paper shows how Ibsen, who considered himself a social commentator, enters the realm of realism and that the symbolism in "A Doll's House" enhances the realism.
From the Paper
"The independence that Nora demonstrates towards the end of the play so shook up the establishment that the production of "A Doll's House" in Germany was not allowed in its original form. In the German version, Nora does not slam the door in Torvald's face and storm out into an uncertain future with steely determination. She takes one look at her children and her resolve melts away into uncertainty and self pity. She relents and stays home. In Sweden, social invitations came with an admonition that "A Doll's House" should not be discussed. Ibsen was incensed at this threat to the basic integrity of the play; he called such a reaction "barbaric." (Ibsen & Kildal, 1911)"
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Guy Paul Morin: Failure of the Justice System, 2006.
This paper examines the 1992 murder trial of Guy Paul Morin, who was wrongly convicted of killing a 9-year-old child in 1984.
928 words (approx. 3.7 pages), 7 sources, MLA, £ 23.95
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Abstract
This paper details the numerous errors on the part of the Ontario police department, as well as the prosecutors who were determined to find Guy Paul Morin guilty of killing Christine Jessop. This paper explores the various reasons Morin was wrongfully convicted including the fact that the police did not seek out any other suspects, as they were sure Morin was guilty. On October 3, 1984, 9-year-old Christine Jessop was brutally beaten, stabbed, raped and murdered. Morin was charged with the murder of Christine Jessop. When the prosecution could not prove its case in 1986, Morin was acquitted of the murder. Immediately the verdict was appealed by the prosecution. The Supreme Court ruled that the judge misdirected the jury. Evidence played a key role in the conviction and exoneration of Guy Paul. This paper also details the main evidence that had been used against Guy Paul had in fact been contaminated since 1985.
From the Paper
"Police had leads to other people, but did not follow up on them because they were just after Guy Paul, not anybody else. The first possible person is Paul Wilsonm he was seen cleaning the inside of his truck with a hose, which made his employer suspicious. Police just look at the truck and said "it looks fine" and that was the end of that. The second possible suspect was Tom Atkins. Atkins was charged with the sexual abuse of 5 year old and lived in the area. When he passed a polygraph test, police let him go, even though they had a search warrant and could have searched his house to be certain he did not have anything to do with the murder. The third suspect is Mike Taylor. He (Mike) had been working at the cemetery where Christine used to play, he also once threatened his sister with a gun. Mike once went after his father with a chainsaw, but he had an alibi for the night of the murder, his family. Later on, Mike's sister changed her story, but not with the police."
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Henrik Ibsen's "A Doll's House", 2006.
An analysis of the main character in Henrik Ibsen's famous play "A Doll's House".
2,733 words (approx. 10.9 pages), 7 sources, MLA, £ 58.95
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Abstract
This paper analyzes Nora, the main character in "A Doll's House" and examines the different facets of her personality. The paper discusses both her businesswoman persona that she has kept secret and the little doll persona that she displays for her father and her husband. The paper also compares the story in "A Doll's House" to Ibsen's real life, pointing out similarities between the two and looks at similarities between dilemmas faced by today's women and the women that lived in the era of the novel. Finally, the paper concludes that Nora, in spite of the persona that she projected to her husband and father for so long, is actually a strong, flexible and proud woman.
From the Paper
"In reading what other critics and readers have written about the character Norma Helmer, it appears that her character evolved or was in the process of evolving through out the play. Definitely, she like many women of the 19th Century, carefully hid her strength behind a sweet doll-like demeanor that was at best a fabrication to placate the expectations of her domineering husband and the belief by society at large, that women were weak silly creatures. On the other hand, in presenting this persona, Nora also lied to herself about her own strength and until she revealed herself, she denied her husband the right of the spouse to really know whom he really married. But then maybe Torvald did not really want to know the darker and stronger side of Nora. He was an unappreciative boor for all of her hard work in his name. So we really see the two central characters as they really are at the end of the play. Nora is strong, flexible but proud, and Torvald is a priggish weak egotistical person."
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Gender Socialization: Doll Collection, 2007.
A look at how gender socialization plays a role in the collector doll phenomenon.
963 words (approx. 3.9 pages), 5 sources, MLA, £ 24.95
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Abstract
This paper discusses, from a sociological point of view, the collector doll phenomenon. It looks at what makes women buy dolls and treat them like children. The paper also investigates how gender socialization during the early 20th century pushed these women towards a nurturing role.
From the Paper
"Since the dawn of humanity there have been "dolls"; representations of humans or deities that have been collected for medicinal, religious, and, increasingly in modern times, recreational uses. Early humans first started becoming artisans so that they could make fertility idols, dolls that would increase women's ability to produce offspring, or to appease a deity so that they could help women to become impregnated. However doll making and the purposes of dolls have changed throughout the ages, from Ka figures in ancient Egypt who were said to house the spirit of the dead, to Barbie today who is mass produced so that thousands of children worldwide can watch her in her latest career exploits; women continue to collect and crave increasingly lifelike dolls (Robertson, 151). "
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Ibsen's "A Doll's House", 2006.
An analysis of the significance of the title of Henrik Ibsen's play "A Doll's House".
1,442 words (approx. 5.8 pages), 14 sources, MLA, £ 33.95
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Abstract
Henrik Ibsen entitled his play "dukkehjem", i.e., a doll's home. It is the original anonymous English translator who introduced the "doll's house". This paper argues that both titles were deliberately chosen as a direct indication of the different significance that the author and the translator respectively, wished it to give to the play.
From the Paper
"Nora is stereotyped to the end, and beyond: she theatrically threatens to suicide, she expects Torvald to "come forward and take everything upon [himself] and say: I am the guilty one" (70) only so that she could make another glorious sacrifice and when he doesn't, she pouts: "I had been living with a stranger and had borne him three children" (70) (not "with him", but "borne him" children). It is also the stereotyped immature-female who just runs away, giving no thought to how she will survive out there but insisting she would "receive nothing from stranger" (71), declaring she'll stay at Christine's (taking for granted she'll accept) then storming out of the house. And storm she did: the final stage direction is "the sound of a door is heard from below" - given that people have been coming and going throughout the play,and not once the door is heard, for Torvald (and the audience) to hear it from below, Nora must have slammed it, highlighting her theatrical exit. "
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