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Villains and Criminals in Shakespearean Drama, 2004.
Analysis of the importance of and attraction to villains throughout Shakespeare's various plays.
1,489 words (approx. 6.0 pages), 5 sources, MLA, £ 33.95
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Abstract
This paper shows that, in Shakespearean drama, the villains are traditionally extreme rationalists. It looks at examples, such as Shylock and Iago, who manipulate people by knowing the way they think, while criminals, like Falstaff, are generally good-natured, but have no use for morals or law.
From the Paper
"Shylock is an outsider not only because he is Jewish and the rest of the town is Christian, but also because he has a different value system. He makes it clear that he enjoys his role as an outsider when he tells Bassanio "I will buy with you, sell with you, talk with you, walk with you and so following; but I will not eat with you, drink with you, nor pray with you" (I.3.33-35). In the play Shylock is both the victim and the villain. He is betrayed by his only daughter when she elopes with a Christian and loots his house of all the gold and jewels. Although he is angry about the loss of his possessions, he is devastated when he learns that she sold a memento which was very important to him. This shows us that Shylock is not motivated merely by financial gain."
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Villainy in Shakespearean Drama, 2003.
A comparison of villainy and villains in three of William Shakespeare's works: "Othello," "The Merchant of Venice," and "The Tempest".
2,912 words (approx. 11.6 pages), 4 sources, MLA, £ 59.95
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Abstract
This paper introduces the villain or villains from each work then highlights similarities and differences between each. It looks at how Iago from "Othello" and Shylock from "The Merchant of Venice" are both examples of very strong characters, while "The Tempest" exhibits no strong villains. The paper is peppered with quotes from each work.
From the Paper
"The character Iago in Shakespeare?s Othello is an excellent example of villainy in a tragedy. Iago is as ambitious as Hamlet?s Claudius, as crooked and backstabbing and Julius Caesar?s Brutus, and just as fiery and prone to emotion as Romeo and Juliet?s Tybalt. He is the unmitigated foil of the protagonist Othello, and eventually his actions lead to the deaths of Roderigo, Emilia, Desdemona, and Othello; Iago also dies, but does so sneering at his work. It is interesting to note that Iago never demonstrates a concrete reason for his odium of Othello. Othello?s passing over of Iago for lieutenant has some play, and Iago shows other subtle hints of Othello?s mistrust and deceit, but never is there mention of a catalyzing event that creates a real reason for Iago to be as he is. It seems that he is in the business of villainy initially for Roderigo?s money, but after Roderigo?s death it is difficult to discern what stake Iago has to gain in Othello?s downfall."
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Shakespeare's Villains, 2003.
A study of two of William Shakespeare's villains, Iago in "Othello" and Claudius in "Hamlet".
1,770 words (approx. 7.1 pages), 6 sources, MLA, £ 39.95
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Abstract
This paper examines two of the most infamous villains in all of Shakespearian literature, Iago in "Othello" and Claudius in "Hamlet". The paper points out that both Claudius and Iago are driven by immoral ambitions. It adds, however, that unlike many "evil villains" in literature, these two characters are far more complex than may be seen at first. The paper praises Shakespeare as a master at providing an audience with keen insight into the human psyche through the actions and words of his heroes, and even more so, his villains. To conclude, the paper maintains that Iago and Claudius, although driven by different ambitions, are both villains in the sense that they have a specific target in mind and will stop at nothing until that aim is reached.
From the Paper
"Another common aspect of Iago's and Claudius's villainous character is their use of women to further their own goals. It is unclear how much Claudius is driven by lust for Gertrude, but marrying her was definitely a strategic move, and part of his master plan to keep the thrown away from Hamlet. By doing this, he is using Gertrude to advance his scheme, convincing her that her son is insane and must be sent away. Iago, a character who does not seem to plan out his every move, also makes women mere pawns in his game. The woman whose innocence and naivety he exploits the most is Desdemona. Claiming to be driven by lust, as perhaps was Claudius, Iago says he lusts after Desdemona to get revenge for Othello's infidelity with Emilia. As he says, it is "wife for wife." This is not the main reason he harms Desdemona, although he enjoys the pain he causes to all those around him. Rather, he uses Desdemona's sweetness to convince Othello that she is cheating on him with Cassio, whom Iago sent to speak to her. This meticulous orchestration of events proves that he is clearly aware of his villainous behavior and feels no regret for any of the losses suffered by the other characters under his influence."
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Marcus Rediker's "Villains of All Nations", 2008.
Evaluates historian Marcus Rediker's book about pirates, "Villains of All Nations: Atlantic Pirates in the Golden Age" and the phenomenon these pirates represent.
1,045 words (approx. 4.2 pages), 4 sources, MLA, £ 24.95
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Abstract
This paper explains that, unlike most historians, Marcus Rediker in his book "Villains of All Nations: Atlantic Pirates in the Golden Age" takes a positive view of piracy and what they represented for the period in which they lived. The author points out that Rediker believes that the issue of piracy should not be observed from the damages they caused but rather from social, economic and human aspects, which justify their actions. Rediker offers several arguments; however, they are easily countered by suggesting that the actual motivation of these pirates was strictly connected to the accumulation of wealth and power. The paper states that Rediker's book is a shallow and inaccurate account of history of pirates.
From the Paper
"By discussing the history of the first pirates at sea, the author points out the difficulties they are considered to have suffered especially during the Spanish war when they were sent in battles without their expressed will. In this sense, he considers that the eventual freedom they came to have after the end of the armed conflicts was an equitable reward of the situation. Through this perspective, the author tries to justify their actions from a moral point of view."
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Villains, 2001.
This paper describes satanic characters in literature.
850 words (approx. 3.4 pages), 0 sources, £ 20.95
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Abstract
This essay looks at evil and its corrupting forces in literature, citing Milton's "Paradise Lost" and Shakespeare's "Othello". It goes on to discuss the motives of Gandhi and those in the anti-slavery movements, attempting to explain why good will ultimately prevail.
From the paper:
"Both John Milton and Dr. Martin Luther King were clergymen who based their works, writings and speeches on the principles set forth in Christianity.
" While it might seem to be a difficult task to find a villain in real life who is suitable for comparison to Satan - one in whom personal characteristics are so base that they are better seen as completely nonexistent - it is not difficult to find such a creature in literature.
"The character of Lago from Shakespeare?s play, Othello, fits this description well. Not only can Lago be compared to Satan in Milton?s Paradise Lost, but the character of Othello can be compared to an innocent Adam - a person who is doing perfectly well before the devil moves in and brings hell with him."
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Drama, 2002.
Explores the purpose of drama and how drama has changed over time through several works.
650 words (approx. 2.6 pages), 3 sources, £ 17.95
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Abstract
This paper compares "Oedipus Rex", the various plays of Shakespeare, and "Cat on a Hot Tin Roof", thereby demonstrating the purpose of drama and how drama has changed over time.
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Greek Drama and the Modern Production, 2002.
A paper which examines the Aeschylean, Sophoclean and Euripidean styles of Greek Drama and how the relate to modern drama productions.
884 words (approx. 3.5 pages), 3 sources, MLA, £ 21.95
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Abstract
The paper examines and analyzes three distinct styles of Greek drama, focusing on the Sophoclean style by giving several examples in drama history such as "Oedipus" and the modern movie, "A Few Good Men". By comparing these styles to what a modern audience expects of a film or play, the paper shows that the Sophoclean style is the most suitable for a modern production.
From the Paper
"This shows the main aspect that makes the Sophoclean approach the most suitable style for a modern audience, the character focus. The Sophoclean styles focuses on the main character as the driving force of the play. This is the same approach taken by modern films and plays, where the plot of the play is based on the struggle of the main character. This usually involves a likeable character being presented with some problem and ultimately either overcoming this problem or learning from it. Importantly, the audience forms a relationship with the main character, with this involving the audience in the action. The film Titanic is a good model example of this. As history shows, the main event the movie is based on is the sinking of the ship and the drowning of hundreds of people. Yet, the film does not focus on this to engage the audience and drive the plot. Instead, the plot focuses on the story of Rose and Jack."
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Yuan Dramas, 2006.
A look at why drama flourished during the Yuan dynasty (1279-1368).
900 words (approx. 3.6 pages), 2 sources, £ 24.95
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Abstract
The Yuan dynasty (1279-1368) was a period when cultural innovation was occurring at a very high rate in China(Lewis 34). One of the cultural areas that went through a particularly significant period of growth during this period was drama. The question that this essay attempts to answer is why did drama in the Yuan period flourish? It is argued that drama flourished in the Yuan period for four primary reasons. These reasons are; the commercialization of entertainment and the arts during this period, the use of vernacular language, the vulgarity and humor of many of these dramas and the fact that the dramas often used stock stories and characters that were known by a wide range of people.
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Animal Imagery in "Macbeth", 2001.
A poet describes the role animals play in this famous Shakespearean drama.
1,260 words (approx. 5.0 pages), 1 source, £ 28.95
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Abstract
This paper is a look at how various animal images in the play "Macbeth" such as the owl, serpent, falcon, raven, rhinoceros, etc. contribute to the powerful impression the Bard leaves on his audiences. The author uses quotes from the play to back-up the explanations.
From the Paper
" In William Shakespeare?s play MacBeth, Shakespeare uses imagery to help convey the words his characters speak in their dialogs. Throughout this play, animals are used to describe situations for characters. These characters include Lady MacBeth, MacBeth, Lady MacDuff, Ross, and an old man speaking with Ross. Animal imagery is used to illustrate evil, deceit and fearlessness made by characters who are indeed fearful, and paranoid with unnatural events occurring throughout the course of the play."
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Maternal Figures in Shakespeare, 2004.
An analysis of the absence of maternity in Shakespearean drama.
1,721 words (approx. 6.9 pages), 10 sources, MLA, £ 37.95
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Abstract
This paper examines the presence and lack of maternal figures in William Shakespeare's "The Winter's Tale" and "King Lear." It discusses both the societal and familial implications of maternal absence and acknowledges the fact that this trend is still common in modern fiction.
From the Paper
"As in many contemporary stories, the tragedy King Lear begins without a mother present. Nothing is known of her; the reader is unaware of the circumstances of her death, or if she actually is dead. What is clear is that her presence is missing, not only throughout the course of the play, but in the lives of Lear and his three daughters. Seemingly the opposite, The Winter's Tale begins with an existent maternal figure, Hermione. Not only is Hermione present, she seems to represent all that maternity should. She is a just and gentle queen, and although her royal husband, Leontes, accuses her of adultery, this accusation stems from his own maddened jealousy, and has no basis in truth. In fact, Hermione spends a good deal of the play defending her womanly honesty against her husband's unfounded jealous rage."
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The Exploration of Realist Drama, 2002.
A look at realist drama through an examination of plays, playwrights, and concepts.
1,150 words (approx. 4.6 pages), 6 sources, £ 30.95
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Abstract
This essay examines the principle elements of realist drama. The realist drama, often used in films and in plays, is best explained as the best and the worst of humanity combined into a whole. This paper addresses the realist drama with an emphasis on selected playwrights as well as the social reception of the realism movement.
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Drama, 2004.
This paper discusses the history of drama and the reasons for its survival.
2,055 words (approx. 8.2 pages), 3 sources, MLA, £ 44.95
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Abstract
This paper explains that the best dramas contain compelling characters, situations that strike a chord with the viewers, and offer solutions that apply to the ?drama? of the viewers? hectic lives. The author points out that drama has survived for so long, not only because it is an important form of entertainment, but also because it makes the audience feel something. The paper relates that, throughout history, dramas have been engaging, entertaining, and imminently popular; they show people at their very best and at their very worst.
From the Paper
"Drama gradually went out of style in the ancient world, but interest was renewed in medieval times, when church performances grew and were enhanced into outdoor plays. Secular plays were performed during this time, and the dramatic form of comedy regained popularity, too. Interest in all forms of drama continued to surge during the Renaissance, and scholars began to study the many forms of drama, and develop new types. The old dramas of Greece and Rome that had contained a chorus along with the actors were studied and reformed into a new form of entertainment ? opera. Drama continued to spread, and its' popularity paved the way for some of the world's most famous playwrights, including Shakespeare. Queen Elizabeth loved drama, and Shakespeare's work was extremely popular in her court."
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Classroom Drama, 2004.
A review of literature on the topic of using drama as a didactic tool in the classroom.
1,319 words (approx. 5.3 pages), 6 sources, MLA, £ 30.95
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Abstract
This paper discusses several articles that deal with the use of drama in the classroom. The paper examines how drama instruction, such as role-play, miming, puppetry, improvisation and readers theatre, in the early elementary classroom can improve learning. The paper highlights the positive experiences that children gain from incorporating drama in their every-day lessons.
From the Paper
"Barbara Ryan Larkin (2001) shares her classroom experience with drama among elementary school students. Her young students would ask to act out stories they read in class, and once Larkin began studying the theories behind drama in education, she came to realize the beneficial effects that taking time to do so would have with student development. Rather than leaving drama for a separate area of study, Larkin found that "drama is presented as a meaningful context for children to read, write, speak, and listen. Struggling students especially seem to be motivated by this experience." (Larkin 2001) Reader's theater is one way of approaching drama in education. It is an interpretive activity where students practice and perform with each other, using methods like repeated readings and improvisation to enhance comprehension and to build on knowledge. Larkin's students responded very excitedly to reader's theater, immediately embracing the opportunity to take on characters, learn scripts, block scenes, and perform with and in front of one another. The teacher read a story to students, helped them learn the vocabulary, reviewed the entire text of the script as a class, then let students develop parts in groups. "
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Women in Television Drama, 2000.
This paper analyzes research investigating the portrayal of women in daytime and prime-time television drama from the early 1970s to the 1990s.
5,415 words (approx. 21.7 pages), 22 sources, APA, £ 91.95
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Abstract
This paper reports that research findings indicate, especially in the 1970s, that women were under-represented and constrained to the narrow mold of housewives and mothers, both in daytime and prime-time television drama. The author points out that the women's movement has had a noticeable effect on the depiction of women; however, there are still traits of under-representation of woman, even in the 1990s and 2000s. The paper relates that researchers disagree as to whether the daytime portrayal of women is relatively more positive in daytime drama than in prime-time drama; however, the researchers do concur that, in both these time periods, women are portrayed as being incompetent in keeping the patriarchal system from interfering with their lives. The paper includes many quotations several of which are embedded in the text.
Table of Contents:
Introduction
The Early 1970's
A Turning Point: Cagney and Lacey
Discussion
Conclusion
From the Paper
"With the overt manifestations of women's movement, questioning conventional cultural perceptions of femininity in various spheres such as labor, family, sexuality and economy, prime-time network television began its quest to respond to these new discourses. In the late 1970s, prime-time television "was generating portrayals of women that drew-in various ways and to varying degrees-on the new feminist consciousness, particularly that of the U.S. liberal women's movement." "Cagney and Lacey" provided a sharp contrast to the conventional images of women on television and met the multidimensional character imposed by the woman movement's discourses."
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