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"Hamlet" and "Orestes", 2008.
A comparison of the plots and characters in William Shakespeare's "Hamlet" and the Greek tragedy, "Orestes."
1,337 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
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Abstract
This paper discusses the connection between William Shakespeare's play, "Hamlet" and the Greek tragedy, "Orestes." It describes the parallels between the two plays and the similarities between the plots and the main characters. The paper suggests that the main thing that makes the two plays collude is the attitude of the main hero who hesitates and suffers in front of his ponderous duty.
From the Paper
"In Hamlet however, the psychological complexity of the situation surpasses even that in Oresteia. Modern thought sublimates the tragedy and the decision that has to be made by Hamlet is even more unsettling than that which has to be made by Orestes. Confronted with a state of moral rottenness that reigns over Denmark, Hamlet is, as Showerman stresses, "caught between irreconcilable imperatives": "The Oresteia of 458 BC and Shakespeare's Hamlet both explore the interaction between gods and ghosts and the tragedy of human beings caught between irreconcilable imperatives."(Showerman, 67) Hamlet goes through various states of mind throughout the play, ranging from sheer indignation at the immoral state in which the royal family and implicitly his country is, and reaching almost a state of indifference. Thus, Hamlet's first reaction upon hearing the truth of the murder from the ghost of his father is to state that he is anxious to take his revenge to the end as fast as possible: "Haste me to know't, that I, with wings as swift/ As meditation or the thoughts of love,/ May sweep to my revenge."("Hamlet", 1.5. 33-35) Gradually however he begins to doubt everything, and loses all assuredness. He begings to see the difficultness that lies in his moral duty: "O cursed spite,/ That ever I was born to set it right!"("Hamlet", 1.5. 207-208) As in Orestes' case, Hamlet sees his father in a aura of distinction, as a sacred representative of monarchy and righteousness: "See what grace was seated on his brow--/ Hyperion's curls, the front of Jove himself,/ An eye like Mars, to threaten or command,/ A station like the herald Mercury/ New-lighted on a heaven-kissing hill." ("Hamlet", 3.4.55-58) The injustice of the crimes grows continuously in Hamlet's mind, baffling his initial decision to take immediate revenge on the murders."
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"Epicoene": An Ambivalent Comedy, 2008.
An analysis of the plot, characters, style and purpose of Ben Jonson's famous play, "Epicoene or the Silent Woman"
2,741 words (approx. 11.0 pages), 10 sources, MLA, $ 82.95
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Abstract
This paper discusses Ben Jonson's famous play, "Epicoene or The Silent Woman." The paper analyzes the plot and the characters of the play. It discusses the style in which "Epicoene or The Silent Woman" is written and its structure of an overlapping array of plots that essentially subsume one another throughout the course of the play. The paper looks at Jonson's purpose in the play and its success.
From the Paper
"There is also the sexual sub-plot, which is skillfully woven into the play. Truewit and Clerimont assert halfway through that the play seems to be a mere repetition of previous dramatic forms. But Dauphine, at the end of the play, reveals that he is one step further than the rest of the characters when he reveals Epicoene's true gender. Thus, Dauphine comes closest at this point to the role that the author, Jonson, has been playing throughout - as the author is always one step ahead of the audience. Again, Elizabethan conventions of dramatic form are exposed, ridiculed, and discarded in favor of a more open-ended, modern approach to the question of gender. An Elizabethan audience would not have questioned the fact that Epicoene was being played by a boy, as this was a norm during the Elizabethan period. But by exposing Epicoene as a transvestite at the end of the play, Dauphine - and Jonson, by extension - effectively disrupts this norm - the very sort of norm that would be upheld by Morose, who is the ultimate victim of this deception."
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Theme of Respect in "A Raisin in the Sun", 2008.
An analysis of the metaphorical significance of the title of Lorraine Hansberry's play, "A Raisin in the Sun" and the theme of respect.
1,164 words (approx. 4.7 pages), 2 sources, MLA, $ 40.95
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Abstract
This paper discusses the plot and themes of Lorraine Hansberry's play, "A Raisin in the Sun." It discusses the metaphorical significance of the title of the play and how it relates to the plot and characters that are portrayed in the work. The paper specifically focuses on the theme of respect, both giving and receiving, as the key to understanding Lorraine Hansberry's "A Raisin in the Sun."
From the Paper
"What we must seek out and learn to understand about the Youngers is that every action they take and every stage of their development is predicated upon their level of respect for themselves and each other. In the beginning, respect is hard to come by, and what there is is falsely laid. But after the loss of the money, the family is forced to take real stock of themselves and what they realize is that their perception of being in a hopeless situation, of having their best potentials in life disappear, is actually totally incorrect. Mama knows this, and in the act of buying their way out of the Black neighborhoods, she is liberating them from their lack of self-respect, they are proving their ability to be independent."
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The 'Alchemist' and Duality, 2008.
This paper discusses the theme of duality in the play the 'Alchemist' by Ben Jonson.
2,883 words (approx. 11.5 pages), 12 sources, MLA, $ 85.95
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Abstract
In this article, the writer notes that duality in literature and drama is a common theme suggesting various relationships between people, attributes, character traits, and also suggesting the larger dictum that things are not always what they seem. The writer discusses that the 'Alchemist' is a comedy written in verse and that two of the central themes in this play are inherently shaped around ideas of duality. The first of these themes is that of illusion versus reality, again a common theme in drama and one that includes duality as how things appear is not how they truly are. This theme also shows the tendency people have to see what they want to see and to fail to perceive the true nature of people and things in this world. A second theme in this play is transformation, clearly a term related to the idea of an alchemist, who had as his primary goal changing base metals into gold, an idea that was an illusion in itself. The writer notes that in the 'Alchemist' this idea involved a deliberate duality as even the concept of alchemy itself becomes the subject of and means to a swindle, a deliberate illusion to mask the true intent of the perpetrator.
From the Paper
"The names of the characters have a duality all their own as they tend to be fitting to the real character while the character him or herself seeks to hide that fact. The three conspirators are Subtle, Face, and Dol Common, and the use of the word "subtle" in particular suggests deception. Their primary target is Sir Epicure Mammon, a man whose name represents two of the seven deadly sins, gluttony and greed. The house where the conspirators create their illusion is owned by a man named Lovewit, also suggestive of one who knows a deception is taking place and who enjoys the game of it, though in fact he has left London to escape the plague. The conspirators want to be all things to all people, so long as this will give them an advantage and enable them to fleece those who visit them. Mammon is attracted by their promise of the Philosopher's stone, a legendary artifact that can turn base metals into gold and that is the object of all alchemical inquiry. Kastril is attracted by the promise of a charm so he can win at cards. Drugger the tobacconist wants his shop cleansed of impurities and supernatural threats. The duality of the three conspirators is matched by that of Pertinax Surly, the man who sees through their deceptions and who uses a disguise of his own to investigate."
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William Shakespeare's "Othello", 2008.
Looks at the perils of cultural differences and the clash of identity in William Shakespeare's "Othello".
1,275 words (approx. 5.1 pages), 0 sources, MLA, $ 43.95
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Abstract
This paper explains that "Othello", a Shakespearean tragedy, is as much about a clash of cultures as it is about a failed romance or jealousy. The author relates the story about the main character, the commander Othello, a dark-skinned Moor living in a largely white, Christian society. The paper suggests that, created by Iago's scheming, issues of Othello's culture and race are suspect as the causes that drove him to murder Desdemona. The author concludes that, while a person might sympathize with the ostracized Othello in a racist society, it is uncertain if Shakespeare might have written the play originally to validate some of his own culture's racist stereotypes.
From the Paper
"The charge of witchcraft is especially relevant, because it underlines how Othello is perceived as a stranger; capable of strange arts because of his religion and appearance, even by the side he fights for, the people of Venice. And it might be added, that because Desdemona falls in love with Othello because of his power to tell stories about his strange life, which includes being sold into slavery but also cannibals and men whose heads grow beneath their shoulder, his strangeness and 'otherness' becomes a source of attraction."
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The Gaze, 2008.
A discussion on the meaning of the term "gaze."
1,246 words (approx. 5.0 pages), 3 sources, APA, $ 42.95
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Abstract
The paper discusses the term "gaze" and relates the many forms in which it can be interpreted and applied in movies, television and everyday life.
From the Paper
" "In her discussion of the way women "look" at war and interpret that act of looking through language and image, The World Wars through the Female Gaze, Jean Gallagher asserts that "Vision has ... played an important role in the development and gendering of cultural discourses about war" (Acton, 2004, p.53). Acton goes on to explain that the gaze is important if it can be interpreted through the eyes of the person who is beholding the event, whether that event is a movie or a war battle. Today's woman seem to know of what they gaze upon which they may not have known before, or at least they did not have the courage enough to say so. "
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The Father in "The Glass Managerie", 2008.
An analysis of the significance of the absent father in Tennessee Williams' play "The Glass Managerie".
1,395 words (approx. 5.6 pages), 0 sources, $ 46.95
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Abstract
This paper discusses how "The Glass Menagerie" by Tennessee Williams presents the audience with a family that has been damaged by the departure of the father. The paper points out that each character is in his or her own way irreparably harmed by this event. The remaining parent, Amanda, perpetuates both her own and her children's pain by constantly reminding herself and her children of the missing family member, and creates for the entire family a dichotomy between the father figure as the nostalgic and hero-like character, and on the other hand as a faithless deserter whose example is not to be followed at any cost. The paper concludes that the father, even in his absence, continues to dictate the interactions within his family, and remains central to the events and choices in their lives.
From the Paper
"Despite this rare recognition of true reality, Amanda's grip on the true state of affairs does not last long. Instead, she pours her whole heart and soul into the projected success of ensnaring a husband for Laura, but like Tom's attempt at escape, the projected success of this attempt is also more purely fantasy than Amanda is willing to recognize. Tom attempts to warn his mother that a man might not respond favorably to Laura's physical and emotional defects. She also never bothers to thoroughly investigate the man that Tom brings to meet Laura, and therefore fails to take into account the possibility that Jim might already be connected to another girl. In the end, both her wild hope and Laura's emerging personality are completely crushed by the one revealed truth: Jim is already taken. In addition, the final representation of their hope vanishes with Tom's escape. Laura and Amanda are left to their own devices at the end of the play. Only Laura's image remains to haunt Tom, regardless of how far he travels to escape them."
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Richard III vs. Much Ado About Nothing, 2008.
This paper compares and contrasts two of William Shakespeare's plays, "Richard III" and "Much Ado About Nothing".
2,300 words (approx. 9.2 pages), 2 sources, APA, $ 70.95
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Abstract
This paper basis it's premise on the fact that at the center of Shakespeare's plays there exists a current of darkness, a cynicism about government, people and love, and a willingness to poke the eye, if only gently, of the establishment. Using this premise, the author discusses "Much Ado About Nothing", which highlights the foibles of the human heart, and "Richard III", which showcases the nature of corruption and power in the hands of the evil. The author asserts that while on the surface, these two plays could not be compared or even contrasted, at the thematic level, there exists a level of anxiety about female sexuality, of the supremacy of man over God in terms of destiny, of moral examples of how power wielded badly can result in truly horrific consequences, and a fear that if we simply accept the rule of others, then we too would be corrupted with power. Furthermore the author states that in both of these works, Shakespeare sends the message that women are of equal significance and power to men; that people control their own destinies, can either be a power for good or for evil and that loyalty to friends and family supercedes all other fealties.
From the Paper
"Elizabeth is absolutely power-hungry. She is as corrupt and fickle as Richard's assessment of women. She is his equal in this manner. She is just as capable of manipulating her as he is of taking the dominant position - though he has usurped his brother's title, he proves his weakness is ultimately his desire to be truly loved for himself and not the power he wields. Where Shakespeare took this theme up to a positive resolution in Much Ado About Nothing, in giving both Benedick and Beatrice a satisfactory joining upon their mutual realization of respect and love, he showed the opposite side in Richard III. The power of the feminine sexuality proved to be Richard's undoing, his eventual collapse came because he could not absolutely dominate Elizabeth and Anne, to use young Elizabeth, and to manage the nation that is now his. The failure, of Richard, is in his absolutely corrupt nature. He is incapable of love and because of this, he approaches women in an awkward and rather juvenile way. He cannot actually succeed in love because he can never come to the kind of realization of mutual respect that Benedick and Beatrice did. So, in his brand of fear of feminine power, Richard is unable to escape from his own foibles. But, both Benedick and Richard express their fear of the power of women in the relatively same way - they attempt to dominate women with whatever their natural or coarsely gained power may be."
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Socio Dramatic Play in Early Childhood Education, 2008.
A research proposal discussing the importance of socio-dramatic plays in early childhood education.
1,855 words (approx. 7.4 pages), 11 sources, APA, $ 59.95
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Abstract
This paper presents a research proposal that explores the role of socio-dramatic play within the modern educational settings and explores how it affects the daily lives of children. The research paper also aims to explore how socio dramatic play in early childhood education enhances student performance. The paper discusses how socio-dramatic play compels children to use their imagination, thoughts and creativity.
Table of Contents:
Introduction
Statement of the Problem
Purpose Statement
Significance of the Study
Literature Review
Research Questions
Sub Questions
Methodology
Research Objectives
Research Method
Participants
Sampling Frame
Method of Selecting the Sample Elements
Data Collection
Scale Development for the Questionnaire
Data Analysis
Questionnaires
Reliability and Validity of the Results
Ethical Issues
Conclusion
From the Paper
"Piaget, who is a cognitive theorist, believed that play can help children develop several cognitive and emotional stages and it is a key instrument in the early mental growth of children. Piaget believed that people change and adapt according to the conditions around them and this change and adaptation is the ultimate weapon for personal growth and development. Tsao (2002) writes, "Children who play over and over again with the same object, such as repeatedly pretending to drink from an empty cup, actually are practicing eye-hand coordination and developing sensory-motor skills. At the same time, children practice the behaviors that are acceptable to society so that they can act appropriately in different situations. Different kinds of play require different levels of cognitive sophistication, and that is why each different type of play is found at a specific stage of cognitive development (Tsao, 2002; pg 230)" Similarly, Vygotsky, who is a socio-cultural theorist, conceptualized play as a tool, which assists children develop self-control. It helps children in mastering their behavior and allows them to understand the difference between thought and action. According to Vygotsky, play also helps in the development of advanced cognitive skills and abstract thinking (Tsao, 2002)."
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Branagh and 'Much Ado About Nothing', 2008.
This paper discusses Kenneth Branagh's film production of 'Much Ado About Nothing'.
1,200 words (approx. 4.8 pages), 1 source, MLA, $ 41.95
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Abstract
In this article, the writer notes that when looking at the effectiveness of a film-interpretation of any Shakespeare play one has to determine whether or not the staging, blocking, sets, props and scenery interfere with or enhance the dialogue. The writer maintains that overall, Kenneth Branagh's production of 'Much Ado About Nothing', succeeds in this - the setting and staging rarely step on the dialogue. The writer notes that unlike the opening of the play, Branagh's version begins with, essentially, a musical number. The success of this complete reinterpretation of the original is in true keeping with the spirit of fun and frivolity of the play itself. The writer discusses that while this departs significantly from anything Shakespeare wrote, Branagh's opening stands as a significant success and does nothing but enhance and, when compared side-by-side with other scenes, proves to be one of the most effective scenes in the film.
From the Paper
"Traditionally, the play opens with the messenger arriving to tell of the arrival of Don Pedro. In this, we are given the setting and, just as effectively, an understanding of the comedy to ensue. But, in Branagh's version, going from the printed words, fading out, and then the fade in to the pastoral scene in which all of the characters living in Messina are frolicking carefree on the Italian hillside seemingly celebrating nothing but life itself. We see, viscerally, that these are children, adults living a life of ease and free from worry. There is laughter, play, teasing, and an absolute sense of ease between the characters that either sets the tone for the entire movie or, in another context, would be the setup for great tragedy later on - which, of course, there is a lot of the former and a little of the latter throughout. This feeling is exactly what Shakespeare sought to convey in the play."
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