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Hamlet and his State of Madness, 2006.
A look at Hamlet's apparent madness in the play 'Hamlet' by William Shakespeare.
1,650 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper discusses the uncertainty surrounding Hamlet's apparent state of melancholy and madness. The paper describes his madness, reviewing how it develops, why it develops, and what purpose it serves for Hamlet.
From the Paper
"Yet, in marrying his mother so quickly, Claudius has done something that Hamlet's conscious cannot forgive. This leaves Hamlet at a point of inaction, where his desire to seek revenge is not great enough to overcome his cowardice. The ghost of his father and the message that he brings is then a way for Hamlet to force himself to take action. In short, Hamlet cannot choose to take revenge on Claudius willingly. Instead, he has to create a scenario for himself where he believes that he has no choice. When he imagines he sees his father's ghost and is told to take revenge, he has given himself such a scenario. Another important point that reveals Hamlet's madness is the actions he takes after he is told to take revenge. After speaking with the ghost, Hamlet swears that he will take revenge. However, he does not immediately choose to take revenge. Instead, he considers his actions and falls into a state of melancholy and madness."
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'A Raisin in the Sun', 2006.
A review of Lorraine Hansberry's 'A Raisin in the Sun'.
992 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper reviews the play 'A Raisin in the Sun', by Lorraine Hansberry. According to the paper, 'A Raisin in the Sun' is about the dreams that people have. More specifically, it is about the dreams of people who do not have the opportunity to pursue those dreams. The paper reports how the main theme of the play is deciding what to do with a large sum of money that is won by one of the characters.
From the Paper
"He then describes the life his son will have. This description is partly about material possessions like their house with a gardener and a black Chrysler. However, Walter also describes how his son will be able to go to any school that he wants to and that his son will be able to be anything that he wants to be. As Walter says, "Just tell me, what it is you want to be--and you'll be it" (Hansberry 94). This shows that Walter's dream is linked to his desire for his son to be proud of him and for his son to have opportunities in life. Mama's dream is not to change as much as the others. Instead, she just wants her family to live in a safe neighborhood and have a home they can be proud of. The interesting thing about all of these dreams is that they are all worthwhile. All three of the characters have valuable uses for the money and want to use it to better their own futures. "
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The Supernatural in Shakespeare's Plays, 2007.
Examines how the supernatural is presented in plays by William Shakespeare.
1,375 words (approx. 5.5 pages), 4 sources, MLA, $ 45.95
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Abstract
William Shakespeare was in many ways a man of his time regarding his own beliefs in regards to religion, magic, and the supernatural. This paper examines how Shakespeare's family and historical environment clearly influenced the way that the supernatural was deployed in his later plays.
From the Paper
"All of these conflicting ideas about the supernatural and religion Shakespeare infused into his plays. For example, in Shakespeare's plays, the supernatural often appears during times of great national torment. In "Hamlet," after the murder of the king, the ghost of Hamlet's father comes back from purgatory to demand that his son avenge his death. Even before anything evil happens in "Macbeth," the witches prophesize doom for Scotland. In Julius Caesar, supernatural occurrences occur before Caesar's assassination."
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Faith in 'Oedipus Rex', 2006.
A discussion regarding the theme of faith in the play 'Oedipus Rex' by Sophocles.
1,824 words (approx. 7.3 pages), 3 sources, MLA, $ 58.95
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Abstract
This paper takes a look at the play 'Oedipus Rex' by Sophocles. According to the paper, 'Oedipus Rex' is based on a famous Greek myth about the king of Thebes, Oedipus, who fulfilled a prophecy that he would marry his mother and kill his father, despite a lifetime of trying to avoid it. This paper reviews the idea of faith and fate, both which are prevalent throughout this play.
From the Paper
"Jocasta, Oedipus' biological mother, and Laius, his biological father, both had faith in the gods' prophecy that their son was going to destroy them both, and therefore they took action to remove that possibility by attempting to kill him. However, this act of faith cannot be undone later, when it turns out that Oedipus actually survived, and despite their belief that they were safe from the prophecy's predicted doom. After Oedipus has been revealed by Tiresias to be the killer, he goes to Jocasta and tells her that the blind prophet had accused him. Jocasta attempts to comfort him by telling him that all prophets are false, using her own experience with the oracle that prophesied that her husband would be killed by his own son as an example of this. However, Jocasta does not realize that this part of the prophesy has already come to pass. Although she is denouncing her belief in prophesies, she has already acted out of faith in them, or else she would not have attempted to kill her son in the first place, and when she realized the fault of her choice, she will again have faith in prophesies. Jocasta tells Oedipus, "Fear? What should a man fear? It's all chance, chance rules our lives. Not a man on earth can see a day ahead, groping through the dark. Better to live at random, best we can. And as for this marriage with your mother--have no fear. Many a man before you, in his dreams, has shared his mother's bed. Take such things for shadows, nothing at all-- Live, Oedipus, as if there's no tomorrow!" (Sophocles) The audience knows that her faith that Oedipus would not kill his father and marry his mother will be overcome by a tragic return to faith in the gods."
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The Evil of Lady Macbeth, 2007.
This paper examines the wicked character of Lady Macbeth in Shakespeare's "Macbeth."
1,355 words (approx. 5.4 pages), 1 source, MLA, $ 45.95
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Abstract
The paper analyzes Lady Macbeth and discusses how we see her evil throughout the play. The paper shows how she manipulates her husband and how she decides to murder Duncan and then plans the murder. The paper discusses how she is not willing to commit murder herself so that she does not need to take any responsibility and also examines how she responds to the murder. The paper highlights how she is more evil than her husband; while Macbeth completes an evil action, Lady Macbeth shows that she is evil in her actions and in her character. The paper discusses how this evil stems from her lack of regard for other people and her focus on what she wants at the expense of others.
From the Paper
"The first way that Lady Macbeth's evil is seen is in the way that she is willing to manipulate her husband. This occurs in Act 1, Scene 7, where she convinces Macbeth to commit the murder. At the start of the scene, Macbeth is applying reason to the situation and talking himself out of committing the murder. When Lady Macbeth enters he states his decision not to continue saying "We will proceed no further in this business" (I, vii). His reasons include that Duncan has been good to him. At this point, Macbeth seems like a good and reasonable man. Lady Macbeth then replies. Rather than acknowledge Macbeth's goodness, she chides him and calls him a coward."
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Shakespeare's "A Midsummer's Night Dream", 2007.
This paper compares and contrasts Shakespear's original version of "A Midsummer's Night Dream" with the film version.
990 words (approx. 4.0 pages), 2 sources, MLA, $ 35.95
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Abstract
The paper discusses how both the film and the original version of William Shakespeare's romantic comedy "A Midsummer's Night Dream" use the same words to tell a tale of temporarily thwarted young love. Yet, there are many differences the paper illustrates. The paper explains that because the film uses visual images to illustrate the words of the Shakespearean play and makes use of selective cutting to emphasize certain scenes over others, the film offers a more selective view of dreams and dreaming as opposed to the play that is viewed in its complete and uncut form.
From the Paper
"The nature of cinema allows the director of "A Midsummer's Night Dream" to make the fairies, such as Titania, Oberon, and Puck seem much more fantastical in contrast to the earth-bound mortals. The fairies float; strange, beautiful lights surround them. Yet in this rendition, they lose some of the earthier, humorous, and more interesting mortal qualities in contrast to the warring fairy characters in the play."
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William Shakespeare's "Othello", 2006.
This paper discusses the theme of jealousy in William Shakespeare's "Othello".
1,865 words (approx. 7.5 pages), 5 sources, MLA, $ 59.95
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Abstract
This paper explains that "Othello", like Shakespeare's other "big" plays, abounds in spectacular examples of theatrical effect, such as the brawls and the big pageantry;however, the theatrical effect of the rest of the play represents communication by gesture and look, the eloquent silences and whispered, spoken and shouted language. The author points out that jealousy in Shakespeare's "Othello" is a mask for the fear of death because what the jealous lover fears is that there will not be time or space enough for him. The paper relates that one of the peculiar splendors of "Othello" is that Othello's belated jealousy cannot be understood without first understanding Iago's primal envy of Othello, which is at the hidden center of the drama.
From the Paper
"Shakespeare's Iago appears in two aspects: his external appearance, as he reacts with others and his inner life as revealed by the soliloquies. Forget the soliloquies for a moment, and examine the face that Iago turns to the world. Here is a clever, ambitious man coolly manipulating others for his own ends. The current theories of will and reason he voices belong to his character both "psychologically" and dramatically. He denies the reality of loving feelings, they are only a lust of the blood, a permission of the will; he asserts the supremacy of the will and intelligence, ..."
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Theater Genres, 2007.
This paper discusses genres of the theater, both past and present.
1,509 words (approx. 6.0 pages), 4 sources, MLA, $ 49.95
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Abstract
In this article, the writer discusses that, as noted by Alvin Goldfarb and Edwin Wilson in the text 'Theater: The Lively Art', quite often it is difficult to identify a play as either tragic or comic, simply based upon its plot. The writer points out that the way that the author of a play chooses to depict certain events determines the audience's reaction, whether viewers will gasp in horror or roar with laughter. Further, the writer notes that the difficulty in determining the genre of the play based upon plot alone, however, is best illustrated, perhaps in comparing some of Shakespeare's plays with exactly the same plots. The writer concludes that when classifying the genre of a play, one must consider the overall texture of the work, as the playwright usually cannot, nor wants, to create a seamless effect of laughter or sadness.
From the Paper
"Goldfarb and Wilson point out that the genres of tragedy and comedy themselves have undergone substantial reconfiguration over the course of the history of drama. Classical tragedy used to only involve august personages, like kings and great heroes, along the lines of Oedipus Rex or Jason. Later, in modern tragedy, ordinary men and women's lives were given epic scope and drama, like Arthur Miller's tragic figure of the salesman Willy Loman in "Death of a Salesman," or the Iceman Hickey, the man who murders his wife in Eugene O'Neill's "The Iceman Cometh." These modern characters were not heroes or gods. Their actions were deemed worthy by the modern playwright of the audience's interest, and the main character's tragic fall is viewed with great sadness, even though the men are quite ordinary."
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"Steel Magnolias", 2007.
An examination Robert Harling's play "Steel Magnolias".
881 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
The paper discusses Robert Harling's play, "Steel Magnolias", about six Southern women and how their lives interact. The paper explores how the events center around the marriage and early married life of Shelby, M'lynn's daughter. The paper further explores the subplots, which revolve around people and events related to Truvy's hair salon. The paper includes a detailed character analysis of Oiser, one of the main characters.
From the Paper
"The sound system made sure the audience realized that things are not always what they seem by the occasional sound of shotgun blasts, as someone tried to drive a large flock of birds out of a tree so they wouldn't spoil Shelby's outdoor wedding. The sound was harsh, unexpected, and even with a character's explanation, unsettling. It prepared the audience for the fact that this play, which at first appears to be a superficial and humorous look at small town Southern life, would include a terrible tragedy."
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Richard Addinsell, 2007.
This paper discusses the life and achievements of composer Richard Addinsell.
1,770 words (approx. 7.1 pages), 7 sources, MLA, $ 57.95
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Abstract
The paper relates that in the past few centuries, there have been countless classical composers whose music has inspired and encouraged populations around the globe. One such composer is Richard Addinsell, whose legendary works have provided entertainment for moviegoers and theater-attendants for generations. The paper reveals that he is credited for over 40 film scores and he successfully wrote music for nearly every genre in film, from historical documentaries to light hearted comedies. The paper details his personal history and his rise to fame. The paper concludes that his level of skill as well as his ability to orchestrate music flawlessly and seamlessly has made Richard Addinsell a composer to be remembered and revered for generations.
From the Paper
"Addinsell's music was primarily written for piano, either in solo or duet, as well as for orchestras or ensembles. Varying from passionate, somber pieces of tragedy to light-hearted pieces for comedy to slow moving waltzes, Addinsell's musical style is varied and versatile, which are the qualities that allowed his career to thrive in the film industry. Paid by the film studios for specific works, the funding from such endeavors allowed him to write music for less lucrative genres such as theater and radio. As a modern classical composer, Addinsell was able to combine the richness of piano with full orchestra accompaniment to provide thundering war marches, when required, or to use a simple single piano to show a softer, more subtle element of a film."
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"Pygmalion" and "Major Barbara", 2007.
An analysis of love in "Pygmalion" and "Major Barbara" written by George Bernard Shaw .
866 words (approx. 3.5 pages), 3 sources, MLA, $ 30.95
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Abstract
This paper compares the love depicted in the plays "Pygmalion" and "Major Barbara" written by George Bernard Shaw. The paper suggests that the final outcome of the analysis is an intermingling of the two perspectives on love and it notes that in both situations, the heroes attract each other in spite of the paradoxical opposition.
From the Paper
"In opposition, their projections in the real world, Lisa and Cusins, trapped in reality, are only capable of projecting human love limited to the sole adulation of man, as the main actor of the reality they live in. Although Lisa loves her master, her passion, being deeply anchored in the every day life, she proves herself more powerful, succeeding in tearing down the wall her master had created around himself, by projecting her newly tailored personality upon her master. Thus, the creation becomes more powerful than its creator "But [with sudden humility] I shall miss you, Eliza"(Shaw, 1916, act V). On a similar note, Cusins represents the source of physical love whose subject becomes Barbara, as her own mother admits: "I have a very strong suspicion that you went to the Salvation Army to worship Barbara and nothing else" Shaw, 2000, act I). He loves her earthly existence, and the person her ideals embody."
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"The Cherry Orchard", 2007.
An analysis of the characters' achievements of happiness in the play "The Cherry Orchard" by Anton Chekhov.
1,293 words (approx. 5.2 pages), 1 source, MLA, $ 43.95
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Abstract
This paper discusses the pursuit of happiness in Anton Chekhov's play "The Cherry Orchard." The paper analyzes the characters within the play and looks at the actions they take in order to attempt to achieve happiness. It then discusses which of the characters did, in fact, manage to achieve the happiness they were pursuing. The paper suggests that real happiness comes from personal satisfaction and a willingness to take action and improve one's life.
From the Paper
"For many of the characters in the play, happiness is more like the absence of misery. This is seen by the way that the characters spend their time escaping into the past to hide from their problems. Lyobov Andreyevna is the main example of this. This is specific to her memories of the death of her son. This is the reason that she leaves her home and travels overseas. She then spends her time on frivolous things that do not really achieve true happiness. One good example of this is seen where she hires an orchestra for a party, despite not having any money to pay them. This shows that she views happiness as being based on short-term pleasure. In effect, her life is about escaping from misery by constantly seeking pleasure. This does not allow her to achieve any true happiness."
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"The Rose Tattoo", 2007.
This paper examines the play "The Rose Tattoo" by Tennessee Williams.
1,558 words (approx. 6.2 pages), 4 sources, MLA, $ 51.95
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Abstract
The paper describes Tennessee Williams as one of the most talented playwrights in American contemporary theater. His troubled background and the beginnings of his career are discussed. Then the paper analyzes "The Rose Tattoo" and portrays it as a celebration of life written as a comedic romance that is interlaced with spiritualism and symbolism. The paper illustrates how it is a play that celebrates life and all that it has to offer, the good and the bad, the joys and the sorrows, life and death. The paper conveys how it is rich with passion and the true meaning of love.
From the Paper
"The obvious symbolism in the play is the rose. After all, there is Rosa delle Rose, who is Serafina delle Rose's daughter, then Serafina's husband, Rosario delle Rose. However, the symbol of the rose runs throughout the play. In fact from the very first scene, Williams writes, "Serafina looks like a plump little Italian opera singer...Her black hair is done in a high pompadour...a rose held in place by glittering jet hairpins" (Williams 13). The red rose becomes the central symbol of the play. It represents the red wine that Serafina drinks, which is believed to be the elixir of love."
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'For the Love Of It: Amateuring and Its Rivals', 2006.
A look at the concept of amateurism, as explored at length by Wayne C. Booth in his book 'For the Love Of It: Amateuring and Its Rivals'.
2,400 words (approx. 9.6 pages), 4 sources, APA, $ 73.95
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Abstract
This paper reviews the book 'For the Love Of It: Amateuring and Its Rivals' by Wayne C. Booth. According to this paper, Booth explores the concept of amateurism, the amateur that pursues the given task or discipline for the love of doing so and not for pecuniary rewards. This paper discusses how the amateur pursues any discipline or skill for its own sake.
From the Paper
"Booth discusses the issue beginning with reference to music and how the disappearance of amateurism in the traditional sense has altered the kind of music that is even written. He cites Daniel Barenboim to the effect that chamber music has been disappearing in part because it was "linked to playing music in private homes -- not only by amateurs, but by professionals, too. Now people have less time, and a great interest in passive musical appreciation and listening" (Booth, 1999, p. 15). Booth discusses the issue in terms of his own experience, noting how he started playing the cello when he was 31 years old and then experiencing decades of disappointment and frustration as well as hours of happiness while playing. Being an amateur himself, he sought to know more about the idea of and practice of amateurism and traces the concept through different manifestations and different types of activity, finding in particular that the idea has long held sway in music and in sport more than in other disciplines."
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"Death of a Salesman" and "The Glass Menagerie", 2006.
A discussion on the failure of the American dream , as described in "Death of a Salesman" by Arthur Miller and "The Glass Menagerie" by Tennessee Williams.
1,385 words (approx. 5.5 pages), 0 sources, $ 46.95
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Abstract
This paper discusses the lives of the main families in the plays "Death of a Salesman" by Arthur Miller and "The Glass Menagerie" by Tennessee Williams. It describes the way in which the Loman family experienced tragedy because they hoped and depended too much on the belief that subsistence to the American dream would, inherently, be the catalyst that will propel them towards economic prosperity and success. It then contrasts this to the Wingfield family who experienced tragedy because they thrived in the culture of hopelessness, believing that the world in itself was too cruel and their life was an already tragic one.
From the Paper
"The Wingfield family of "Glass," meanwhile, suffered not from the hopefulness, but from the sheer lack of it. The pervasiveness of hopelessness in the family affected the lives and attitudes of Amanda and Tom. Like the Loman sons Biff and Happy, Tom failed to realize that hard work was the best recourse to take in alleviating his family's hardships and sufferings, taking them out of the tragic lives they led. From Tom's end, in fact, he showed no conscious effort to redeem himself from the fact that will always be poor and underprivileged, in the midst of the affluent lives of other people in the society they lived in."
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Comedy, 2006.
An analysis of comedy as a form of entertainment, looking at two particular plays, "Candida" by George Bernard Shaw and "The School for Scandal" by Brinsley Sheridan.
1,898 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
The paper analyzes the use of comedy within the entertainment business. The paper specifically compares two plays - George Bernard Shaw's Victorian-era comedy "Candida" and Richard Brinsley Sheridan's "The School for Scandal". The paper discusses each of these plays in detail and focuses on the use of comedy within them.
From the Paper
"Shaw presents a play that is designed to teach as well, however, although Shaw holds up a far less socially acceptable model for his viewers to embrace. The characters are not immediately humorous in as broad a fashion as Sheridan's caricatures, even though the Shaw comedy does aspire to a didactic purpose. "Candida" tells the tale of the Reverend James Morell who is happy in his marriage to a woman named Candida. "Get a wife like my Candida; and you'll always be in arrear with your repayment." (Act I) Morell speaks some of the common, conventional notions about morality, marriage, and loving one's wife that would likely have been embraced by Shaw's Victorian audience. This creates a sense of connection between the audience and the conventional characters that Sheridan lectured his audience overtly to feel."
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Shakespeare's Fathers and Daughters, 2006.
This paper discusses Shakespeare's portrayal of the relationship between fathers and daughters.
1,969 words (approx. 7.9 pages), 8 sources, MLA, $ 62.95
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Abstract
In this essay, the writer discusses Shakespeare's work, while examining the way in which he portrays the relationship between fathers and daughters. The writer looks at the plays "King Lear" and "The Tempest," in which the daughters pursue a certain course in life due to their fathers' patriarchal actions. Further, the writer discusses the play "The Tempest," in which the character Miranda follows, although somewhat rebelliously, the eventually advantageous path set out by her father. The writer also looks at "Romeo and Juliet" in which the bonds between Juliet and her father appear to be much more loyalty bound than love oriented and patriarchy constraints are to the extreme. Using references from literature discussing Shakespeare's writings, the writer presents this view of the roles of fathers and daughters in Shakespeare's work.
From the Paper
""Romeo and Juliet" is naturally one of the first Shakespeare plays that comes to mind when considering the role of fathers and daughters, because of the work's popularity through the years with its many modern renditions. However the bonds between Juliet and her father appear to be much more loyalty and dutiful bound than love oriented, and patriarchy constraints are to the extreme. Although Cordelia does not actually say the exact words her father, Lear, wants to hear, it is because of love not fear. Likewise, Miranda and Prospero have a very loving father-daughter relationship from the very beginning of "The Tempest." Although "Romeo and Juliet" does definitely show how a daughter's actions are set in place by her father's behavior, "King Lear" and "The Tempest" are even more interesting due to the additional conflicting relationships that exist due to this strong love between father and child."
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Reader's Theater, 2006.
This paper examines the use of drama in the classroom as an effective teaching tool.
3,168 words (approx. 12.7 pages), 10 sources, APA, $ 91.95
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Abstract
This paper studies whether drama-based activities, specifically Reader's Theater, might help to increase reading fluency, comprehension, and vocabulary development in elementary students. In addition, this idea of teaching drama through the curriculum suggests improved learning, social-emotional development and reading as well as participation and
interest. The writer discusses the effectiveness of Reader's Theater in elementary school children. The writer explores that, using drama-based strategies, such as Reader's Theater, it is possible to reach an entire class full of students with a wide variety of learning styles and educational backgrounds. Finally, the writer concludes that drama-based instruction supports the growth of language development while improving memory cognition.
From the Paper
"Creech and Bhavnagri identified ways that drama can benefit elementary school students, in learning about elements of stories. Teachers do not need to be experienced, or to have training in theater or drama in order to utilize drama in the classroom. Instead, according to Creech and Bhavnagri, teachers may use their own imaginative capacities to do so, just as they encourage their students' imaginations and inherent sense of play. Drama, these authors contend, may all too often be pushed aside, in an excessive effort to introduce as much "academic" material as possible. However, drama can actually enhance students' ability to absorb all aspects of learning, including academic learning. Students from disadvantaged backgrounds are especially likely to benefit from the inclusion of drama in the curriculum. Students will learn grammar skills, interpretation skills, problem solving skills, speaking skills, and even writing skills through reading, analyzing, performing, and partially rewriting dramatic texts."
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