| Papers [37-54] of 1817 :: [Page 3 of 101] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
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Caroline Neuber, 2008.
An analysis of the contributions of German dramatist, Caroline Neuber, to German comedy and theater.
2,526 words (approx. 10.1 pages), 7 sources, MLA, $ 76.95
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Abstract
This paper looks at the life of eighteenth-century German dramatist and actor, Caroline Neuber. It describes the obstacles she and other women faced in German theater at the time, the dramatic reforms of the theater scene she championed and the inventive way in which she used dramaturgical conventions like the prologue to advance her agenda. The paper also discusses Neuber's commitment to re-shaping German comedy so that it would acquire the gravitas she felt it deserved. Finally, the paper examines Neuber's pivotal relationship with Johann Christoph Gottsched.
From the Paper
"Still, for all the troubles which attended her life-long foray into the German theatre, Neuber should be remembered for her many accomplishments. Not least of all, she was one of the very few theater troupe owners who happened to be female; Neuber was also a committed perfectionist who dedicated herself to raising the standards of the German theater. Not to be overlooked, it was Caroline Neuber, arguably more so than anyone else in German theater at the time, who transformed the improvised, traditional Haupt- und Staatsaktion performances into a genuine national theater which promoted rehearsed and memorized performances of the 'courtly' Alexandrinerdrama variety so much in vogue in France at that time (Eigler & Kord, 75 and 229)."
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"The Oresteia of Aeschylus", 2007.
This paper discuses the themes of objective and subjective justice in Aeschylus' "The Oresteia of Aeschylus" (Oresteia).
1,915 words (approx. 7.7 pages), 1 source, MLA, $ 61.95
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Abstract
This paper explains that the trilogy of the great classic dramas by Aeschylus, which comprise the "Oresteia", embodies the competing concepts of justice as administered by a stable and unified state versus justice as administered at an individual or family level that arise out of revenge. The author points out that these dramas show the intense and often brutal conflict that existed between these two very different views of law. The paper relates that, in the end, the dramas succeed not as much in depicting an existing social reality but rather in idealistically propagandizing in favor of the importance of an objective administration of justice. The author examines each of the three Aeschylus plays in order to keep an essentially linear presentation in respect to its dramatic unfoldment and resolution.
Table of Contents
"Agamemnon"
"Choephori"
"Eumenides"
From the Paper
"The core problem of subjective justice, or the rule of personal vengeance, is of course its unending cyclical nature ("Act for act, wound for wound!" cries Clytemnestra in the Agamemnon, l. 1555.) Crimes are punished, but the punishment itself becomes the seed of a future crime which itself requires further vengeance, with no obvious end. This has long been recognized as a universal situation with regard to this sort of justice, and the tragedies of the Greeks, most notably the trilogy herein examined, make it their theme to address this ancient cycle."
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Women as Objects, 2008.
This paper examines the social orders in Henrik Ibsen's "A Doll's House" and Shakespeare's "Romeo and Juliet".
1,636 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
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Abstract
The paper analyzes how in Henrik Ibsen's 20th century work, "A Doll's House" and in the Shakespearean play, "Romeo and Juliet" conflict and tragedy occur when women deviate from social expectations. The paper highlights the prices paid by the women who did not conform to what social rules dictated. The paper discusses the social orders where men are leading subjects and women are accompanying or supporting objects. The paper points out that even today women face what are new conventions in terms of how they are expected to participate in the waged economy and perform domestic duties. The paper concludes that "A Doll's House" and "Romeo and Juliet" remain stimulating in the present as they address human scenarios that can prove eternal.
Outline:
Introduction
A Doll's House (1879)
Romeo and Juliet
Reflection - Female Objects and Subjects
Last Remarks
From the Paper
"Western civilization has ascribed traits and virtues differently to men and women, as one would expect, however much in the 21st century we assume that reform has been achieved and men and women have absolute personal choice. The plays discussed in this paper refer to very different centuries but perhaps owe their longevity to themes that are quite timeless. Examining Henrik Ibsen's 20th century work, A Doll's House, and the very familiar Shakespearean play, Romeo and Juliet, one finds that conflict and tragedy occur when women deviate from social expectations. The idea of gender freedom or female individuality seem very threatening to those who witness deviation. In fact, women who depart from convention are prone to tragedy, or create tragedy for others. These phenomena are usually discussed in relation to women's unsatisfactory status under patriarchy. They are interesting in the light of ordinary social conventions and the prices paid by people who do not conform to what social rules dictate."
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"Burning Vision" and "The Unnatural and Accidental Women", 2008.
An analysis of the theme of "Aboriginality" in Marie Clements' plays "Burning Vision" and "The Unnatural and Accidental Women" .
1,015 words (approx. 4.1 pages), 3 sources, MLA, $ 35.95
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Abstract
This paper discusses how Marie Clements' two plays, "Burning Vision" and "The Unnatural and Accidental Women", both feature primarily Aboriginal characters, and foreground Aboriginal issues. The paper examines how the two plays approach these subject matters in very different ways and how Clements situates Aboriginals as people who have been oppressed by colonizers from over the seas. The paper also looks at how Clements depicts urban Aboriginals as living in poor socio-economic conditions, vulnerable to white psychopaths, and how she seems to imply that Aboriginal people belong where they were before the colonizers came - if not physically, then at least psychically.
From the Paper
"Burning Vision is set in many different locations, as it is about colonialism and the atomic bomb. However, with regard to Aboriginals, it features the Dene people who mined pitchblende near Great Bear Lake in the North West Territory in the 1930s. The Unnatural and Accidental Women focuses on an entirely different group of Aboriginals, i.e. poor women living in Vancouver's Eastside in the 1980s. The two plays thus feature geographically and chronologically different people. However, certain commonalities can be detected, primarily related to the fact that both groups are the victims of colonization in one way or another."
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Mixing in "Burning Vision", 2008.
This paper studies the aspects of identity and mixing in the play "Burning Vision" by Marie Clements.
1,190 words (approx. 4.8 pages), 1 source, MLA, $ 40.95
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Abstract
In this article, the writer discusses that the play 'Burning Vision' raises questions about race, nation, identity and belonging, particularly through the metaphor of mixing. The writer notes that "Burning Vision" is a complex play, in which many story-lines mix together simultaneously. This reflects the complexity of the subject matter, as the play deals with profoundly important issues, such as war, death, colonialism, grieving, loss, hope, racism and exploitation, etc. The writer maintains that the play highlights the interconnectedness of all of these geographically, racially and nationally divided people, in a huge cycle of death of destruction. In so doing, it highlights Canada's limited ability to be inclusive, and finally offers a possibility for overcoming those limitations. This essay examines what the play has to suggest about the nation's ability to be inclusive, and what it offers as a possibility for overcoming those limitations. The writer concludes that the play ends on an upbeat note of mixing in a positive sense.
From the Paper
"This is chilling in many ways. First of all, LITTLE BOY is a lost and lonely, pathetic character in the play. Second, LITTLE BOY was also the name of the bomb dropped on Nagasaki, so the character is associated with death and murder. Third, LITTLE BOY implied that identities are stolen when colonialists lay claim to a people - which, as we know, is very much the Canadian reality, with horrors such as the residential schools, which were explicitly designed to steal Aboriginal identity. Thus, the play speaks to the key theme of colonialism - the foundation upon which modern Canada was built - in a very negative way. It speaks not of mixing, but of smothering. It thus shows us the potentially catastrophic implications of people mixing in a way that is not inclusive, but rather divisive, exploitative and repressive."
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Iago's Clever Words, 2008.
An analysis of Iago's persuasion in William Shakespeare's "Othello".
864 words (approx. 3.5 pages), 1 source, MLA, $ 30.95
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Abstract
The paper describes how Iago uses selective honesty as his persuasive tactic to dupe Roderigo into his trust and sway him to his own ends. The paper demonstrates how he pretends to be loyal to Othello while causing Roderigo and Brabantio to turn against Othello. The paper highlights Iago's clever words and deceitful persuasions.
From the Paper
"At the beginning of "Othello," (Act I, Scene I), on a Venice street, Iago is introduced as a friend and trusted ally of Roderigo, and one who has his "purse" (financial trust.) Roderigo reminds Iago that Iago told him previously that he was antagonistic to Othello, and Iago assures him this is so: "Despise me, if I do not" - even giving what sounds like a plausible reason, i.e., Iago is bitter at Othello for selecting another man, Michael Cassio, over himself to serve as Othello's lieutenant, and he admits his jealousy of Cassio and his wish for vengeance against Othello. Of course, it seems that he is telling all this to Roderigo in order better to win him over and gain his trust more."
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Marlowe's versus Goethe's "Faust", 2007.
This paper contrasts Christopher Marlowe's "Tragical History of Doctor Faust" and Johann von Goethe's "Faust".
985 words (approx. 3.9 pages), 5 sources, MLA, $ 34.95
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Abstract
This paper explores the story structure, the role of Gretchen and theological presuppositions in Marlowe's play "Tragical History of Doctor Faust" and Goethe's play "Faust", separated by approximately two hundred years and by two different languages and cultures, English and German. The author points out that, while both Marlowe's and Goethe's plays are tragedies, Goethe's ends on an optimistic note. The paper relates that Goethe's play is a longer and more complex work with many more episodes of varied style. The author states that the Gretchen episode, which is prominent in Goethe's "Faust", is not found at all in Marlowe's play. The paper concludes that, what to Marlowe was basically a foreign story, which he imported for his own ends, was to Goethe a part of his own nation's cultural tradition and was more familiar to people as a folk tale.
Table of Contents:
Summary
Structure
Gretchen
Theology
Discussion
Structure
Gretchen
Theology
Conclusion
From the Paper
"The Gretchen (Margarete) episode is a very prominent and well-known one in Goethe's Faust but is not found at all in Marlowe's play. In the last part of Part I, the role of Gretchen comes to the forefront of the story, even putting Faust himself into the background for a while. Despite her tragic, Ophelia-like demise, the voice from above which proclaims her redemption at the very end of Part I ends that part of the poem on a highly optimistic note, and foreshadows Faust's own redemption at the end of Part II."
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Antigone, 2008.
An ethical character analysis of Antigone in "Antigone" by Sophocles.
924 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
The paper examines the central character, Antigone, from the play "Antigone" by Sophocles. The paper examines the ethical issue of power struggles and corruption that rise within Antigone, as she must strive to seek justice for her family. The paper shows how the feelings of loyalty, justice and the family unit are important aspects of Antigone's ethical values.
From the Paper
"In the Greek tragedy Antigone, there is the theme of tragedy that reflects local tradition in obeying the laws of the land, but ultimately, Antigone must follow a more noble cause in using moral and ethical justice against Creon for displaying such ignoble against her dead brother, Polynices. Of course, Eteocles had broken the pact with his brother, Polynices, by refusing to share the throne and breaking the societal bond for family loyalty, which ends in their deaths. For Antigone, this is basis for her ethical role in the play, as she becomes the main barrier between family loyalty and Creon's (as well as her brothers') maniacal lust for power."
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Colliding Cultures, 2008.
This paper looks at the concept of colliding cultures in 'Master Harold... and the Boys' by David Hoegberg, 'Dream on Monkey Mountain' by Derek Walcott and 'No Sugar' by Jack Davis.
4,126 words (approx. 16.5 pages), 14 sources, MLA, $ 110.95
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Abstract
In this article, the writer discusses that the concept of colliding cultures, as illustrated in 'Master Harold... and the Boys', 'Dream on Monkey Mountain', and 'No Sugar' contains both negative and positive implications. The writer notes that all three plays demonstrate that when cultures collide, the inevitable result is domination and oppression, which originate in racism because competing ideologies also are at work. The writer maintains, however, that the plays also are based on an alternate meaning of colliding cultures which involves illumination of one culture by another, as well as exposure of the value and dignity of the oppressed by comparison with the lack of humanity by the other. The phenomenon of changing identity as one of the main outcomes of colliding cultures is an important theme in all three plays, and this is explored along with strategies to indicate altered identity such as shifting forms of language.
Outline:
Introduction
The Meaning of Colliding Cultures
Manifestations of Colliding Cultures
Consequences of Colliding Cultures
Symbolism and Imagery
Conclusion
Works Cited
From the Paper
"Hally is situated in a privileged class since he just happens to be the son of the proprietors, and so he can lord it over the black men. Hally has been culturally and socially conditioned to be the men's master but, in fact, he relies on them for emotional support. In an ironic reversal, they are the boys while he is the master. While Hally illustrates white dominance, he is too immature for the segregation but is quite capable of extreme racism against his friend Sam. There is a mutual emotional bond between Sam and Hally, and Sam is Hally's intellectual equal so that segregation is not possible."
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A Comparison of "Pleasantville" and "The Zoo Story", 2007.
An discussion of the similarities and differences between the film "Pleasantville" written and directed by Gary Ross and Edward Albee's play "The Zoo Story".
1,353 words (approx. 5.4 pages), 3 sources, MLA, $ 45.95
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Abstract
This paper compares Edward Albee's 1959 play "The Zoo Story" and the 1998 film "Pleasantville", written and directed by Gary Ross. The paper explains that though it is fairly obvious that they were created in different forms, one as a stage play and the other as a film, both began life as different forms of the written word, and both manage to handle and deal with various angles of human life and behavior, but they do it in two very different periods: one in the 1950s, the other in the late 1990s. The paper looks at how "Pleasantville", in an ironic way, tends to undermine and examine some of the social and personal realities of the 1950s, whereas "The Zoo Story" examines these realities in a more subtle way appropriate to a comedy/fantasy aimed at a mass audience. The paper also compares the actions, reactions and attitudes of the two protagonists, Jerry in "The Zoo Story" and David in "Pleasantville".
From the Paper
"The Zoo Story holds a mirror up to the culture of the late 1950s, with its well known constraints in the political, social and cultural spheres of life - constraints most ironically illustrated in 1950s television series such as "Leave it to Beaver," "I Love Lucy," etc. It is some of these constraints that the play works against, for instance, in its criticism of middle class life and the ordinary, conformist lifestyle as typified by the character of Peter. Notice how Jerry asks him where the dividing line is between "upper middle middle class" and "lower upper middle class," for example, showing that Jerry is very aware of these fine class differences."
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Collision of Ideology and Culture, 2007.
An examination of colliding cultures in "Master Harold... and the Boys" by Athol Fugard, "Dream on Monkey Mountain" by Derek Walcott, and "No Sugar" by Jack Davis.
807 words (approx. 3.2 pages), 11 sources, MLA, $ 28.95
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Abstract
This paper explores the concept of colliding cultures and competing ideologies as well as the related theme of identity in the three plays; "Master Harold... and the Boys" by Athol Fugard, "Dream on Monkey Mountain" by Derek Walcott, and "No Sugar" by Jack Davis. The paper also analyzes the strategies used in the plays such as symbolism, irony, and contrast in their elucidation of colliding cultures. The paper explains that contrast in use of language serves a significant purpose in relation to evolving identity for the oppressed. The paper also notes that colliding cultures can be reduced to the values of white dominant culture in opposition to the other - whether they happen to be black, aboriginal people, or some minority ethnic group. In conclusion, the paper shows that because all the other variables such as identity never are static, the concept of collision is also fluid and appears where it would be least expected.
From the Paper
"Davis' No Sugar is similar to Fugard's play in how it demonstrates the immediacy and perennial nature of colonialism. Mitchell (18-20) expresses this reality by stating that "the rhetoric of postcolonialism assumes that anti-colonialism has either overthrown imperialism or exhausted itself in the attempt". The fact is such a goal has not nearly been achieved; we continue to live in a colonial world. Walcott demonstrates class struggle and collision in his play through the ability of his Odysseus who is able to undermine the totalitarian power of the Cyclops (Giannopoulou 13)."
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Marxist Interpretations of Hamlet, 2008.
A Marxist interpretation of William Shakespeare's "Hamlet".
1,808 words (approx. 7.2 pages), 4 sources, MLA, $ 58.95
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Abstract
In this essay the writer examines Hamlet from a Marxist perspective. It is shown how the class structure associated with a feudal society drives the action in Hamlet. Particular attention is placed on the relationships between the royal family and their courtiers. The writer notes that these relationships show how the class system associated with a feudal society results in an aloof upper class that exploits a subservient lower class. The writer concludes that a Marxist criticism looks at how class, material production and the history of material production can influence a work. The writer maintains that Hamlet can be successfully analysed using a Marxist perspective.
Outline:
Introduction
Thesis
Historical Context/Material Context
General relationship
Upper Class Exploitation of Lower class
Lower Class Encouraging their Exploitation
Conclusion
From the Paper
"Denmark in the twelfth century was a feudal society. This meant that the economy was based primarily on agriculture and wealth was determined by how much land a person controlled. Feudal societies have a very strong class hierarchy with clearly defined upper classes and lower classes. In this type of society the upper classes essentially lived pampered lives of luxury by controlling the land and exploiting the lower classes. Essentially the upper classes control the means of production (land) and the lower classes sell their labour in order to survive. As a result of these material relationships the upper class is clearly dominant and the lower classes are subservient to them."
"This type of relationship is clearly apparent in Hamlet. The upper class lives in absolute luxury and is mostly preoccupied with their personal issues."
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Athol Fugard's "'Master Harold'... and the Boys", 2007.
A review of the play "'Master Harold'... and the Boys" by South African playwright Athol Fugard.
1,419 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper looks at the subject of Apartheid in South Africa in the 1950's, by examining the dialogue between the three characters in the play "'Master Harold'... and the Boys" by Athol Fugard. It explains the narrative of the play and the describes the relationships between the characters in the play. The paper also discusses Fugard's technique of allowing each character to tell a story, which allows the audience a glimpse into the character's past and makes the play more real.
From the Paper
"The play begins on a note of tolerance and agreement, and it ends in anger and racist speech. Apartheid was a deliberate creation of the White power structure to prevent the Blacks from gaining political power, and while racial segregation had been the norm through most of the century before that, apartheid made this the law and also made it harsher than it had been before. In the play, the White anger directed at Blacks is an anger that was general, meaning the Blacks were being made scapegoats for whatever other problems and concerns the Whites might have."
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Drama: Love, Marriage and Sexual Politics, 2008.
This paper compares themes of love, marriage and sexual politics in Henrik Ibsen's "A Doll's House" and in William Wycherley's "The Country Wife".
1,335 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper explains that, although "The Country Wife", a 1675 restoration comedy by William Wycherley, and "A Doll's House", an 1879 play by Norwegian playwright Henrik Ibsen, were written at different times, both portray the sexual politics that existed between couples during those periods. The author point out that both stories involve possessive love, marriages fraught with deception and struggles between the sexes; however, these plays differ in several significant ways. The paper relates that Wycherley's Margery is unsophisticated at the beginning of the play while Ibsen's Nora maintains a level of city sophistication throughout the play. The author states that the primary conflict between the couples is sex for Wycherley but money for Ibsen. The paper reveals that, while both Nora and Margery hold the majority of the power by the end of each play, Nora uses her power to leave her husband while Margery stays and manipulates her husband.
Table of Contents:
Love
Marriage
Sexual Politics
Conclusion
From the Paper
"Both men also treat their wives as being stupid. In Act I, Torvald calls out to Nora from his study, asking if it was his "little lark twittering out there" (Ibsen Act 1). He goes on to ask if she is his "little squirrel bustling about" and, later, takes her by her ear and calls her his "little featherhead" (Act 1). Clearly, Torval is objectifying his wife, rather than identifying her as a thinking woman. Similarly, Pinchwife feels that Margery is too stupid to make any plans to deceive him, even when she proves herself to the audience to be very capable of doing just that."
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The Women of "Othello", 2008.
An analysis of Desdemona, Emilia and Bianca's relationships with the men that they love in William Shakespeare's "Othello."
786 words (approx. 3.1 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper discusses three women in William Shakespeare's "Othello" and their different relationships with the men they love. It looks at Desdemona and her adoration of Othello, at Emilia and her loyalty to the abominable Iago and finally at Bianca as the sensual mistress of Cassio. The paper describes the characters' love throughout the play and looks at the various outcomes of that love.
From the Paper
"Cassio, Othello's lieutenant, is a young blade, the dashing, handsome man whom Iago admits has virtues that Iago cannot match. (V:i:18-20) In Bianca, he has a mistress rather than a wife, apparently a prostitute (IV:i:95-96), and while his actions suggest that he is reasonably fond of her (III:iv:167-78), he apparently does not intend to marry her (IV:i:116-117, 120-22, 124-26, 128-30), and while he will try to attend to her when he can (III:iv:176-77), he offers her no assurance that he will give her anything more than a handkerchief he has happened upon. (III:iv:186) When he gives this to her, she is jealous, that this is something from another woman, but there is a youthful innocence and exuberance in her remarks, not the burning rage of Othello's jealousy. (III,iv:178-81; IV:i:147-161) She becomes a tool in Iago's scheming, as he speaks of her to Cassio, while Othello believes that the conversation is about Desdemona. (IV:i:94-144) Although she ordinarily treats love as a mere commodity (Kernan), when she finds Cassio wounded, she seems genuinely concerned for him. (V:i:115-20) Iago turns his malice on her, suggesting she had a role in the attack, which is all Iago's doing. (V:i:85-86, 100-01, 104-10, 116) She recoils at the accusation, but can do little about it. (V:i:122-23)"
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Dramatization of the Outsider, 2008.
An analysis of the language and symbolism used to dramatize the outsider in "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod.
3,168 words (approx. 12.7 pages), 7 sources, MLA, $ 91.95
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Abstract
This paper analyzes the definition of the outsider as discussed in two plays - "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod. It explores how and why the various characters in the plays have constructed the outsider, while simultaneously fortifying their own position as outsider. The paper also analyzes the symbolism and language in both plays and discusses how this adds to the theme discussed.
Table of Contents:
Introduction
Dramatization of the Outsider
Outsider Constructing the Outsiders
Consequences of Dramatization by Characters
Symbolism in the Two Plays
Conclusion: The Nature of Experience
From the Paper
"In both plays, language is the main route to understanding the presumed outsider. At the same time, language is the main avoidance strategy. Elias, for example, serves a practical end for Sander in that Sander "gets to cut out of Spanish and English class and hang out at immigration. Everyone thinks he's some kind of hero" (MacLeod 38). When Martha is speaking quite rapidly to Elias and he requests that she slow down, she does understand but ignores him. Martha even repeatedly mispronounces Elias' name. Elias points out to both Callie and Sander that the most formidable barrier to comprehending his reality is language. "If you want to know my story, then you can learn my language" (MacLeod 42)."
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Oedipus the King and Antigone, 2008.
An analysis of the underlying themes and character development in Sophocles' "Oedipus the King," "Antigone" and "Oedipus Colonus."
1,464 words (approx. 5.9 pages), 3 sources, MLA, $ 48.95
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Abstract
This paper analyzes the deeper inferences that Sophocles portrays through the vivid character history of the main characters in his "Three Theban Plays." It describes the characters and the development of the character Oedipus as the model for the tragic hero in "Oedipus the King," "Antigone" and "Oedipus Colonus." The paper concludes that the life of suffering is the underlying theme in the story of Oedipus and Antigone.
From the Paper
"It is also important to note that 'innocence' is not rewarded with an escape from any type of suffering. As in the case with Jocasta and Ismene, who play passive roles, both experience an element of suffering. While many view Jocasta as more a tragic character than Ismene, it is important to note that Ismene is governed by fear of man, rather than will of the gods; serving as the perfect foil to her older sister Antigone.
"Ultimately, the life of suffering is the underlying theme in the story of Oedipus and Antigone. In both plays, the hero's suffer extreme consequences for the choices laid upon them, regardless of their favor to the gods. In this sense, suffering is not only a consequence of choice, but also an inherent part of life. Sophocles portrays this theme perfectly through his tragic hero's and characters, laying the groundwork for many tragedians in the future."
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Hamlet and Truth, 2008.
This paper discusses the aspect of truth in the play "Hamlet" by William Shakespeare.
1,330 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
In this article, the writer discusses that in 'Hamlet', the central character has to face a number of truths in the play. The writer notes that Hamlet has been seen as hesitant to do so in many cases, hesitating while he decides if the truth he is facing is really the truth or not. The writer maintains that these truths contribute to the overall themes of the play and also illuminate the character of Hamlet.
The writer concludes that Hamlet shows that he has learned the importance and sanctity of the confessional and now lets that knowledge guide his action. Throughout the play, Hamlet listens, observes, and learns what is true and what is not, what is right and what is wrong, what he must do and what he must not do.
From the Paper
"The first truth that he must face is that his mother and uncle murdered his father. He is told this by the Ghost, and the way he hesitates before taking the action he is told to take makes it seem that he doubts the Ghost. The Ghost has to be seen as a reliable informant, though some have doubted what the Ghost says and believe that Hamlet has doubts about this as well. The Ghost brings the charges against Claudius in the beginning of the play, introducing the character of Claudius so as to make clear his guilt. The Ghost appears first in the play, passing through as an ominous portent of things to come and as indication of what happened in the past, though this is not yet explained."
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