Abstract
This paper explains that, in Shakespearean comedies, a specific play can have, at the same time, both a happy ending and a cruel ending, as well as a character being both good and evil. The author contends that "Measure for Measure" can be interpreted as one of the happiest and the scariest endings written by Shakespeare, and yet it is classified as a comedy. The paper concludes that, because there is little solid documentation about many of Shakespeare's ideas, it is nearly impossible to comment on how Shakespeare feels about anything in his plays and to determine if a play, which is listed as a "comedy", is really a comedy.

From the Paper
""Much Ado About Nothing" is an extremely humorous play, mostly about lovers and the obstacles it took to get two couples together. In the end of the play, there is not only one proposal for marriage, but two! All begin to dance and the 'happy' ending is reached, however, the villain of the play that caused these great obstacles has not been punished. He is here, at the 'happy' ending brought to the attention of the characters, so merry in their dancing and their future weddings."

Tags:ending, character, happy, documentation, cruel

Abstract
The paper argues that Shakespeare's heroines were vital and constructive protagonists; they were fully realized, independent, and capable beings. Through the presentation of such examples of females within the framework of the comic, Shakespeare was able to argue for a re-evaluation of gender norms and stereotypes at a safe distance. The writer explains that the comic framework served as a type of buffer, allowing him to castigate his society without coming under attack for doing so because, in the end, he was writing comedy.

From the Paper
"Shakespeare's comedies, possibly due to the unfailing tendency to unfairly contrast them to his tragedies and historical dramas, have never received the critical attention they deserve. His body of comedies, according to Milton Crane, contain some of Shakespeare's most insightful comments regarding human nature and society in addition to some of his most quotable and profound lines (68-69). Nevertheless, and in comparison to the attention given the other Shakespearian works/genres, his comedies have received comparatively scant attention. While Crane forwards explanatory theories, two in particular stand out. According to the first theory, Shakespeare's comedies are underappreciated because they do not subscribe to any set ad established definition of comedy. They rarely elicit laughter and, as Crane contends, are "sensible and serious" even as they are lighthearted (68). What this means is that according to the predominant critical view, as explained by Crane, critics have been unable to truly accept Shakespeare's comedies as comedies because they are not the thoroughly humorous, farcical or satirical works that they tend to categorize comedies as being. Instead, they are, at one and the same time, lighthearted and sensible and, tragic and comic, thereby defying any categorization (68). Consequently, the failure of Shakespearian comedies to fit neatly into predefined conceptions of comedy have enforced their comparison to his other works, with the result being that his comedies end up being dismissed as lightweights within the totality of his works (68-69). It is because of this that Shakespeare's comedies have not received the attention awarded to his other works."

Tags:comic, stereotype, gender

Abstract
This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.

From the Paper
"Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"

Tags:disguise, identity, lovers, characters

Abstract
This paper compares and contrasts Shakespeare's portrayal of connubial bliss in his comedies "Much Ado About Nothing," "Measure for Measure," and "Twelfth Night." The institution of marriage during Shakespeare's time is examined in detail, including how one decided when one should marry, and to whom, and contrasted to today's notion of marriage. Some of the topics examined include finances, a person's reputation, family involvement, love and honor.

From the Paper
"However, despite the fact that in early modern England, "Most people got married, and most people had children," (McDonald 265), Beatrice and Benedick seem hell-bent against marriage. It is therefore probable that, while it wouldn't strike modern audiences as particularly odd, Elizabethan theatergoers found both Beatrice and Benedick's adamancy against marriage a source of humor and eccentricity in social behavior. When Claudio makes light of his intention to marry Hero, Benedick's immediate reaction is, "Is't come to this? In faith, hath not the world one man but he will wear his cap with suspicion" Shall I never see a bachelor of threescore again? Go to, I? faith, and thou wilt needs thrust thy neck into a yoke, wear print of it, and sigh away Sundays,? (Sundays were the day a man was expected to be with his wife), (Shakespeare, MAAN, I, i, 197-202). Likewise, the Prince, Don Pedro, says of Beatrice, "She cannot endure to hear tell of a husband," (Shakespeare, MAAN, II, i, 347-8)."

Tags:ado, bibliography, cited, comedy, format, homosexuality, love, marriage, measure, mla, money, much, night, shakespeare, twelfth, works

Abstract
This paper focuses on the three most important characteristics of a manager--integrity, ambition, and optimism--and describes the positive and negative aspects of each.

From the Paper
"The three most important characteristics of a person in a management role are not related to intelligence management experience or the ability to negotiate-although all of those are excellent qualities for a manager to have. The most important characteristics for a manager are character traits-integrity ambition and optimism. This is because the best manager is also a leader and a true leader is someone that his people can look up to and be inspired by. To lead successfully, a manager..."

Tags:manager, characteristics, traits, leadership, integrity, ambition, optimism

Abstract
This paper considers the statement that Shakespeare's comedies and problem plays tend to wind through to their happy endings by way of some kind of victory over the opposite possibility, through an encounter with death or calamity of some sort. The paper applies this statement to "Much Ado about Nothing" and "Measure for Measure", assessing the differences between the comedy and the problem play. The paper asserts that, while the above statement is true, the vehicle through which we honestly proceed towards a conclusion flattering to our optimism is considerably different for comedies than it is for problem plays.

From the Paper
"The title of Much Ado about Nothing suggests that, in tone, this play is a comedy: we have a sense that a great deal will be made over a small affair, and look forward to what this affair might be, how the characters will become embroiled in it, and how the various misunderstandings and confusions that characterize a comic play will be worked out in the end. In comedies, it is the harmonious conclusion towards which the audience yearns.
"Not surprisingly, love is central to this play's themes, as it is in comedy generally. Much Ado about Nothing presents us with two sets of lovers: Beatrice and Benedick represent the sceptical lovers, and Hero and Claudio represent the ideal lovers. For both sets of lovers, the articulation of mutual love is the first in a series of hurdles that threaten to obstruct the relationship from blooming into maturity, as is expressed in the bonds of matrimony."

Tags:death, calamity, harmony, resolution, moral, choices

Abstract
This paper analyzes the theme of identity repression in Shakespeare's comedies, specifically in regard to Kate in "Taming of the Shrew" and Rosalind in "As You Like It". It includes two sources and includes direct quotes from the text.

From the Paper
""All the world's a stage/ And all the men and women merely players" (AYL 2.7.139-40); this particular quotation is one of Shakespeare's most touted, and correctly describes the running theme of disguise throughout his comedies. Of course, there are those who would translate this quote into the act of men and women taking on different roles to adapt to certain situations in life, but it goes a bit deeper than that. It is because of social tradition (or, should I say restriction) that a person will shed his/her true self in order to don a more socially acceptable guise. This idea is especially apparent in the character traits of Kate in "Taming Of The Shrew", and Rosalind in "As You Like It"."

Tags:shrew, taming, as, you, like, it

Abstract
The writer of this paper presents a detailed discussion about the way different manipulators are treated in the works of William Shakespeare depending on the style of the work. The writer explored several characters in tragedies and comedies written by Shakespeare -including "All's Well That Ends Well" and "Troilus" - and takes the reader on a journey of discovery regarding the acceptance or rejection of manipulators in the works.

From the Paper
"If one studies the works of Shakespeare one will see that there is a connection between manipulation and comedies. The connection is one that is subtle yet obvious once discovered. A manipulation is really nothing more than getting someone to do what one wants done, and in a life setting this can be comedic. The connection between manipulation and comedy is similar in that they are really both manipulations. Comedies are written in such a way that the audience is manipulated into accepting manipulation as funny and acceptable. This in and of itself is a form of manipulation and the audience is the target for the author. It is such a subtle connection that the audience often does not recognize it until they stop and realize that they accepted events and actions in the comedy that they would have found repulsive of worthy of revenge in any other setting."

Tags:Measure, to, Measure, Duke, Angelo, Isabelle, Claudio, Helena, Bertram, Cressida, Iago, Othello

Abstract
This paper discusses the characteristics of friendship. The writer looks at what the characteristics of friendship are and whether some characteristics are more important than others. The writer discusses the definition of friendship and three important characteristics of friendship that are honesty and trust, respect and active listening.

From the Paper
""Perhaps the one relationship that has survived the trials and tribulations of time and has still remained unconditional is friendship". Considering this fact, it is important to decide what characteristics a person should consider when looking for a friend. Three important characteristics of friendship are honesty and trust, respect, and active listening."

Tags:respect, trust, listening

Abstract
In this article, the writer notes that the classrooms of today are filled with students of diverse cultures, socioeconomic status, race and ethnicity, and learning and physical ability. The writer discusses that the topic of bullying has emerged in the past few years as an issue of growing concern among students, parents, and school administrators alike. The writer explains that bullying can best be defined as repeated oppression, physical or psychological, of a less powerful person by a more powerful person or group. This paper examines bullying in terms of gender differences, both "bully" and "victim" characteristics, and the causes and consequences of bullying for all those involved. The writer concludes that the problems associated with bullying must not become accepted in the educational system, and remain an obstacle to fostering human learning and development.

Outline:
Introduction
Gender Differences
Characteristics of Bullies
Characteristics of Victims
Consequences of Bullying
Conclusion

From the Paper
"The various types and methods of bullying also vary with boys and girls. Research by Chu indicates that boys are the primary bullies and victims on the streets, playgrounds and schools, whereas girls are the primary bullies and victims of bullying performed online. According to Chu, nearly one third of the eighth grade girls surveyed reported being bullied online in the previous two months. This is comparable to the 10% of boys bullied online. The reason for the difference between the gender in bullying online is that online, an individual's identity can be hidden, and girls may feel more comfortable being the bully if no one knows their real identity. Rigby indicates that girls are usually more empathetic than boys, both in recognizing the emotion someone else is having, and in feeling that same emotion themselves. Furthermore, research indicates that girls are generally more empathetic than boys toward the victims of aggression. Thus, gender does account for the differences between bullying."

Tags:oppression, power, victim, bully