Abstract
This three-page undergraduate paper discusses two Greek dramatists, Aeschylus and Sophocles who made significant contributions to the development of drama. Aeschylus wrote what a Greek tragedy ought to be as a religious union of the two elements of the national poetry. Sophocles, with his just perception of the beautiful in art, effected an outward realization of the conceptions of the great master.

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)."

Tags:prologue, actor, talent, drama

Abstract
The following paper describes the eventful life of eighteenth-century German dramatist and actor, Caroline Neuber, further telling the obstacles she and other women faced in German theater at the time. Additionally, the paper highlights the dramatic reforms of the theater scene she championed, the inventive way in which she used dramaturgical conventions like the prologue to advance her agenda, her commitment to re-shaping German comedy, and lastl, her pivotal relationship with Johann Christoph Gottsched.

From the Paper
"The following paper will look at the eventful life of eighteenth-century German dramatist and actor, Caroline Neuber, and describe the obstacles she and other women faced in German theatre at the time, the dramatic reforms of the theatre scene she championed, the inventive (or at least courageous) way in which she used dramaturgical conventions like the prologue to advance her agenda, her commitment to re-shaping German comedy so that it would acquire the gravitas she felt it deserved, and - lastly - her pivotal relationship with Johann Christoph Gottsched. In so doing, what will emerge is a portrait of a woman who was a before-her-time..."

Tags:neuber, caroline, actor

Abstract
An analysis of the use of mythology by Sophocles. The author discusses the use of myths in Ancient Greece to define gods and their laws, showing the terrible consequences of disobeying them and forming the structure of society and politics. The author discusses Sophocles, a Greek dramatist and his use of myths and religious rituals. Included is an analysis of Sophocles' play "Antigone".

From the Paper
"Unlike his contemporaries, Sophocles based his tragedies on human actions and reactions, rather than on divine influence. He does not, however, ignore the gods or say they do not play a role. He uses them to show the human limits and possibilities. The Sophoclean gods thus are placed in the background of the plot, influencing it but not interfering in the course of action Greek dramatists often based their plots on myths, which are believed to reflect the national identity and various historic periods. Besides serving as lyric entertainment stories, myths were used to persuade and enlighten citizens in matters of politics, religion, and customary rituals (Bremmer, 58)."

Tags:myths, religion, gods, tradition, punishment, tales, citizen, society

Abstract
Ben Jonson's 1616 "Workes" embodies the central tension of Jonson's career, that between Jonson the dramatist and Jonson the "author." It is now, more or less, commonplace to think of Jonson's career in terms of a movement from the stage to the page. While this may be accurate, it is difficult to explain why Jonson turned his attention increasingly towards the printing house and away from the playhouse. This essay examines this question by looking at how the stage and the page differed for Jonson. Looking at the figurative and literal locations of the playhouses and printing houses, the paper argues that Jonson's primary motivation for becoming a poet of print was that print offered him a safer and more authoritative mode of communication from which to exhort. Jonson, after all, was a moralist at heart, and the early seventeenth-century theater was still a marginalized and contained space, whereas the printing houses were positioned more centrally while, ironically, maintaining a greater freedom from royal control. Thus, print offered Jonson a more powerful tool to effect change.

From the Paper
"A number of reasons have been suggested to explain why Jonson embraced print publication over performance. The most basic explanation is simply that Jonson sought immortality and realized that print provided a far more lasting medium than the ephemeral experience of the stage. Jonson's dedicatory poem in Shakespeare's First Folio supports this, especially when, addressing Shakespeare directly, Jonson writes: "Thou art a monument without a tomb, / And art alive still while thy book doth live, / And we have wits to read and praise to give" (22-4). Another popular reason given for Jonson's turn to printing involves his anxiety over the interpretation of his works."

Tags:alchemist, censorship, elizabethan, Sejanus

Abstract
This paper examines "The Barber of Seville" and "The Marriage of Figaro," by Pierre Augustin Caron Beaumarchais. The paper examines the plays' commentary on tyranny and French aristocracy. The plots, characters, and themes of the two plays are also discussed and analyzed.

From the Paper
"Pierre-Augustin Caron Beaumarchais is known as the "One major French Dramatist during the late 18th Century". The two plays which preserve his name, "The Barber of Seville" and "The Marriage of Figaro" are the first two parts of a satirical trilogy. While his plays are comedic, they also criticize the nature of tyranny, and the French aristocracy's privileged position, and Beaumarchais' work is considered to have contributed to the French Revolution by openly discussing those ideas. In "The Barber of Seville", the young count is lovestruck and semi-heroic, although he needs the help of Figaro to free the girl from her governor."

Tags:plays, french revolution, pierre-augustin caron beaumarchais, barber of seville, the marriage of figaro, aristocracy

Abstract
The author describes "Picture This" as a work of fiction about Rembrandt's painting "Aristotle Contemplating the Bust of Homer," which was sold to the Metropolitan Museum of Art in 1961. The author considers the book to be more than a pure novel, as Heller takes the reader through history from Plato to Rembrandt and through the history of the painting itself. The review states that Heller in "Picture This" has written one-liners for comic effect that sometimes appear to be incoherent.

From the Paper
"However, scattered through the book, the writer has given a good deal of material about the canvas painting itself: the model who posed for Aristotle, the circumstances of its creation, the bust of Homer, the commission that directed to this picture and much more. Furthermore, its lineage, which is the list of people who consecutively owned it as it made its way from Amsterdam to Sicily to England to the Metropolitan, has also been discussed. However, the book overall is more or less directly about the painting."

Tags:american, career, author, catch-22, aristotle, homer, art, novel, plato, rembrandt, peloponnesian, war, history, comic

Abstract
This paper presents a comparative and parallel study of the dramatic art of the most prominent Greek dramatists Aeschylus and Sophocles. The writer discusses the similarities and differences between the two tragic poets, both in terms of style and content, and explains how each dramatist uses the chorus. The writer also explains that where the dramatic art of Sophocles is characterized by accomplished symmetry and harmonious grace, that of Aeschylus is hard, grand and severe, and Aeschylus (referred to as the 'Master of the Grotesque') is rightly acknowledged as the inventor of scenic pomp and hyperbole. The writer believes that Sophocles' art of characterization is more complex than Aeschylus and explains how Sophocles uses the third actor to place the audience in a position to judge the chief character from at least three points of view. The writer further asserts that unlike Aeschylus, who is simple and direct, Sophocles carries an explicit irony in his plays and he presents not only the problems, but suggests the solutions also to the intricacies of human life in relation to the cosmic and social order. The writer concludes that, as a modern reader, Sophocles is the greater of the two dramatists.

From the Paper
"Of the precious and inexhaustible treasure of the Greek endeavours in the realm of tragedy, very little has come down to the readers. We are aware of the names of a few tragedians with Aeschylus, Sophocles and Euripides being the being the most prominent. And with these three too, a very little of the whole number of works is left. The extant dramas are those that had been selected by the Alexandrian critics for the study of Greek literature. The reason for being their choice by the critics was their affordability as the best illustration of the various styles of tragic art. Regarding Aeschylus and Sophocles, (the two subjects of this term paper) we are left with seven pieces remaining of each."

Tags:cosmic, and, social, order, drama, Greek, literature, irony, stage, plays, epics

Abstract
This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.

From the Paper
"Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."

Tags:building, plays, women, marlowe, sexuality

Abstract
"Before beginning a discussion of Jean Paul Sartre's views on the importance of different types of perception the focus of this paper it will be useful to lay a groundwork that covers the basic overall philosophy of this great French thinker, dramatist, novelist, and political journalist, for his writings about perception are not in any way ancillary to his major philosophical contributions but lie at the core of his theoretical and political positions.

From the Paper
"Before beginning a discussion of Jean Paul Sartre's views on the importance of different types of perception the focus of this paper it will be useful to lay a groundwork that covers the basic overall philosophy of this great French thinker, dramatist, novelist, and political journalist, for his writings about perception are not in any way ancillary to his major philosophical contributions but lie at the core of his theoretical and political positions.

Sartre, who was born in Paris, June 21, 1905, and educated at the Ecole Normale Superieure in Paris, the University of Fribourg in Switzerland, and the French Institute in Berlin, taught philosophy at various lycees (essentially analogous to American high schools) from 1929 until the outbreak of World War II, when he was called into military service. In 1940-41 he was ..."