Abstract The paper provides a thorough investigation of the presentation of Beckett's philosophical themes within the dramatic genre in order to determine whether meaning is indissolubly connected to innovation in dramatic technique. The paper shows how meaning is not indissolubly linked; Beckett allows his plays meaning outside of the dramatic arena. The paper does note, however, that Beckett's unconventional dramatisation of his philosophy contributes greatly to the plays.
From the Paper "In his essay, 'Beckett Out of His Mind: The Theatre of the Absurd', William Haney asserts that '[b]y dispensing with narrative sequence, character development, and psychology in the conventional sense, Beckett portrays the process by which awareness moves from the qualia of a historically mediated experience to a state beyond linguistic and cultural boundaries'. This statement has two key implications: firstly that that Beckett's plays do have an intrinsic meaning, and secondly that this meaning lies beyond linguistic boundaries and is thus inseparably linked to Beckett's unconventional dramatic technique. This perspective on meaning itself, however, is problematised when placed into Beckett's cultural context. Indeed, that 'Beckett actually encouraged critics to adopt a philosophical perspective on his work' seems to indicate that this is a useful approach."
A review of Dryden's "All for Love" as an embodiment of the critical concepts of his "Of Dramatic Poesy: An Essay" and a discussion of how they are an imitation of William Shakespeare's "Anthony and Cleopatra".
1,150 words (approx. 4.6 pages), 7 sources, 2002, $ 44.95
Abstract This essay will examine Dryden's "All for Love" (1677) and his "Of Dramatic Poesy: An Essay" (1668). It will be argued that the former play may be seen as the embodiment of Dryden's critical reflections on the issues noted in the above passage. In "All for Love", as will be seen, Dryden attempts to assimilate the legacy of the Elizabethan stage - in this case, Shakespeare's "Anthony and Cleopatra" - into an age dominated by French critical theories. However, as will be seen, Dryden often contradicts his own earlier critical thinking, particularly with respect to the proper language of the theater. This suggests that a true analysis of Dryden's critical thinking must incorporate his dramatic practice into his critical theory.
Abstract In this article, the writer examines the way in which dramatic irony plays a role in Sophocles' drama "Oedipus the King." The writer discusses how arrogance and denial can contribute to a man's downfall. Further, the writer demonstrates the author's use of dramatic irony to illustrate flaws in Oedipus' character.
From the Paper "In Sophocles' "Oedipus The King", the playwright examines the way in which arrogance and denial can contribute to a man's downfall, as well as the notion that men truly are subject to the whims of fate. Indeed as a result of his own conceit, the play's titular character Oedipus, despite the fact that he has attempted to fight the prophecy that tells of his fate and exercise free will, willingly chooses to ignore what is true and this ultimately leads to his destruction. In order ... "
Abstract This natural science paper is comprised of three parts. The first part of the paper sets up the basic premise of a dramatic dialogue between Edison and Einstein. The second part is a dramatic dialogue between Edison and Einstein. The final part of the paper is an annotated bibliography.
From the Paper "Thomas Edison (1847-1931) was one of the most prolific and important inventors in the United States during the late 19th and early 20th Century. As a scientist Edison was more interested in designing products that would be useful for the average person. This means that Edison is a believer in technology and does not put a lot of stock in theory. As an inventor Edison is also a business man. "
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)."
A comparison of how two Victorian poets approach their art, including an analysis of two dramatic monologues: Robert Browning's 'My Last Duchess' and Alfred Lord Tennyson's 'Ulysses'.
Abstract This essay describes how Robert Browning in 'My Last Duchess' reveals his theory of art in a more complex manner than the more obvious presentation of Alfred Lord Tennyson as he reveals his poetic pleasures in 'Ulysses.' Both diction and images in both dramatic monologues are closely explored and analyzed.
From the Paper "In delineating the theory of art of these poets, this paper will concentrate primarily on what one dramatic monologue of each of the two poets, Browning and Tennyson, reveals. Both poets are concerned with bringing the feelings and truths of their experience into the hearts and minds of others. A central difference in their theories of art is that Browning puts a greater burden on the reader, while Tennyson feels it vital to be more obvious in expressing his feelings to others. A basic question to consider as we explore their theories of art is: How and why do we enjoy the poems? Understanding our own responses helps us understand their assumptions about art. The aim of both poets is that we lose ourselves within the poem, forgetting for the moment our real surroundings in favor of total immersion in the poetic situation."
Abstract This essay examines three kinds of tragedy in the history of dramatic theatre. Greek, Shakespearean, and Modern tragedies are discussed here, and analyzed in relation to exemplary tragic plays. Antigone, Hamlet, and A Raisin in the Sun are considered in relation to the tragedy that describes their composition. The differences and similarities are discussed, and the social evolution of theatrical literature is explored in the conclusion.
Abstract This paper discusses the different applications of dramatic literature and role play, as they are exhibited in drama therapy across three case studies. The paper lists the goals of each of the five sequential phases of drama therapy.
From the Paper "The five sequential phases of drama therapy each have a direct set of goals. In phase one, dramatic play establishes a safety net -- a playful environment where clients feel safe to do the tough work to follow."
Tags: therapeutic progress, group therapy, role play, dramatic literature, psychology, emotions, feelings, unconscious mind, self
Abstract In this paper, the character analysis of these sixteen dramatic and literary figures present a fictional account of how they would be seated and how they would interact at a dinner party. It looks at how the dinner is presented and how these fictional characters would most likely behave under the circumstances.
From the Paper "The aim of this literary study will be examine a fictional account of a formal dinner party with sixteen famous literary and dramatic figures. By examining these characters within the dinner party environment, one can realize how they compare and contrast each other in their dialogue and behaviors. In essence, the hero of the party would be Holden from the novel Catcher in the Rye, since he has such an in depth perspective on life and how people interact with one another during the night's festivities. The formal dinner will have a sixteen person seating arrangement that will suit the similar behaviors and mannerisms associated with each character."
Abstract In this article the the writer studies how Arthur Miller treats the issue of tension in the play 'A View From The Bridge'. The writer notes that Arthur Miller takes an already claustrophobic setting in which the characters are struggling to suppress their ever mounting problems with each other and throws in a catalyst to explode the situation and force characters to confront their problems. The writer looks at the different characters and their functions in the play and discusses how Miller uses them to create dramatic tension in particular in act one of the drama.
From the Paper "Using a choric figure to encourage the viewer to contemplate the morals of the play is just one of the many elements Arthur Miller has used to re-create Greek Tragedy. He also uses techniques such as the play being set in a small, claustrophobic area and the action happening in a short amount of time to create this effect. Arthur Miller has put his own mark on the play by using the un-educated, working class character of Eddie to be the tragic protagonist, as Greek tragedy has traditionally always traced the downfall of a person who was rich or had a high position in society, suggesting it was only these people who felt deep emotions and passions worth writing about."
"One of Arthur Miller's greatest achievements as a playwright and contributions to literature is the fact that he has used a simple central character from a rough area to be the tragic hero, consumed by his one fatal flaw: his incestuous love for his niece Catherine. He has succeeded in proving poor people too can have a destiny that cannot be escaped; previously only people of noble birth were considered worthy of having their problems dramatised on stage."
A psychological reading of the title character, Titus, in William Shakespeare's in "Titus Andronicus", through an analysis of Shakespeare's use of dramatic language.
Abstract This paper discusses Shakespeare's revenge tragedy "Titus Andronicus," and the complex psychological interiority created by his use of dramatic language. The writer analyzes some of Titus' speeches in detail to show how the language he uses reflects an oscillating emotional state and a great inner tension. What Titus does not say also throws light on his true feelings as a grieving father, as can be seen in the stagecraft of scenes such as the one where, as a victorious general, he makes a formal address to Jupiter. The paper concludes that this tragedy communicates the fundamentally impossible task of holding together competing elements of human character.
From the Paper "Clearly Titus' thoughts are upon his slain sons; indeed, Titus' speech draws our attention to the deaths of his sons through their treatment as cargo (1.1.71-73). We observe his use of simile, a rhetorical device which, in this instance, helps to create the illusion of his complex psychological or interior life. Titus objectifies his sons by referring to them as cargo carried aboard a ship - the "precious lading" returns with the bark. This simile explicitly suggests commodity exchange. Titus has sailed off to war in a bark with living sons and returned with dead ones, and as such he has exchanged the lives of his sons for Rome's victory."
Abstract This paper looks at the Chorus in Sophocles' "King Oedipus", which is a timeless force that serves many fundamental dramatic purposes in the tragedy. It explores how their interjections into the dialogue are directed at clarifying the significance of events and affirming the outlook of a conventional society, to which an audience can relate. It also examines how they effectively separate the different episodes in the theatrical sequence, imitating the overriding public mood in their verse and how most importantly, is the Chorus? contribution to the dramatic irony of the play through their boundless praise of the King, who causes his Kingdom's affliction.
From the Paper "Aristotle maintained that the Chorus should be handled "as one of the actors" and ?contribute to the performance.? The Chorus of "Theban elders" in Oedipus Rex are functional because they point out the significance of the dramatic events as they occur, and Aristotle asserts that "tragedy is an imitation of an action" which takes priority over character. The Chorus are the nucleus from which the tragedy evolves, heightening the dramatic irony of Oedipus? hamartia. The first section of the play ends with the unassuming Oedipus? resolution to expose and punish the polluter of Thebes, presenting the appropriate motivation for the first appearance of the Chorus."
This paper defines styles of documentary films as exemplified by Robert Flaherty's "Nanook of the North", Albert and David Maysles' "Grey Gardens", Errol Morris' "The Thin Blue Line" and Kidlat Tahimik's "Perfumed Nightmare" ("Mababangong Bangungot").
855 words (approx. 3.4 pages), 0 sources, 2005, $ 30.95
Abstract This paper explains that Robert Flaherty's "Nanook of the North" and Albert and David Maysles' "Grey Gardens" are examples of the evidential style of documentary film, a sort of cinema verite, or truth-cinema, which attempts to portray reality through the lens of the camera, objectively and truthfully, with no commentary or underlying message. The author points out that Errol Morris in his documentary "The Thin Blue Line" uses a rhetorical style, in which the filmmaker has no intention of remaining objective to the subject matter and often features the filmmaker as a primary character or narrator, and, in contrast to evidential documentaries, often employs the use of dramatization, staged scenes and direct interviews for the purpose of convincing the audience of the truth of the film's message. The paper relates that rhetorical and evidential documentary techniques are not completely mutually exclusive as presented in Kidlat Tahimik's "Perfumed Nightmare" ("Mababangong Bangungot"), which blends dramatization and filmmaker interaction with objective, removed footage of unstaged events in real life.
From the Paper "The Maysles brothers did not feel the need to stage scenes or use interviews to glean the information they were looking for, because that information was simply a glimpse into the real lives of the two women. This was achieved nicely in the film, which used a "hands-off" technique to capture the way life really was for the Beales. "Grey Gardens" does such a successful job of portraying reality that at times in the film when one or the other of the subjects is looking or speaking directly at the camera, the audience gets the impression that she is addressing a wall."
Abstract This paper reviews the four general theories of communication: system, cognitive dissonance, symbolic convergence and Burke's dramatism. The paper presents the history and evolution on each theory and then provides a real-life example of the theory's application. Outline: System Theory Cognitive Dissonance Symbolic Convergence Burke's Dramatism
From the Paper "General theories are universal explanations which account for broad classes of events. General theories are similar to theories developed in the natural and physical sciences. General theories attempt to provide accounts of human communication behavior based upon generalized regularities. Thus, general theories may be applicable and relevant to many different groups and cultures, across many times. A general theory has as much usefulness in predicting and/or explaining the communication of an American as it does an Australian. As general theories are not time bound, the propositions which undergrid the theory might be as true today, or fifty years from now, as they were fifty or one hundred years ago."
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."
