Abstract This paper analyzes how in his "A Connecticut Yankee in King Arthur's Court", Mark Twain seeks to satirize many of the "romantic? notions about the legend of King Arthur and the Knights of the Round Table. It looks at how his depiction of 6th century England reveals a time and a country that is rife with political, economic and social problems where many people are subjugated by fear of the supernatural and forced to lead oppressed lives. It discusses how Twain's novel seeks to tell us as much about the failings of 19th century post-Enlightenment American ideology as it does to criticize the romantic vision of King Arthur.
From the Paper "In his zeal to develop 6th century England into a technologically-advanced republic based on democratic principles, the Yankee unleashes all of the horrors of modern warfare upon the knights that try to stop him. In this final battle, we see the ways in which Twain's satire has increasingly come to question the values of America in the 19th century, and that this critique is just as profound and deep-seated as his earlier attacks on the romanticism of Arthurian England. The Yankee's idea is that it is only the Church and the aristocracy that are opposed to a republic, because a democratic government would not benefit them since they already possess a higher role in the social order under the monarchy. Hank argues that if he and his supporters can just get rid of the upper echelon of British society, then they will have control of the country and can set up a new government."
Abstract This paper discusses how the legend of King Arthur has existed in various forms, passed down from generation to generation to be a dominate part of western literature and society almost fifteen hundred years after Arthur supposedly lived. The story of Arthur and his knights has been told in plays, artworks and even video games; the latest reincarnation being "Tomb Raider: Legend". In order to discover why this story is continually retold, the paper goes back to its inception and looks at its various versions throughout history.
From the Paper "While Geoffrey of Monmouth's history had been written with the Anglo-Norman kings in mind, the French romances that came next were perhaps aimed at the female audience, queens in particular. With the classical stories of Ovid and Horace as their guidebooks, the French writers added on to Geoffrey's writings and brought the Arthurian legend into a new transition, with a purpose of retelling for the sake on entertainment through courtly love and lust (Miller 146). More characters were added and stories of the Arthur, Guinevere and Lancelot love triangle, by their nature were written and retold to include women, most prominently, Eleanor of Aquitaine and her daughter Marie de Champagne. Miller compares this to a modern soap opera: "when damsels in distress suffer succour, a glamorous champion comes ... Formula fiction multiplies easily" (Miller 146). "
Abstract This paper examines how the ethical difficulties involved in the case of Enron and Arthur Anderson, the accounting firm that had been responsible for auditing Enron accounts, are both numerous and overreaching. From the initial process of setting up the special purpose entities (SPEs), to the accounting bias fueled by large fees that Enron provided to Arthur Anderson, it looks at how the failure to testify truthfully about the Enron scandal in a court of law, showed a lack ethical decision making.
From the Paper "The ethical difficulties involved in the case of Enron and Arthur Anderson, the accounting firm that had been responsible for auditing Enron's accounts, are both numerous and overreaching. From the initial process of setting up the special purpose entities (SPEs) to the accounting bias fueled by large fees that Enron provided to Arthur Anderson, to the failure to testify truthfully about the Enron scandal in a court of law, participants showed a lack ethical decision-making. Freeman, in his stakeholder theory of business ethics, argues that businesses do bear social responsibilities for their actions. This paper will examine the actions of both companies against the strictures of the stakeholder model of ethics. "
Abstract In looking back on twentieth century world history, the novels "Darkness at Noon" by ArthurKoestler and "Midaq Alley" by Naguib Mahfouz are magnificent conveyors of the era's distinctive characteristics. The paper shows that there is an inherent similarity between these two stories of dehumanization and dejection, despite the notable difference in the settings. The paper shows that the parallels between the two novels are especially strong in that they both deal with the torment suffered by mankind as a result of war, betrayal and corruption.
From the Paper "The frustration depicted in Darkness at Noon can also be felt in Midaq Alley. The piety of Radwan Husseini, whom the inhabitants seek out for spiritual advice and comfort, is the only outlet available to relieve their unrelenting stress and confusion. Despite the fact that Husseini is the alley's most "positive thinking" inhabitant, he too has felt the sting of disappointment and anger over the loss of his children. Yet he has turned his back on bitterness, choosing instead to find faith and solace by continually seeking to uncover the true meaning of life."
Abstract This paper tells the life story and myth of King Arthur. It looks at the period before his birth, the legends of his strength and power, and the impact he had on the region.
Outline
Before King Arthur's Birth
Aurelius Ambrosius and Uther
Uther, the King
Uther's Death
Arthur Became the King
The Round Table
The Death of King Arthur King Arthur's Childhood
The Sword in the Stone
Rebellion Against King Arthur King Arthur Is Lied to
Evil Sir Mordred
The Death of King Arthur
From the Paper "Aurelius Ambrosius and Uther did not let the murder of their brother, Constans, just passed by without revenge. When the two came to manhood, they started their revenge to Vortigern. They burned Vortigern's palace. Along with it was Vortigern who was burned to death. The death of Vortigern paved the way for Aurelius to become the king. As the king, Aurelius fought the Saxons to drive them away of Logres. Horsa, one of the leaders of the Saxons, was killed in the battle while Hengist was captured and executed. Aurelius also fought with Octa, the son of Hengist, which led to Octa's defeat. Aurelius? kingship brought about the re-establishment of Logres. He was soon poisoned by Paschent, Vortigern's son. Aurelius was buried in a Stonehenge, a large circle which was built out of Merlin's advice."
Abstract The paper shows that if there was an historical King Arthur he would have existed centuries before the era of knighthood, probably sometime in the sixth century. It discusses how the historical reality of Arthur is much in doubt and remains a controversy, though Arthur has his champions who believe the stories of his reign began with a real personage and then were turned into myth and legend by various writers, each treating Arthur differently. The author traces the history of the stories relating to Arthur, and analyzes some of these works such as Sir Thomas Malory's "Le Morte D'Arthur" and "The History of the Kings of Britain" by Welsh monk Geoffrey of Monmouth in 1135.
From the Paper " Many of the elements that would be part of the later tradition were missing, however. Arthur's court is not at Camelot but at a place called Caerlon-on-Usk, or City of Legions. Geoffrey contributed at least three new elements to the existing histories of Arthur--he supplied Arthur with a family tree, told of Arthur's association with Merlin, and described his burial at Avalon. Later chroniclers would use Geoffrey's account as a source and would develop more complex stories establishing Arthur as a king in the popular imagination."
Tags: Camelot, Merlin, Christien, de, Troyes, Sir, Lancelot, Holy, Grail, Mordred, Alfred, Lord, Tennyson, Idylls, of, the, King
This paper explores adaptations of medieval English Arthurian literature into works of juvenile fiction. It compares three Arthurian legends in children's literature with three medieval texts and shows the views of one literary critic.
Abstract This paper explores the timeless medieval English King Arthur character in literature throughout the ages as viewed in adaptations of the stories for children. Medieval Arthurian literature from England had a more serious and deeper tone than the children's books written based on the tales of King Arthur today, while some take on a more light-hearted mood for the tale. This paper examines critical reviews of Arthurian literature, and also warns against the possibility of the Arthur legend teaching children too much about defeat.
From the Paper " Oscar Wilde once said, "I am not young enough to know everything." This quote brings into words the idea that a child's imagination is far more complex than the reason and seriousness of an adult. Most children spend the first part of their lives learning all the things most adults refuse to believe in: unicorns, fairies, dragons, and even chivalry. A great example of this is the vast collection of children's books that retell Arthurian legends. The tales of King Arthur recur frequently in children's literature, and most of the works are closely knit to their medieval counterparts. The language and images in these new Arthurian works allow children to feel the archaic mood of Middle English and picture the trials of Merlin, King Arthur, and the Knights of the Round Table. Medieval Arthurian literature from England had a more serious and deep tone than the children's books written on the tales of King Arthur today."
This paper discusses one of the key ethical issues that the accounting firm, Arthur Andersen, faced in the Enron case: A company cannot exist without clients.
Abstract The paper discusses that the Enron case was a no-win situation for Arthur Andersen. The paper points out that Arthur Andersen tried to distance themselves from the case in hope that Enron did not get caught, but Enron did get caught. The author feels that Arthur Andersen, despite client loyalty, would have managed the case better if they had severed relationships with Enron much sooner.
From the Paper "Arthur Andersen was in a tough client relations position. However, there are several points along the way where they could have perhaps at least saved their reputation. One point is when they continued to shred documents after they had been ordered by the courts to stop this activity. Had they at least obeyed that court order, then they may have been able to claim that they were not so deeply embroiled in the controversy and could have perhaps distanced themselves from it. This was the final straw as for as the public and the courts were concerned. Their actions in destroying the court order stood as clear evidence that they were both aware of and in support of the activities at Enron. This act enraged the public the most."
This paper analyzes whether or not the character of Guinevere is portrayed in a historically accurate way in Jerry Bruckheimer's 2004 film "King Arthur."
Abstract This well-researched paper examines the historical content of Bruckheimer's film which the director claims is the true story of King Arthur and his relationship with Guinevere, based on discovered archaeological facts. The writer of this paper contends and explains why this is somewhat inaccurate, due to the fact that the film is based on speculation put forward by the historian Kemp Malone in 1924. This paper focuses on the character of Guinevere as depicted in this film, while comparing it to available historical data that contradicts the director's claims. This paper discusses the difficulty of pinning down an accurate portrayal of Guinevere due to the fact that she is defined primarily by her relationship with Arthur. This paper details why the film's depiction of Guinevere and her relationship to Arthur is not necessarily based on historical fact or legend, but rather on entirely speculative historical fiction.
From the Paper "Guinevere's clothing and hands are not the only thing critics point to; they also suggest that she is being presented in a historically inaccurate way as a female warrior. In many movies it may be true that women are ahistorically buffed up - however, this is not necessarily one of those cases. While the historical Gwenhyvar is unlikely to have been a warrior, there is no historical reason to suggest that she was not a warrior. Celtic women were considered equal with the men, and many of them went into battle. An article published in Keltria: Journal of Druidism and Celtic Magic, explains how primary sources indicate that "Celtic women also took an energetic part in melee."
Abstract This paper explains that the parallels, in the plot of Arthur Miller's "The Crucible" and the "Red Scare" of the 1950s, bring to light the unconstitutional lawlessness committed by Senator Joseph McCarthy and his House Un-American Activities Commission (HUAC), a committee designed to identify and persecute Americans who were members of the Communist party. The author points out that, from the play, John Proctor's character and principles and how he persists in carrying them out directly pertain to Arthur Miller's role in the HUAC hearings. This paper states that Arthur Miller wrote "The Crucible" to keep the detrimental effects of mass hysteria in the conscious minds of Americans and people everywhere because the moment that these mistakes are forgotten they are doomed to be repeated. This paper includes a playwright chronology.
From the Paper "Understanding why Miller writes about the mass hysteria and paranoia of the Salem witch-hunts can partly come from reflecting on his life during the Red Scare. Although Miller himself was not a communist when he was subpoenaed in 1956 by HUAC, he refused to name names when the HUAC asked him about people who attended the same meetings as he once did. "I declined to make any such statement, which I found demeaning; what right had any organisation [sic] to demand anyone's pledge of loyalty?" The HUAC asked Miller very specific questions about the others who participated in what McCarthy and his followers perceived as disloyal to America."
Abstract This paper examines how Anne Bronte's "The Tenant of Wildfell Hall" depicts the marriage of Helen and Arthur Huntingdon, and how Arthur's negative lifestyle impacts their marriage. The paper relates that the marriage of Arthur and Helen Huntingdon depicts a lot about how men acted towards marriage in the 1800 Victorian society. The paper also explains that the novel does not follow the cultural norm exactly, but Bronte wrote it that way intentionally in order to shed light on what was happening behind closed doors in relationships.
From the Paper "During, and even before, their courtship, Helen speaks of Arthur Huntingdon as though he is a magnificent man without any flaws whatsoever. She tells her Aunt Maxwell, "He is a much better man than you think of him" (Bronte 140), determined to prove to others that he is the perfect man for her to marry, despite any thoughts they may have about Mr. Huntingdon. Even though Helen tries to convince others he is a great man for marriage, she somewhat has to convince herself at the same time. In what looks like a criminal interrogation between Helen and her aunt, Helen begins to doubt whether or not Arthur is as good a man as she defends him to be; "Is he a good man?" her aunt asks her, "Yes - in some respects," Helen replies. "Is he a man of principle?" she asks Helen, "Perhaps not, exactly," Helen states (Bronte 140), showing that even Helen does not truly believe herself when she describes how good a man Mr. Huntingdon really is. "
Abstract This paper discusses the various sources on which Sir Thomas Mallory drew to create the version of the legend of King Arthur that is known today. The writer provides an overview of the historical background for the Arthurian legend and the evidence that exists for a historical Arthur. The writer explains the medieval traditions of courtly love and of chivalry that Mallory incorporated into his book and his legacy of the knightly ideal that was detailed by Chaucer in his "Canterbury Tales," and in the fourteenth-century poem "Sir Gawain and the Green Knight."
From the Paper "The account that did the most to establish Arthur as a prominent historical figure was The History of the Kings of Britain written in 1135 by Geoffrey of Monmouth, a Welsh monk, and the book provides a history of the earliest kings of Britain, some 99 in all, including King Coel, known to us today from the nursery rhyme as Old King Cole. About one-fifth of the book is devoted to Arthur, and Geoffrey provides the first organized version of the story. Many of the elements that would be part of the later tradition were missing, however. Arthur's court is not at Camelot but at a place called Caerlon-on-Usk, or City of Legions. Geoffrey contributed at least three new elements to the existing histories of Arthur--he supplied Arthur with a family tree, told of Arthur's association with Merlin, and described his burial at Avalon."
Abstract This paper analyzes the legends of King Arthur and Lancelot, Morgan and Guinevere. It claims that Arthur was an all-encompassing British figure. It examines the earlier versions of these stories, looking especially at the role played by the female characters in the tale as they appear not in the (now) better-known Malory version but in their original, pre-Christian modes.
From the paper:
"The female characters in La mort de roi Artu can trace their lineage at least in part to the story of Tristan and Isolde, which tells how the young Tristan traveled to Ireland to ask the hand of the princess Isolde for his uncle, King Mark of Cornwall, but ? due to having mistakenly drunk a love potion ? falls in love himself with Isolde, who also falls in love with him even as the two remain loyal to King Mark. Mark attempts to ensnare them, but they remain chaste and true, and Isolde in the end marries Mark."
Abstract This paper studies the term "tragedy" and defines it using the thoughts of Plato and Aristotle and plays written in ancient Greece and by Arthur Miller's works. In order to do so the paper proceeds to examine each of these thinkers and writers and their works. It details Aristotle's notes that defined tragedy and his play 'Antigone' and 'Oedipus Rex', Arthur Miller's 'On Tragedy', 'The Crucible' and 'Death of a Salesman'.
From the Paper "The simplest, most reasonable definition of tragedy is that found in dictionaries and the definitions of laymen and theater -goers everywhere: ?a story with a sad ending.? However, literary theorists and critics would quickly be out their jobs if they simply left the common law of art alone. Thus for centuries there have been disagreements as to what constituted "true" tragedy. In ancient Greece, both the merits and ideal qualifications of tragedy were under debate. Plato suggested that tragedy might be best defined as people pretending to be villainous or sad for no good reason, and thus corrupting society. Aristotle, on the other hand, said that tragedy was a form of social good, for it allowed the rational soul to vent its emotions in a process he referred to as a ?catharsis.? He went on to define the trademarks of a tragedy it in some detail, including such plot elements as the noble birth of the protagonist, and the inevitability of the ending. Works that followed his model, such as Oedipus cycle, set the standard for centuries to come. Aristotle's conventions became a measuring stick for literary critics, though they were not always followed by poets and playwrights. In the modern era, many of these conventions were challenged, and this was particularly noticed in the case of Arthur Miller. After his play, Death of a Salesman, was lambasted by critics for not being a "real" tragedy, he responded with a seminal work on the modern adaptation of tragic conventions. The ideas put forth in his "On Tragedy" were deeply important to parts of his later play The Crucible. It is fascinating to see that despite the fact that many critics saw Miller's works as antithetical to ancient ideas of tragedy, and assumed that ancient tragedies would not be based around the ideals embraced by Miller, in many ways there are distinct parallels in thought between such works as The Crucible and older masterpieces such as Antigone. The inevitability of each play is iron-wrought, and each is driven by the inseparable division between the straight edge of power and the personal freedom of choice and self-definition. "
