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The Iroquois Theater Fire, 2007.
This paper discusses the Iroquois Theater Fire which took the lives of roughly 600 people in December of 1903 in Chicago, Illinois.
977 words (approx. 3.9 pages), 3 sources, MLA, $ 34.95
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Abstract
The paper outlines the causes of the Iroquis Theater Fire, what regulations were violated and what corrective actions could have been taken to prevent the fire from having taken place. The paper contends that poor planning, derelict management and shoddy inspection work contributed to the tragedy.
From the Paper
"To begin with, the incident began at around 3:15 pm on December 30th. Inside Chicago's Iroquois theater roughly 1900 souls were crammed together to watch the popular musical, "Mr. Bluebeard, Jr.". The on-duty fireman charged with battling any blazes that broke out was armed with only two tubes of "patent powder" (which proved useless in combating the huge blaze) and the theater lacked fire hoses and any other means by which fires breaking out over the fireman's head could be battled. Furthermore, the asbestos fire curtain got "stuck" before it reached the full "down" position inasmuch as projecting lamps and/or cheap wooden tracks got in the way. These problems, coupled with others which will be discussed shortly, led to the inevitable tragedy."
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Tennessee Williams' "The Glass Menagerie", 2007.
This paper analyzes the play "The Glass Menagerie" by Tennessee Williams.
1,086 words (approx. 4.3 pages), 2 sources, MLA, $ 37.95
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Abstract
The paper discusses the theme of escape in the "The Glass Menagerie". The paper explains how this play seems to revolve around Tom's escape from his family, but in reality, each of the characters is attempting to escape something. The paper looks at how Laura escapes from reality by spending her entire life inside the apartment with her beloved glass animals and Amanda retreats to the past to escape her present life.
From the Paper
"Escape is a central issue in this play, from Tom's escape at the end of the play, to his distancing from the family as he becomes increasingly frustrated with his life and his job. One method Tom uses to escape the tension of the family is to go to the movies. His mother even criticizes his attempt at escape. She says, "'I don't believe that you go every night to the movies. Nobody goes to the movies night after night'" (Williams 998). Tom does go to the movies because it is the only place he can find peace, quiet, and a measure of normalcy. His dysfunctional family is far from normal, and that is the main reason Tom is so desperate to escape. However, he is not happy with his job, either, and is afraid of being trapped in it forever. Therefore, he must escape his job as well as his family if he is ever to create a new life for himself."
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Film: "William Shakespeare's A Midsummer Night's Dream", 2007.
This paper compares Michael Hoffman's 1999 film, "William Shakespeare's A Midsummer Night's Dream" with Shakespeare's original play.
2,350 words (approx. 9.4 pages), 9 sources, MLA, $ 72.95
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Abstract
This paper explains that, for his 1999 film, "William Shakespeare's A Midsummer Night's Dream", Michael Hoffman rewrote the original Shakespeare play, put it into a more modern context and emphasized artistic visual expression over Shakespeare's expression through the poetry of language. The author points out that Hoffman modernized the gender roles by creating a dialogue for Bottom's wife, thus increasing her importance; wherein, in the original play, her role consisted of a stare. The paper relates that, to appeal to modern cultural standards, the movie has been made more aesthetically pleasing by the fantasy theatrics of the costumes and makeup.
From the Paper
"The first and most evident difference between the 1999 film adaptation and the original play by Shakespeare is the setting. Shakespeare's work is set in Greece, while Hoffman's is set in the turn of the 20th century Tuscany. It was also filmed in Tuscany. "Hoffman moves the action forward in time and sets it in late 19th-Century Tuscany" writes Welsh, but it is questioned whether this "new setting makes sense". Thus Hoffman's version has an immediate difference between that of Shakespeare's which took place in the traditional classical setting."
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Male Prostitution in "Sweet Bird of Youth", 2007.
An analysis of the theme of male prostitution in Tennessee Williams' "Sweet Bird of Youth".
2,379 words (approx. 9.5 pages), 7 sources, MLA, $ 72.95
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Abstract
This paper contends that male prostitution has two contradictory meanings in Tennessee Williams' play: It symbolizes corruption on the one hand, but at the same time, it symbolizes "love-making" as opposed to hatred and intolerance. The paper looks at how Williams makes prostitution a token of corruption and how he advocates that this pagan state is actually the natural condition of man. The paper also discusses how the castration of the character of Chance can be interpreted both as a just punishment for prostitution as well as a crime against the natural state of man, in which the primitive instincts reign.
From the Paper
"At a first glance, William seems to imply merely that "guilt is universal", as he says in the forward to the play, and that all men are equally sinful and corrupted. It is very difficult to say if the scale tips in the play in favor of sexual freedom or in favor of abstention. The two extreme poles of interpretation, that is prostitution as corruption or as a mere token of love making, are caught in the mixed symbolism of the play, which is partially Christian and partially pagan. (Mitchell, 209) Thus, in the first place, the male prostitute Chance Wayne is a corrupted and egotistical man, who deceives himself with his two impossible dreams: to be a Hollywood film star and to marry the ideal Southern belle, appropriately named Heavenly. "
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"Oedipus the King", 2007.
A comparison of two translations of the play of "Oedipus the King" by Sophocles.
1,279 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper discusses some of the significant differences that can exist between different versions of the play "Oedipus the King" by Sophocles. The paper specifically focuses on the different ways that translators interpret and represent the ancient Greek play. It compares the translations of the play by Dudley Fitts and Robert Fitzgerald, with that of Robert Fagles, focusing on one pivotal moment in the play.
From the Paper
"The influence a translator can have on the final form of a translated text, in this case Sophocles' Oedipus the King, is quite obviously very significant. At times, the differences--like stanza and line break--can seem subtle, but have important effects on the play's presentation. Other times, the language is so wildly different that it would take a reader as blind as Oedipus not to note the extreme variation in translation. The cautionary tale of Oedipus, his pride, his fate, and his downfall is evident in both translations presented above. What differences exists are simply a matter of interpretation and intention. For Fagles: "These are the griefs that burst upon them both, / coupling man and woman" (ln. 1416-1417) while for Fitts and Fitzgerald the same play illustrates that "from the unhappiness of two this evil has spring. / A curse on the man and woman alike" (ln. 1231-1232)."
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"Hamlet", 2007.
An analysis of the significance of time and its context in William Shakespeare's "Hamlet."
926 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper describes the significance of time in William Shakespeare's "Hamlet." It focuses on Hamlet's exclamation when he meets his father's ghost, that "the time is out of joint" and explains how this fits in with the concept of time throughout the rest of the play. The paper analyzes the context of this statement by Hamlet and uses quotes from the play to support its explanations.
From the Paper
"The state of things gone awry is endemic to every aspect of Danish society, from the lowliest to the highest realm, and parallels Hamlet's internal state of personal angst and grief over his father's death. The death of Hamlet's father is a personal tragedy, but because Hamlet's father was a king, his death has cosmological significance. Now, Denmark has a new king who may not be good, has a suspicious relationship with his new queen, Denmark is about to go to war, and signs from the great beyond suggest that things are only going to get worse, unless Denmark's oath diverted from its current state course. The times truly are "out of joint," even before Hamlet speaks this famous phrase."
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Hamlet, 2007.
This paper examines the play 'Hamlet' by William Shakespeare.
1,100 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
In this article, the writer explains that normally, when reading William Shakespeare's play, 'Hamlet', the theme is the main element discussed. The writer maintains, however, that in this work of art, as in others by Shakespeare, the play's construction is just as complex and remarkable. The writer then discusses the plot, characters and themes in the play. The writer concludes that conflict, confusion and even death result because the characters purposely do not tell the truth, act on the sly for negative or positive reasons, and keep information from each other that could have somewhat resolved the situation or at least saved some unnecessary deaths.
From the Paper
"Every story needs an antagonist, and that is Claudius. Where the other character's motives may be veiled, his are very apparent. His desire for power drives him to murder his brother and marry his brother's wife. On the other hand, Gertrude's actions are left unanswered. Whether or not she conspired with Claudius depends on how the play is interpreted. However, through her words and actions, it appears that she loves her son, and cares greatly for Ophelia and Polonius."
"Although little is known about Horatio, he plays an important role as the objective observer whose comments can be believed. Hamlet also uses him as a way to express himself and help make decisions. The other characters in the play are secondary to the action, but whose deaths make the ending all the more tragic because they meant nothing but good."
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"Much Ado about Nothing", 2007.
This paper discusses the tragedies that never happened in Shakespeare's "Much Ado about Nothing."
1,298 words (approx. 5.2 pages), 2 sources, MLA, $ 43.95
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Abstract
The paper relates that there are no real events in Shakespeare's "Much Ado about Nothing", or any real action; nothing happened in the play although many tragic things might have. The paper shows how the play can be considered tragic because the characters simulate and dissimulate, manufacture plots out of "nothing" and play with reality in a dangerous way that could have serious consequences for everyone.
From the Paper
"Shakespeare's play Much Ado about Nothing effectively combines the comic and tragic elements in its structure. The title is the point where the reading should begin: Shakespeare himself indicates that the play is about "nothing", that is, there are no real events in the text, no real action, only deceiving and misprision. The plot focuses on the two couples that are the main protagonists: Berenice and Benedick, Hero and Claudio. The dissembling, deceiving and misprisions in the play seem endless and are directly related to the tragic undertones of the text."
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Shakespeare's "The Tempest", 2007.
This paper analyzes the means of control used by the character of Prospero in Shakespeare's "The Tempest".
1,520 words (approx. 6.1 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper points out parallels between philosopher Michael Foucault's work and "The Tempest" and relates that the topic of both works revolves around the topic of justice. The author argues that Prospero's behavior in Shakespeare's "The Tempest" represents a shift from a medieval power structure to one that is institutionalized and which takes power from the individual and gives it to society. The paper comments that Prospero's main conflict was not with his brothers but rather with the centralized power that they represented.
From the Paper
"Prospero has to design a tactic for each individual. This demonstrates great intelligence and adaptability. The first stage of the plan was to separate them and take away their power in numbers. He knew that he would be overthrown if he were not able to do this. Therefore he first isolated his "guests" and gave them a display of his power. The prison cell had much the same effect. Foucault goes to great lengths to explain and give examples of how the prison cell acts of isolate and convey the sense of power to the convict. The jailor has complete control over the prisoner."
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Britten's Midsummer's Night, 2007.
This paper discusses the opera 'Midsummer Night's Dream' by Benjamin Britten.
986 words (approx. 3.9 pages), 3 sources, MLA, $ 35.95
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Abstract
In this article, the writer notes that Benjamin Britten obtained the plot for the opera, "Midsummer Night's Dream", from Shakespeare's play by the same name. The writer relates that in 1960 Britten, along with his companion, Peter Pears, presented it as a showpiece for friends and for a wide variety of talents. The writer points out that the opera contains a largely spoken, theatrical part, a boy's soprano choir, a large fairy who sings coloratura, a simple country bumpkin named Bottom whose head is turned into an ass' head by Puck and romantic subplots. The writer maintains that the opera is humorous and lyrical and a treat for the musical ear. The writer concludes that in this opera, the audience falls in love with Puck and with the fairies, as if the love-juice had been put on their own eyes.
From the Paper
"Britten starts the opera in what was the second act of Shakespeare's play, but refers to what happened, so the audience does not feel anything is missing. The rustic folk, the fairies and the lovers are first presented in the woods around Athens and from there on the action never stops. The lead role of Oberon is sung by a countertenor, which is very rare, as leads are usually sung by tenors or basses. As the fairies appear, the well-known song, "Over hill, over dale" is heard, sung by Tytania's young boys' fairy choir. The strange relationship of Tytania and Bottom is the central romantic story that Britten chose to make the centerpiece of the opera. The dominating female fairy has a very difficult role to play, as she is attracted to Bottom, but is subject to Oberon and his accomplice, Puck, who make her life very difficult and her music hard to sing."
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Tragedy, Aristotle and "Death of a Salesman", 2007.
An analysis of how Aristotle defines tragedy and how it is portrayed by Arthur Miller in his play "Death of a Salesman".
4,224 words (approx. 16.9 pages), 9 sources, APA, $ 112.95
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Abstract
Arthur Miller's "Death of a Salesman" has several strong literary and socially disturbing dimensions, but the one that stands most is its tragic dimension. This paper contends that "Death of a Salesman" is in fact tragic, and that within that tragic dimension there are several themes that are apparent and important: financial failure, emotional inadequacy, false pride, sports promise and sports failure, sexual confusion and impropriety, career stumbling, a dysfunctional family, death and madness. Tragedy to varying and diverse degrees is presented as a dynamic that is witnessed in Willy's family, in Willy's failed careers, and of course in his failed relationship with his son and in his marriage. Additionally there are tragic circumstances within the popular American contemporary vernacular of sports. The paper also examines Aristotle's stance on tragedy and how it compares to that of Arthur Miller.
Outline:
Introduction
What Is Tragedy? Miller's Philosophy on Tragedy and His Perspective on the Play
What Is Aristotle's Philosophy Regarding Tragedy?
The Death of a Salesman: The Literature and the Scholarship
Other Tragic Features of the Play
From the Paper
"After going to lengths to point out that Miller sees the central tragic figure in the play as Willy, Hagopian insists that it's Biff Loman, Willy's son, is the one who "ultimately makes things happen, who responds to the great trauma in his life with an emotional and moral paralysis..." That point could be rebutted effectively, but meantime a more pertinent point that Hagopian makes is that, after Biff finds his dad in a hotel room with another woman; "You fake!" he barks. "You phony little fake! You fake!" And now dad has been fired from his job, and Willy fears his son will expose his immoral deeds to mom. But Biff does not, he just wants to rage at his dad, and say "goodbye to you Pop...let's just wrap it up, heh?" The scene that Willy provokes has definite tragic consequences, Hagopian admits on page 40. "
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Motivation in Literature, 2007.
An analysis of the motivation of Iago in William Shakespeare's "Othello" and Krogstad in Henrik Ibsen's "A Doll's House."
1,401 words (approx. 5.6 pages), 7 sources, MLA, $ 46.95
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Abstract
This paper analyzes the concept of good and evil and people's motivation for following a particular path in their lives. It focuses on this concept as it is illustrated in William Shakespeare's "Othello" and in Henrik Ibsen's "A Doll's House." The paper describes the characters of Iago, possibly the most heinous villain in Shakespeare and of Krogstad, a secondary character in Ibsen's "A Doll's House" and discusses their motivation for their actions.
From the Paper
"In terms of the motivation and the purpose of their actions Iago and Krogstad are two different characters. Indeed, Krogstad is the antagonist in "A Doll's House" but he is not necessarily a villain. Krogstad is a person who has been wronged by society as he committed the same crime Nora did, forgery of signatures. Though he did break the law, his mistake was relatively minor but the society has labeled him as a criminal and prohibited him to go beyond his past. Additionally Krogstad's claim that the cause of his immoral behavior was when Mrs. Linde abandoned him for a man with money so she could provide for her family makes it possible for us to see Krogstad as a victim of circumstances. Even if society's unfair treatment of Krogstad is not a justification for his actions, it tempers in the same time out perception of him as a despicable character. It can be said that his actions are indeed motivated because when Torvald becomes director of the bank in which Krogstad is employed and threatens him with dismissal, he naturally has to fight back: "If necessary, I am prepared to fight for my small post in the bank as if I were fighting for my life...It is not only for the sake of the money; indeed, that weighs
least with me in the matter. There is another reason...my sons are growing up; for their sake I must try and win back as much respect as I can in the town. This post in the Bank was like the first step up for me--and now your husband is going to kick me downstairs again into the mud" (act 1, "A Doll's House's Text"). As can be seen Krogstad has reasonable motives for behaving as he does: he wants to keep his job at the Bank in order to spare his children of the hardships that come with a spoiled reputation."
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Henrik Ibsen's "A Doll's House", 2007.
This paper analyzes Henrik Ibsen's "A Doll's House", one of the most frequently reviewed plays in academic studies.
3,845 words (approx. 15.4 pages), 7 sources, MLA, $ 105.95
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Abstract
This paper explains that, although much has been written about viewing Henrik Ibsen's "A Doll's House from purely a feminist perspective, the truth is that Ibsen's clever crafting of this play and careful development of his heroine Nora has allowed readers and critics over the years to apply many valid interpretations. The author points out that Ibsen's play is about the roles that people are willing or are forced to play: The role that Nora assumes at the end of the play is just another role - one that she has no idea how to play but feels she must. The paper concludes that Ibsen had to make Nora the explorer into a new world so that the audience might begin to understand his motive of revealing how the strict roles of society have stripped people of their human rights.
From the Paper
"The other female character has also become a thinking human being through her trials in life. Ironically, Mrs. Linde because of her ability to think chooses to marry Krogstad during the course of the play. She says in regard to Krogstad's letter that she does not want him to ask for it back because "a whole day's gone by and I've witnessed things in this house that I could hardly believe...This wretched secret must be brought into the open so that there's complete understanding between them". Mrs. Linde's objective is not to destroy their marriage put to force Torvald and Nora to be honest..." with themselves and each other. Mrs. Linde has realized the necessity of this kind of honesty through her life of hardship which is why she decides to marry Krogstad. She accepts that he is not perfect and not a model man of the middle-class, but he can give her what she wants to be happy.
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Hamlet and Ophelia, 2007.
An analysis of Hamlet's love for Ophelia in the play "Hamlet" by William Shakespeare.
764 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
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Abstract
The paper discusses how Hamlet loves Ophelia in his own tortured and odd way. The paper illustrates how, as the play continues, it is clear Hamlet loses touch with reality and with it, his love for Ophelia. The paper describes how Ophelia cannot deal with his rejection and rather than go on with her life, she ends it, without fulfillment, without love and with no future. The paper demonstrates how both lovers cared for each other and might have had a life together, but they were both too tragically flawed to ever really become a couple or maintain their love.
From the Paper
"Those surrounding Ophelia believe Hamlet loves her - even that he has gone mad with love for her. Her father, Polonius tells her Hamlet's rash behavior is based on his unrequited love for her. He says, "That [denial of love] hath made him mad" (II. i. 109). Thus, those surrounding Ophelia misinterpret Hamlet's actions, and Ophelia might have as well, although it does seem Hamlet loves her in his own tortured and odd way. He does leave her a note that seems to confirm his feelings for her. It reads, "O dear Ophelia, I am ill at these numbers; I have not art to reckon / my groans: but that I love thee best, O most best, believe it. Adieu" (II. ii. 120-121). Thus, he has confessed his love to her, and no matter how it deteriorates from this point on in the play, he has held love for her in his heart."
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Greek Artifacts, 2007.
This paper looks at the civilization of ancient Greece and its artifacts.
1,820 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
In this article, the writer notes that until about 1870, historians and scholars who specialized in the history and archeology of ancient Greece were, for the most part, quite ignorant about Greek culture and society and considered this area of study as being filled with myth. The writer points out that from excavations conducted in the early years of the 20th century, the history of ancient Greece is now well-known and understood, especially through the magnificent artifacts that have been uncovered. Thus, the writer maintains that these artifacts illustrate that the cultural and social heritage of ancient Greece was one of the most important Western civilizations of all time. The writer concludes that they also prove that the ancient Greeks were superb artisans who always attempted to reveal the intricacies of Greek culture through their work.
From the Paper
"In essence, many of these artifacts will enable us to reconstruct the development of the Greek style in art and to appreciate their uses and place in ancient Greek society. Imagine for a moment living in ancient Greece, perhaps somewhere amid the long and winding coastline of the Aegean Sea, or perhaps high up in the great mountain chains of the Peloponnesos or Thessaly, the home of Mount Olympus and the pantheon of Greek gods and goddesses, such as all-powerful Zeus and his wife Hera, Aphrodite, the goddess of love, Apollo and Hermes, the messenger of the gods."
"In this environment, common men and women worked in the cities as laborers, merchants and slaves and toiled in the fields in order to feed the hungry masses in places like Argos, Sparta, Thebes and especially mighty Athens, the home of Pericles and Greek democracy. Thus, in these and many other environments, the ancient Greeks fashioned a very wide spectrum of items, ranging from ordinary clay pots to outstanding examples of Greek art in the form of amphora, drinking vessels, armor, weapons, jewelry, bowls and statues."
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