| Papers [196-210] of 1989 :: [Page 14 of 133] | | Go to page : <— 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 —> | |
|
|
Andrew Lloyd Webber, 2007.
This paper looks at Andrew Lloyd Webber as an original showman and provides a personal and professional biography.
1,190 words (approx. 4.8 pages), 4 sources, MLA, $ 40.95
»
Click here to show/hide summary
Abstract
In this article, the writer looks at Andrew Lloyd Webber's beginnings and discusses how he began his successful career in musicals. Love him or hate him, the writer points out that no critic can deny that he has composed some of the most memorable music of the latter half of the 20th century. The writer notes that his influence continues to be felt today. Further, the writer points out that Lloyd Webber continues to write, compose, and run the Really Useful Theater Company, and his songs and productions are still heard and seen around the world. The writer concludes that for Webber, star quality and staying power mean staying true to your initial vision and Webber's prime motivations have always been populism and the unabashed pursuit of profits.
From the Paper
"For all of his extravagant visions for the theater, Andrew Lloyd Webber was born to humble beginnings on March 22, 1948. His parents lived in South Kensington, England. His father, William Southcombe Lloyd Webber, was a professor of music theory at Royal College of Music in England. His mother, Jean, was a singer and violinist. Unsurprisingly, with these beginnings, young Andrew showed an early love and aptitude for music. Andrew was an undoubted musical prodigy. At only three years old, he played violin and at six he composed his first songs."
"These were not simply the jottings of an amateur, however. At the tender age of nine he had his first piece of music published. But it was Andrew's aunt who first ignited the young boy's interest in stage musicals."
| |
|
The Provincetown Players, 2007.
This paper discusses the performances and ideology of "The Provincetown Players" theater group.
1,225 words (approx. 4.9 pages), 6 sources, MLA, $ 41.95
»
Click here to show/hide summary
Abstract
This paper explains that, at the beginning of the 20th century, new forms of art, literature and theater became popular in the United States that were not as constrained as earlier forms. The paper looks at the group of avant-garde actors and producers called "The Provincetown Players" who developed a theater form that would have an impact for many decades to come. The paper shows how, although they may have been a strange group, the Provincetown Players provided an excellent outlet for their separate needs: political fervor, artistic zeal, trial of new works, Greek theater production, friendship and feminism.
From the Paper
"George Cram Cook (Jig), one of the originators of Provincetown Players stated in a book about the theater in 1920, "Groups like ours are about to inherit the whole duty of dramatic man." This was an entirely new concept, because America had not been considered the center for literary leadership. When Cook's theatrical experiment began, cultivated Europeans were still sneering at the concept of American theatre and drama. It was not that theatre buildings, dramatic publications, and theatrical productions were nonexistent in the U.S., but rather that American playwrights and actors, designers and directors were still virtually unheard of in Europe (Sarlaos 1)."
| |
|
The Female Characters, 2007.
This paper compares Henrik Ibsen's Hedda Gabler to Tennessee Williams' Stella Kowalski in "A Streetcar Named Desire."
1,285 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
The paper portrays how Henrik Ibsen's character, Hedda Gabler, shares some similarities with the oppressed housewife, Stella Kowalski in Tennessee Williams' play, "A Streetcar Named Desire." The paper shows how in spite of the vast differences between the two plays, Stella in 1947 is no more evolved as an individual than Hedda in 1891 in terms of her autonomy, her honesty, or her ability to handle her own life. The paper demonstrates how both plays identify the inferior position held by women in society for hundreds of years.
From the Paper
"Stella Kowalski has made a major concession in marrying Stanley Kowalski, a working-class, brutish sort who is far beneath the aristocratic social class of people with whom Stella was raised. Stanley has none of the manners, social skills or money that someone of Stella's station would customarily have married. However, from the beginning of the play, Stella seems to exhibit an underlying lack of confidence, and settling for her less-than-perfect marriage to Stanley is one more indicator of that. As the play progresses, we see that perhaps Stella has always felt inadequate as compared to her more glamorous sister, Blanche. Stella asks Blanche to try not to compare Stanley to men "that we went out with at home" (Sc. 1, pg. 17)."
| |
|
"Pippa Passes", 2007.
An analysis of Robert Browning's lengthy poem and drama; "Pippa Passes."
1,109 words (approx. 4.4 pages), 0 sources, $ 38.95
»
Click here to show/hide summary
Abstract
The paper discusses how Robert Browning considers his poem "Pippa Passes" as both a play and poem. The paper explains that as a play, "Pippa Passes" consists of a series of rather disjointed dramatic scenes held together largely by being part of the same work. The paper shows how as a poem, "Pippa Passes" involves a number of poetic experiments and different poetic forms, using elements that would be characteristic of the dramatic monologue style Browning would further develop in later works.
From the Paper
"As a drama, "Pippe Passes" has a setting in which the characters interact and to which they react. That setting is a small Italian mill town. The situation is expressed at the beginning of the opening section, entitled "Day!" Specifically, it is New Year's day at Asolo in the Trevisan. The main character is Pippa, the first person introduced in the piece, a girl who works in the silk mills of the town. She is cheerful and philosophical and speaks directly to the reader in the manner that will become traditional in Browning's dramatic monologues."
| |
|
Dorian Gray and Dr. Faustus, 2007.
This paper looks at the fall from grace of the title characters in the plays "The Picture of Dorian Gray" by Oscar Wilde and "Dr. Faustus" by Christopher Marlowe.
1,700 words (approx. 6.8 pages), 3 sources, MLA, $ 55.95
»
Click here to show/hide summary
Abstract
In this article, the writer looks at the characters Dorian Gray in "The Picture of Dorian Gray" and Dr. Faustus in the play of the same name. The writer notes that in both Marlowe's and Wilde's tales of men overreaching the natural order, evil is primarily construed as transcending the natural, specifically of desiring eternal life, rather than bowing to the natural processes of change that are inherent in nature. Further, the writer points out that God's law is synonymous with nature, and both Faustus and Dorian Gray go against nature and embrace artifice and art. The writer concludes that for all of their unnaturalness and evil, the protagonists remain the most 'naturally' compelling characters of their respective dramas, given the unrealistic and 'unnatural' one-dimensionality and weakness of those individuals who are unfortunate enough to encounter Dorian and Faustus.
From the Paper
"The seductiveness of both protagonists' ambitions for the reader, however, has provoked contradictory interpretations in the responses of critics and its more general audience. On one hand, both works seem to argue that obeying God's natural order and law regarding knowledge and morality is best. In short, do not seek to become a magician or seek to be young forever. But although Dorian Gray may read like an argument against art and artifice on one hand, it itself is a work of art. Furthermore, although "Dr. Faustus" argues against magic, the actors on the stage need to make use of 'magic' to portray the morality tale of the fall of the scholar from Wittenberg. This confuses the question of what is good or bad in both plays, especially since the 'good' characters like the old man who counsels Faustus to repent, or Basil and Sybil in Wilde's work, are the weakest characters."
| |
|
"Caroline, or Change", 2007.
An analysis of the musical "Caroline, or Change" by Tony Kushner.
782 words (approx. 3.1 pages), 1 source, MLA, $ 27.95
»
Click here to show/hide summary
Abstract
The paper describes the story about an African-American maid, Caroline, who works for a Jewish family in Lake Charles, Louisiana in 1963. The paper discusses her relationship with the eight-year-old son, Noah. The paper portrays how the conflicts within and around Caroline create dramatic moments with strong social and racial themes. The paper points out that this was a period when the Civil Rights Movement was a very powerful and important event in the South.
From the Paper
"This is a wonderful story about an African American maid, Caroline, who works for a Jewish family in humid Lake Charles, Louisiana. Caroline is very tired of being stuck in the basement of the Gellman home, doing laundry, and meanwhile, she and the eight-year-old Gellman boy, Noah, form a relationship that is edgy, cross-cultural, but very interesting. Noah looks up to Caroline a lot, in fact he idolizes her; but even though she likes him, she is gruff with him. She lets him smoke cigarettes with her, and they form a bond in that way. "Caroline never tells me so but I know Daddy mustn't know," Noah says (15). "A secret her and me can share: Our daily cigarette...""
| |
|
Reversal of Nature in "Macbeth", 2007.
An analysis of the theme of malignant deeds and their affect on nature, as seen in "Macbeth" by William Shakespeare.
1,344 words (approx. 5.4 pages), 5 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper discusses the main theme of William Shakespeare's play, "Macbeth" as the reversal of values and of nature itself, triggered by the evil actions and murders of Macbeth and his wife. The paper presents quotes from scenes in the play in order to illustrate this theme. It suggests that Shakespeare's play advocates that any kind of evil is a crime against nature itself, against human nature and against the divine order of the universe.
From the Paper
"The Tragedy of Macbeth is definitely Shakespeare's most violent play. The main theme of the play is the reversal of values and of nature itself, triggered by the evil actions and murders of Macbeth and his wife. The reversal of the natural order is announced from the introductory lines of the play, in the discourse of the three witches: "Fair is foul, and foul is fair"(1.1.12) The main plot of the play, the killing of Duncan, the king of Scotland, is a common subject for tragedy during the Renaissance age, and a recurrent one in Shakespeare's plays. The belief that royalty was foreordained by divinity explains why the act of murdering a king was considered as a reversal of order and of values. When the murder is done, the old man significantly proclaims it as "unnatural", comparing it to the killing of a falconer by an owl. Thus, throughout the play, there are direct hints to the reversal of nature caused by the dreadful murders, as well as descriptions that reveal absolute natural disorder, like the sun's refusal to shine for example. The murderous acts are seen thus as a menace against the basic order of the universe itself."
| |
|
"An Enemy of the People" versus "Inherit the Wind", 2007.
A comparison of the main themes and characters in "An Enemy of the People," written by Henrik Ibsen and "Inherit the Wind," written by Jerome Lawrence and Robert Edwin Lee.
954 words (approx. 3.8 pages), 4 sources, MLA, $ 33.95
»
Click here to show/hide summary
Abstract
This paper compares two plays - "An Enemy of the People," written by Norwegian playwright Henrik Ibsen in 1882 and "Inherit the Wind," written by Jerome Lawrence and Robert Edwin Lee in 1950. It discusses the main themes of the plays and analyzes the main characters. It describes how these characters fit into the theme of the clash of good versus evil.
From the Paper
"Narrow-mindedness, the play suggests, is the true crime, but to win, all protagonists must to some degree display some of this quality. Drummond as an attorney must focus on winning in the courtroom, or at least in the courtroom of American popular opinion, not upon showing two sides of the issue. He calls for progress and for Hillsboro to "abandon our faith in the pleasant poetry of Genesis," thus reinforcing Hornbeck's portrayal of Hillsboro and Brady as behind the times, even if Drummond personally sees merit in the town's way of life and Brady's point of view. But there is no 'pure' way to win a political battle, without hurting someone. If someone is too single-minded, they risk harming and alienating people like Stockmann harms his family's livelihood, and like Brady at the end of "Inherit the Wind," who alienates most of the newspaper-reading American public. To gain a moral victory like Drummond for his client, an advocate must sometimes act against his own better, moral impulses, like making his courtroom opponent seem like a fanatic in the interests of persuasion."
| |
|
Tragedy in Drama, 2007.
This paper analyzes the tragedies in Arthur Miller's "Death of a Salesman" and Sophocles' "Oedipus the King."
1,332 words (approx. 5.3 pages), 4 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
The paper attempts to define tragedy as these two works illustrate tragic characters and tragic plots. The paper relates that tragic drama involves a tragic hero, an insurmountable situation and a conclusion that is neither satisfying nor cheerful. The paper shows how the characters of Willy Loman and Oedipus are extremely tragic; not because of their fates, but because of their flaws. The paper examines and compares Willy Loman and his wasted life and Oedipus and his tragic mistakes.
From the Paper
"In Arthur Miller's Death of a Salesman, Willy Loman is a classic tragic hero. He is not "near-perfect" as Aristotle's definition requires, but he does evoke pity and fear in his family and in the audience. He is desperate to save his personal dignity, at least in front of his family, and this is an important element in Miller's definition. In addition, his life is tragic, which translates into the tragic plot element of the play. His son Biff is really the only one who understands Willy, and he muses near the end of the play, "He had the wrong dreams. All, all wrong" (Miller, 2962, p. 1054). The wrong dreams and the wrong way of pursing them leads to Willy's tragic end, as it does in Oedipus the King."
| |
|
Clytemnestra's Role, 2007.
An analysis of Clytemnestra's role in Aeschylus' "Oresteia."
2,329 words (approx. 9.3 pages), 4 sources, MLA, $ 71.95
»
Click here to show/hide summary
Abstract
The paper provides a brief overview of the "Oresteia," a three part cycle of plays that include the Agamemnon, the Choephoroe and the Eumenides. The paper portrays how Clytemnestra's role is ultimately one of a weak woman in society; although she is queen and is very persuasive, she remains unsuccessful in the end.
Outline:
Introduction
Brief Overview of the Oresteia
The Role of Clytemnestra
Conclusion
From the Paper
"The Oresteia is a three part cycle of plays; the Agamemnon, the Choephoroe, and the Eumenides. The Agamemnon sets the tone for the role Clytemnestra plays as a woman whose advice and words are completely disregarded by her husband. In the Agamemnon, Clytemnestra is deceived by her husband, Agamemnon, into sending him their youngest daughter Iphigenia. Agamemnon cuts Iphigenia's throat on an alter as a sacrifice. Furthermore, Clytemnestra's advice to respect the defeated Trojan temples and people is deliberately disregarded by Agamemnon, and the city is wildly looted, destroyed and burned. Clytemnestra finally kills Agamemnon after the Trojan War, when he brings home a raped and captured Trojan priestess."
| |
|
"Othello", 2007.
An analysis of the theme of poor communication between members of the opposite gender in William Shakespeare's play, "Othello."
1,249 words (approx. 5.0 pages), 1 source, MLA, $ 42.95
»
Click here to show/hide summary
Abstract
This paper discusses William Shakespeare's play, "Othello." It particularly focuses on the theme of the breakdown of communication between men and women. The paper suggests that the play is about this breakdown in gender relations, more than it is a play about race. The paper presents many examples from the play to demonstrate lack of trust and communication between members of the opposite gender, in order to illustrate this theme.
From the Paper
"This equation of the female body with male honor is seen early on in the play, as well as the difficulty for men and women to communicate effectively. Desdemona's own father cannot see that his daughter is falling in love with Othello, even though he saw it happen before his very eyes, in his own house. Brabatino says his daughter must be seduced by Othello's witchcraft because she was: "A maiden never bold;/Of spirit so still and quiet, that her motion/Blush'd at herself; and she, in spite of nature,/Of years, of country, credit, every thing,/To fall in love with what she fear'd to look on!" (1.3) When Brabatino learns that there was no witchcraft afoot, it is he, rather than Iago, who places the first seeds of doubt in Othello's mind about Desdemona's potential future transgressions: "Look to her, Moor, if thou hast eyes to see:/She has deceived her father, and may thee" (1.3)."
| |
|
Symbolism in "The Glass Menagerie", 2007.
An analysis of Tennessee Williams' successful use of symbolism and imagery in his play, "The Glass Menagerie."
1,711 words (approx. 6.8 pages), 8 sources, MLA, $ 55.95
»
Click here to show/hide summary
Abstract
This paper introduces, discusses and analyzes the play "The Glass Menagerie" by Tennessee Williams. Specifically, it discusses symbolism and imagery in the play and shows how Williams successfully employs symbolism to make the characters more real and the message of the play clearer. It concludes that Williams uses these literary devices to create a poignant and significant piece of American literature.
From the Paper
"In conclusion, this famous play is full of rich symbolism and imagery, which are quite common elements of William's writing. The use of these literary elements makes the play richer, more memorable and poignant. The characters are memorable, but the way Williams weaves the symbolism and imagery around them to create texture and even light, creates a complex drama that touches readers and makes it linger in their minds. It also makes the characters more real and compelling to the reader. The images and symbolism add depth and detail to the people and the plot of the play. When the candles go dim at the end, the audience senses the real tragedy of the play. Nothing is sure, and hope is often only an illusion. "The Glass Menagerie" could be a symbol of all the hopeless lives spent living "trapped in circumstance.""
| |
|
"Richard III" and "Henry IV", 2007.
An analysis of the lying and cheating of the main characters in William Shakespeare's historical plays, "Richard III" and "Henry IV."
1,356 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
»
Click here to show/hide summary
Abstract
This paper discusses and analyzes William Shakespeare's historical plays, "Richard III" and "Henry IV." It discusses the characters of Richard III, formerly the Duke of Gloucester, and Falstaff, prince Hal's friend. The paper specifically focuses on their negative characteristics, such as lying and how they used lying to achieve their goals. The paper presents examples from both plays to illustrate the extent of each character's lying.
From the Paper
"During this conflict, Henry shows his bitterness at not having his eldest son, prince Hal to help him in the military matters. Hal is, at this time, with a group of rogues and villains who accompany him in his unlawful actions. Falstaff is the most famous of these, and seems to be Shakespeare's best known personification of falseness (a word from which his name is undoubtedly derived) lying and deceit. Falstaff uses dissembling as a means to achieve both fortune and fame, pretending even to have killed Hotspur in the battle. But even more so, he achieves through permanent lying to create almost a myth about himself, arguing through such skilled rhetoric that he even overtake Richard III, that honor and morality are of no use whatsoever and that they lose their value as soon as they are opposed to the only true thing there is: life."
| |
|
"A Doll's House", 2007.
A review of Henrik Ibsen's play "A Doll's House".
1,451 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper discusses how Henrik Ibsen's play "A Doll's House" holds an unsurpassed place in the history of women's emancipation movement. The fact that it was a man who wrote this and not a woman lends it even further credibility since it highlights the truth that pain and anguish of women are not only felt by women themselves but by all perceptive empathetic individuals. It examines how the play appeared in 1879 when women were still completely suppressed and success of marriage was dependent on women's obedience, subservience and silence and how it was in such times that Ibsen came forward with a completely refreshing viewpoint on the issue.
From the Paper
"Females like Nora did not find heavy presence in literature and the few cases where they did, social norms still heavily influenced their acceptance. For this reason Nora's role gained immense significance in theatrical circles especially among the younger generation, many of who accepted Nora's words as their pearls of wisdom. She became a role model for younger women and the importance of her role in triggering the revolution for emancipation cannot be denied. Critics feel that subjugation of women in the 19th century could be attributed to their financial dependence. Since they were not participating in the economic activity, they had only their husbands to rely on for monetary assistance."
| |
|
Moral and Social Consciousness, 2007.
This paper looks at the aspects of moral and social consciousness in Henrik Ibsen's "A Doll's House" and Charlotte Perkins Gilman's "The Yellow Wallpaper".
1,054 words (approx. 4.2 pages), 6 sources, MLA, $ 37.95
»
Click here to show/hide summary
Abstract
In this article, the writer introduces, discusses and analyzes the works "A Doll's House" by Henrik Ibsen and "The Yellow Wallpaper" by Charlotte Perkins Gilman. Specifically, the paper discusses moral and social consciousness in service to others in the two stories. The writer notes that both of these stories raise issues of moral and social consciousness, and make the reader more aware of how society viewed and treated women during the Victorian Age. The writer points out that the characters in both stories must conquer obstacles and fight for what they believe is right, even if it goes against the culture and belief systems of the time. In conclusion, these two stories indicate how important moral and social consciousness is in our society, and how it can be a great service to others in trouble or in need.
From the Paper
"Nora may never return to the family, and she will face many obstacles attempting to make a living on her own at a time when few middle- or upper-class women worked outside the home."
"Both women fought for what they knew was right at a time when women were literally kept behind closed doors for most of the time. Both women could see the wrongs and injustices in society, and both knew there had to be more for them somewhere else. The narrator pays the highest cost because she gives up her sanity and her family, and she faces the greatest obstacles to a normal life. It is interesting that the male author (Ibsen) creates a character that seems irrational in her decision to leave, while the female author creates a character that is quite sympathetic even as madness creeps up on her. This indicates just how different male and female views were at the time. Both women fought and spoke out about wrongs, but they were viewed differently even by their own authors."
|
|
|
