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Theophilus Presbyter's Influence on Art History, 2008.
An analysis of the ways in which Theophilus Presbyter influenced later practices of other artists, particularly looking at his treatise, "On Divers Art."
2,144 words (approx. 8.6 pages), 10 sources, MLA, $ 67.95
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Abstract
This paper discusses the impact that Theophilus Presbyter's had on the course of painting history. The paper examines his origins and his stature as an impressive cataloguer of the preferred methods of his time as well as how he might very well have influenced the development of Jan Van Eyck's impressive body of work. The paper particularly explores how Theophilus influenced the later practices of other artists - from those working with wood in England to Renaissance masters to the notable Florentine painter, Nardo di Cione. The paper focuses on Theophilus' treatise, "On Divers Art."
From the Paper
"The importance of Theophilus's treatise can scarcely be exaggerated - at least if one is a scholar of medieval art. Specifically, On Divers Arts is widely regarded as the foremost treatise available on the painting, glass-making and metal-working arts of the Middle Ages; certainly, this the general view of John G. Hawthorne and famous medieval translator and historian, C.S. Smith, who make that bold proclamation on the cover pages of their 1979 text devoted to the path-breaking work of Theophilus Presbyter (for full bibliographic information, please see the reference list at the conclusion of this paper). In that respect, the aforementioned twelfth century work may rightly be described as not only pertinent to any understanding of medieval painting, but as the best resource available to modern-day students and scholars eager to learn more about how the panel paintings, stained glass masterpieces, and canvasses of twelfth century Europe were produced."
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"Because I Could Not Stop for Death", 2008.
An analysis of how Emily Dickinson conveys ideas of life and death in her poem "Because I Could Not Stop for Death".
1,458 words (approx. 5.8 pages), 5 sources, MLA, $ 48.95
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Abstract
The paper examines the choice of content, use of form and of poetic devices in Emily Dickinson's, "Because I Could Not Stop for Death." The paper shows how these techniques reflect her central thesis that death is something the virtuous should welcome as merely one more step on the way to eternal life.
From the Paper
"To begin with, the content of the poem is significant. Chiefly, Dickinson chooses to emphasize the notion of time through references and metaphors that stress the inevitability of death, the cyclical and/or complementary relationship between life and death, and her own deep-seated Christian beliefs. For instance, the opening quatrain of the poem portrays death as a considerate companion, almost a beau, who tenderly pauses on his busy way for the narrator: "Because I could not stop for death,/He kindly stopped for me;/the carriage held but just ourselves and immortality/" (Dickinson, lines1-4)."
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The Purpose of Life, 2008.
An analysis of the views of various ancient philosophers and authors on the purpose of life.
2,235 words (approx. 8.9 pages), 3 sources, MLA, $ 69.95
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Abstract
This paper discusses how philosophers and writers throughout the ancient world pondered the meaning and purpose of life, and wrote works such as "The Epic of Gilgamesh", "Allegory of the Cave", and the "Apology of Socrates" in order to express their philosophical beliefs about human existence. Mores specifically, the paper looks at how the unknown Sumerian author of the "Epic of Gilgamesh" defined the purpose of life as a heroic but doomed pursuit of glory and immortality. In contrast, it shows how the ancient Greek philosopher Plato defined the purpose of life in "Allegory" and "Apology" as the pursuit of 'being' virtuous.
From the Paper
"The Epic of Gilgamesh (2007) examines the purpose of life from an ancient Sumerian perspective but complements many of the themes of Plato's Apology and Allegory. The anonymous author tells the story of King Gilgamesh of Uruk, who was punished by the Sumerian gods for oppressing his people. Gilgamesh rules harshly over Uruk and burdens his people with immense construction projects he thinks will glorify his kingship. The walls and temples he commands to be raised are intended to win him lasting fame, but his hubris infuriates the gods, who create Enkidu in order to teach him lessons he must learn. Along with Enkidu, Gilgamesh embarks on adventures but is still defiant of the gods. "
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"People Who Own Themselves", 2008.
A review of Heather Devine's book "The People Who Own Themselves: Aboriginal Ethnogenesis in a Canadian Family".
1,432 words (approx. 5.7 pages), 1 source, APA, $ 47.95
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Abstract
This paper discusses how "The People Who Own Themselves" tells the story of Heather Devine's research project about the Desjarlais Family, who were immigrants from Europe to New France, and an Canadian Aboriginal family who were settlers in the same area. The paper maintains that, in reading this book, the reader learns about many aspects of early Canadian history, including the day to day lives of workers in the fur trade, forest hunting and hunters, day to day life in general, and some war history.
From the Paper
"The first thing the reader will notice is that this is not an ordinary history book. Devine (2004) was interested in this subject for very personal reasons. In fact, the study would not have happened if Devine's family did not have a personal connection with the Metis. As Devine (2004) explains in her Preface, her mother was adopted in the 1930s, and grew up in Saskatchewan. She was an unusual child, in that she was much darker than the rest of her family. This probably is why she eventually looked for her roots, and found out that her father was Metis."
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"Bunbury" and "Bunburying", 2008.
This paper examines Algernon's practice of "bunburying" in Oscar Wilde's "The Importance of Being Earnest".
886 words (approx. 3.5 pages), 2 sources, MLA, $ 31.95
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Abstract
The paper argues that "bunburying" is used by the character of Algernon, in Wilde's "The Importance of Being Earnest", to escape the adult responsibility that attends truth-telling. The paper shows how it is a practice that, ironically, reveals the truth about someone's character and preoccupations.
From the Paper
"When read in its totality, it appears as though being a "Bunburyist" is to be someone who engages in dissembling and misdirection in an attempt to evade unwanted social obligations - or obligations of any sort. In effect, the causes of Algernon's "bunburying" appears rooted in a desire to escape the responsibilities that attend being an adult and a member of the British social elite during the final decades of the nineteenth century."
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Yukon's Gold Rush, 2008.
An analysis of the poem "The Law of the Yukon" by Robert W. Service.
722 words (approx. 2.9 pages), 3 sources, MLA, $ 25.95
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Abstract
The paper shows how the poem "The Law of the Yukon" by Robert W. Service reflects the dreams of Yukon's gold rush. The paper discusses how Service makes many references to the harsh climate and inhospitable terrain of the Yukon that the gold miners faced. The paper also conveys Service's awe of the Yukon's natural beauty.
From the Paper
"Robert Service wrote many poems about the Yukon and the hardships as well as the excitement of the prospector's life and became to voice of the Yukon that represented the people that flocked to the gold rush. The Law of the Yukon describes the land of the Yukon as well as its inhabitants. Service describes the hardships of the life in the Yukon, stating that "only the String shall thieve", but the poem is also riddled with the excitement about the North and its mystique, particularly since the gold rush was more or less over by the time Service wrote about it. Service was not the only writer to focus his work on the great white north. Jack London also wrote many stories about the North as well as the Klondike gold-rush."
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Male Character Depiction in "The Bell Jar", 2008.
An analysis of the way in which Sylvia Plath portrays men as oppressors in her book, "The Bell Jar."
1,470 words (approx. 5.9 pages), 5 sources, MLA, $ 48.95
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Abstract
This paper looks at male depiction in Sylvia Plath's, "The Bell Jar." It argues that Plath's work is a classic instance of an angry and troubled woman using literature as a means of "getting back" at the men in her life - most notably her husband and her father - who have let her down. The paper specifically discusses how Plath portrays men as oppressors.
From the Paper
"To close, the preceding several pages have captured how Sylvia Plath's novel, The Bell Jar, is an unforgettable look at how the confessional genre of novel-writing can be used both as a form of therapy and as an excuse for depicting other groups in society in a fashion that may not really be consistent with the actual nature of things. But more even than all that, Sylvia Plath's depiction of men in her 1963 book is also a great example of how a writer can reveal a great deal about him or herself even as he or she pretends to write about somebody else."
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Charles G.D. Roberts' "Kinship", 2008.
An analysis of how a poem by Charles G.D. Roberts, "Kinship," views native Canadians at the time the poem was written.
1,013 words (approx. 4.1 pages), 2 sources, MLA, $ 35.95
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Abstract
This paper analyzes a poem by Charles G.D. Roberts, "Kinship," that encapsulates the privations of Native Canadians during the latter stages of the nineteenth century. Specifically, the paper discusses how native Canadians found themselves marginalized in the Canada of that time - and how Charles G.D. Roberts, while progressive in his empathy and feeling for the plight of Canada's aboriginal population, nonetheless sees this segment of the nation's population through a European lens.
From the Paper
"In late nineteenth century Canada, the question of what to do with the nation's natives was one that preoccupied policy-makers. Simply put, here was a large number of men and women (and children) whose traditional habits, attitudes, modes of living, and religious sentiments were well outside the mainstream of Canadian society. The end result, as grimly noted in an online report sponsored by the Saskatchewan Indian Cultural Center, was for the Canadian government to pursue a policy that forcibly remade Native Canadians in the image of their European counterparts ("Our Way," para.5-6). This meant, for all intents and purposes, the imposition of policies that undermined traditional native culture, the creation of the Industrial and Boarding School Systems and the abolition of religious ceremonies and dances."
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Susan McCaslin's 'The Call', 2008.
Examines Susan McCaslin's poem 'The Call' from her book "Flying Wounded".
1,085 words (approx. 4.3 pages), 7 sources, APA, $ 37.95
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Abstract
This paper explains that, in her poem 'The Call', Canadian poet Susan McCaslin relates the experience of mental illness to the Cathars, a religious group concentrated in France in the eleventh century. The paper points out that the inquisition and oppressive pursuit of the open-minded Cathars is used by McCaslin as a metaphor to describe mental illness. The paper stresses that, although the poem and the book are not entirely an autobiography, McCaslin is the daughter of a mentally ill woman whose tumultuous driving mental voices impact on everyone around her.
From the Paper
"McCaslin's historical references continue in the third stanza, where the schizophrenic voices that pursue the mother "blazon" her face, an old-fashioned word associated with heraldry, of officers of arms. A blazon is a description of a coat of arms or flag used to depict an image, typically involving banners or seals. Such formal, historical imagery is conveyed by McCaslin to represent the mother's mental state, which the woman carries around as a logo - a logo which automatically exempts her from deserving love from Canadian society as a whole."
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Canada and the Natural World, 2008.
A review of the poem "Wonders of the West or a Day at the Falls of Niagara, in 1825" by James Lynne Alexander.
731 words (approx. 2.9 pages), 3 sources, APA, $ 26.95
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Abstract
The paper examines how James Lynne Alexander's lengthy poem "Wonders of the West or a Day at the Falls of Niagara, in 1825" reflects the rhetoric of a people and a time in which Mother Nature held sway over Canada's fledgling nation. The paper conveys the turbulent relationship between Upper Canadians of his age and an unruly local climate and the equally tense and turbulent relationship between Upper Canadians and their American counterparts.
From the Paper
"James Lynne Alexander is not a name that will be familiar to most Canadian or American students of Canadian poetry; in fact, his name may not be familiar to many scholars who have devoted their careers to the study of Canadian literature. Nonetheless, Alexander's "Wonders of the West or a Day at the Falls of Niagara, in 1825" is a very useful poem for anyone seeking to learn more about the sometimes tense historic relationship between Canadians and the natural world - and about the historically tense relationship between Canadians and their American neighbors."
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Patriarchal Victorian Society, 2008.
This paper analyzes the patriarchal institution of marriage in "The Yellow Wallpaper" by Charlotte Perkins Gilman and "Hedda Gabler" by Henrik Ibsen.
1,098 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
The paper compares the marital relationships of the couples in in "Hedda Gabler" by Henrik Ibsen and "The Yellow Wallpaper" by Charlotte Perkins Gilman. The paper shows how although these four characters provide differing levels of abuse and conflict, there is the central premise of female submission in the institution of Victorian marriages.
From the Paper
"Hedda Gabler is yet another play in which Ibsen is blatantly misogynist in his values toward women, but not without ding an element of revolt in their lack of conforming to patriarchal Victorian principles. Gabler is invariably the same type of woman that desires to be respected by the men in her life, but she does not often go against social norms to eradicate the institutional misogyny that she faces with George in her marriage. Ibsen seeks to show the difference between social independence and social acceptance in many of the characters that he presents in this play. George Tesman is the Victorian intellectual that sees his wife as a caretaker for the house, and he often neglects to treat her as an equal."
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Susan McCaslin's "Just an Ordinary Woman", 2008.
This paper discusses Susan McCaslin's poem "Just an Ordinary Woman" as an example of the British Columbian mystical tradition.
1,205 words (approx. 4.8 pages), 7 sources, APA, $ 41.95
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Abstract
This paper explain that Susan McCaslin's "Just an Ordinary Woman" is a lucid, brief poem, which communicates the mystery of a new birth far from a 21st century postmodern hospital. The author describes that British Columbia has long been an ideal location for creative, mystic writers because of its distinctive atmosphere created by the ocean coastline and mountains. The paper concludes that McCaslin's writings reflect the British Columbia's cultural legacy of mysticism, which is not found as often in writers from other areas of Canada.
From the Paper
"To a large extent, people in British Columbia who were given to the arts and letters had to promote their own opportunities, so that through the 19th century, a number of private presses and newsletters were appearing. Since many people lived in remote out-stations, books when of interest to them could be very much valued with some early philanthropy addressing small public library facilities for smaller interior and coastal communities, a point explained in an article of the 1940s that discussed matters of books and libraries in British Columbia in the early colonial period."
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"Maps", 2008.
An analysis of Alice Major's poem "Maps".
870 words (approx. 3.5 pages), 5 sources, APA, $ 30.95
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Abstract
This paper looks at Alice Major's "Maps" and at how this brief poem captures some fascinating items about Canada and about Canadian society as it presently stands. It examines the poem's focus upon the evolution of cartography within the country over time and its use of vivid imagery. It also looks at how the poem focuses upon the evolution of an embryonic child which touches upon two things: the controversial phenomenon of Canada being "discovered" by Caucasian usurpers arriving from abroad, and the fact that Canada is a nation wherein the social compass has shifted dramatically in recent decades.
From the Paper
"Alice Major's poem, "Maps," is really a commentary on Canada and on what Canada has evolved into. For instance, passages like, "What was peninsula on ancient charts/becomes island. Small continents swell/large extrusions dwindle. Until it emerges - the familiar shape of a world" (Major, lines 10-14). In a very real sense, the history of Canada is the history of a land creating its own "map" out of the rough-hewn terrain that, really, belonged to someone else (Miquelon, 2004). In that sense, what the maps of this country have always presented is the evolving vision of a land as that land presents itself to "white" settlers who are merely among the latest guests in a land that is not (was not) their land. Thus, Major's poem, "Maps," is also a poem about epistemology and about the manner in which the things we learn are given to us through lens crafted by someone else. "
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Jay Gatsby and Willy Loman, 2008.
A comparative analysis of how the characters of Jay Gatsby from F. Scott Fitzgerald's "The Great Gatsby" and Willy Loman from Arthur Miller's "Death of A Salesman" face their pasts.
956 words (approx. 3.8 pages), 2 sources, MLA, $ 33.95
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Abstract
This paper examines how in "The Great Gatsby", F. Scott Fitzgerald created Jay Gatsby, a man with a mysterious past that is bared over the course of the novel. It also looks at how in "Death of a Salesman", Arthur Miller created Willy Loman, a man haunted by a past that he does not understand. It discusses how Jay Gatsby knew what his past was, and concealed it. Nevertheless, he could treat his father with generosity, if only from a distance. In comparison, the paper looks at how Willy Loman longs to recapture his past, but it is a past he has idealized almost beyond recognition. He does not realize that in the venality of his failing life, he already has it.
From the Paper
"Fitzgerald gives only a glimpse of young Jimmy Gatz, through his father. Henry Gatz comes to New York for the funeral, "a solemn old man, very helpless and dismayed" (Fitzgerald, 111), after reading of Gatsby's death in the Chicago papers, and Fitzgerald does not explain how Mr. Gatz connected Jay Gatsby and his son. The old man confronts Gatsby's edifice with grief "mixed with awed pride" (Fitzgerald, 112), blind to the fact that "foul dust floated in the wake of his dreams" (Fitzgerald, 2). His worn-out photograph of Gatsby's house is "more real to him now than the house itself" (Fitzgerald, 115). "
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Gatsby and Loman's Past and Future, 2008.
This paper compares the past and families of Jay Gatsby in F. Scott Fitzgerald's "The Great Gatsby" and Willy Loman in Arthur Miller's "Death of a Salesman".
941 words (approx. 3.8 pages), 2 sources, APA, $ 33.95
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Abstract
The paper discusses how Jay Gatsby in "The Great Gatsby" and Willy Loman in "Death of a Salesman" are both men dreaming of a future, in large part as a reaction to the disappointments of their lives. The paper shows how Jay Gatsby conceals a past he finds inconvenient, although he understands his past and can address it honestly. The paper contrasts this to Willy Loman who tries to recapture a past, but fails because he cannot understand what that past is.
From the Paper
"Gatsby has all but buried his past, at least to those who see him. The details of his family and his relationship with it are sparse. At the beginning of chapter 6, the first mention is made of "James Gatz of North Dakota" (Fitzgerald, 64) who became Jay Gatsby when he saw a yacht resting in seductive and treacherous shallows in Lake Superior."
"His family were "shiftless and unsuccessful farm people" (Fitzgerald, 65) whom he accepted as his parents only in a bare, reluctant biological sense. In his own conception of himself, he was an invention to which he stayed faithful to his tragic end, scrupulously dedicated to what F. Scott Fitzgerald refers to as "the service of a vast, vulgar, and meretricious beauty" (Fitzgerald, 65)"
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