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American Gothic Conventions, 2008.
This paper analyzes the use and development of American gothic in John Bunyan's "Pilgrim's Progress," Richard Wright's "Native Son" and the Charles Laughton directed film, "The Night of the Hunter."
1,922 words (approx. 7.7 pages), 5 sources, MLA, $ 61.95
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Abstract
The paper looks at the use of American Gothic in three works, John Bunyan's "Pilgrim's Progress," Richard Wright's "Native Son" and the Charles Laughton directed film, "The Night of the Hunter". The paper shows how gothic elements such as terror, heightened emotionalism, foreboding, dreamscapes and the supernatural are all used to broaden the reading or viewing experience of the audience. The paper also explains the underlying concept of "inescapability". The paper concludes that these works are all among the finest of the American Gothic tradition.
From the Paper
"In Pilgrim's Progress, at least three elements of American Gothic - the use of foreshadowing, emotional tension, and the use of the supernatural ("Typical Elements of American Gothic Fiction," no.5 and no.8) - are immediately apparent. For one thing, the opening scene of the text depicts the narrator in a dream-like state wherein he envisions a man, clothed in rags with a "great burden" upon his shoulders, reading what is (ostensibly) the Bible and weeping with trepidation; it is shortly thereafter that we discover the man's city is about to be destroyed by heavenly fire and that he sees no escape for his family and for himself (Bunyan, "Part I," para.1-2). Not long thereafter, the spectral Evangelist appears to the distraught Pilgrim and tells him to proceed towards a spot of light (the pilgrim is standing in a great field) which will guide him to a wicket-gate at which he will find all the answers he seeks (Bunyan, "Part I," para.8). The dramatic introduction of this inscrutable figure is wholly in keeping with the supernaturalist elements of the gothic tradition ("Typical Elements of American Gothic Fiction," no.6) and it helps also to make Bunyan's protagonist likeable inasmuch as it emphasizes how the pilgrim is at the inescapable mercy of forces beyond his control."
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"American Gothic", 2004.
A review of the painting, "American Gothic", by Grant Wood.
1,619 words (approx. 6.5 pages), 12 sources, MLA, $ 52.95
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Abstract
This paper presents a critique and commentary of the painting, "American Gothic", by Grant Wood. Created in 1930, "American Gothic" captured the public imagination and shifted the attention of American painting from the cosmopolitan to the rural. The writer includes a number of journalistic and artistic impressions of the painting and shows what a great impact this painting had on America and the art world.
From the Paper
"Wood himself, in a letter to Mrs. Sudduth, described his vision of American Gothic as small town, self-righteous folks, with a significant relationship to the false Gothic house and its ecclesiastical window: "Incidentally, I did not intend this painting as a satire. I endeavored to paint these people as they existed for me in the life I knew. It seems to me that they are basically solid and good people. But I don't feel that one gets at this fact better by denying their faults and fanaticism."
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The Conventions of British Soap Opera, 2001.
This paper discusses the endlessness of soap time and the familiarity of its space, while studying the conventions of British soap opera.
2,510 words (approx. 10.0 pages), 3 sources, MLA, $ 76.95
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Abstract
This essay focuses on British Soap Opera and its conventions. It gives a brief history of the soap opera genre and it origins. It gives examples of current and past british soap operas and their popularity and reasons for it. It also looks at theories of audience enjoyment and uses for such media.
From the Paper
"The soap opera genre originates from the American radio serials of the 1930's so called because of their sponsorship by major soap powder companies. Due to its incredible success the genre grew and by the 1950's it had developed into television productions. The first soap to be televised in Britain was The Groves, which first aired in 1954 and lasted for three years. It was followed by what is now the longest running and most successful soap in Britain, Coronation Street. Rival terrestrial channels soon picked up on the success of Coronation Street (and the soap opera genre in general), this resulted in the arrival of Channel 4's Brookside in 1982, followed by the BBC's EastEnders in 1986."
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Poetic Conventions and Stimulation of the Senses, 2003.
An examination of the conventions, both common and original, used by poets to gain superior, heightened responses from their readers.
1,282 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
This paper discusses how one of the common qualities possessed by successful poets throughout the ages is the profound ability to stimulate the senses through subtle and original means. It demonstrates the truth of this statement by closely examining the works of several poets including Elizabeth Barrett Browning, William Wordsworth and Percy Shelley and the ways in which they persuade their readers to be led by their poetry. It looks at the manner in which the poets employ conventions such as simile, metaphor, rhyme and syntax, to stimulate the reader's subconscience into sensing subtle feelings in the precise way intended.
From the Paper
"Simile and metaphor are well recognised as being two of the most common conventions present throughout the history of poetry. Most poets have no difficulty in using one or the other to vary their description of events or to add diversity to the structure of their piece. Far rarer, however, are the poets capable of employing their use with such appropriate application as to heighten the texture and feel of the poem in order to increase the reader's perception of the sights and sounds within the work to a more three dimensional level. That is to say in order to draw a deeper, more detailed realisation of the situation described. Elizabeth Barrett Browning took the use of these conventions to extreme lengths in part XXIV of her Sonnets from the Portuguese."
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Conventions of Mesopotamian Art, 2005.
An exploration of the conventions of Mesopotamian Art through an examination of four distinct Mesopotamian pieces, including the mediums of relief, stele and painting.
1,219 words (approx. 4.9 pages), 1 source, MLA, $ 41.95
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Abstract
This paper traces the development of the history of art in Ancient Mesopotamia through a specific study of four well known and well preserved pieces of art. The range of dates runs from 2600 B.C. with an examination of the "Standard of Ur", through to 260 A.D. and the "Triumph of Shapur I". It looks at how this period of art history is critical to an understanding of the art of the ancient world and logically precedes Egyptian, Minoan, Greek and Roman Art.
From the Paper
"Of Standard of Ur's two main sides, the 'war side' has immediately recognizable conventions similar to those found in Triumph of Shapur I; four-wheeled war chariots ride down enemies, the bodies of which are trampled beneath the hoofs of the animals. The depictions of war and victory are common motifs in Mesopotamian art. Here, as in Triumph of Shapur I, conventionalization is used, and the four bodies trampled beneath the war chariots, like the trampled body of the Roman soldier from Bishapur, represent the many killed. On the middle tier, the victorious army leads away naked and defeated captives."
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Attracting Conventions to Cities, 2003.
Discusses how to attract more convention business to a city.
2,760 words (approx. 11.0 pages), 11 sources, APA, $ 95.95
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Abstract
The paper discusses how to attract more convention business to a city. The economic benefits of conventions and expositions are outlined. The paper addresses the issues of space--hotel facilities, exhibit space. It also looks at monetary issues.
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International Conventions and Protocols, 2006.
This paper discusses the international laws of war in light of the recent decision of the Israeli government to close the Karni Crossing from Gaza.
4,500 words (approx. 18.0 pages), 12 sources, $ 178.95
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Abstract
The paper explains how the recent decision of the Israeli government to close the Karni Crossing has sparked a great deal of debate within the international community. This paper delves into the tense history precipitating the closure, states the law which the Israeli decision to close the crossing appears to contravene, outlines the facts of the present situation in Gaza (that is to say, what the closure means for Palestinians), provides an analysis of why the closure is clearly a breach of international law (chiefly, the closure constitutes the use of force by an occupying power as per international conventions and protocols) and lastly, looks at what can be done to resolve this troubling situation without further rancor.
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Conventions of Tragedy in "Oedipus Rex", 2002.
Examines the components of Greek tragedy upon which Sophocles' "Oedipus Rex" are based.
2,283 words (approx. 9.1 pages), 5 sources, MLA, $ 70.95
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Abstract
By 500 B.C., Greek tragedy had reached a high point of popularity and was celebrated in religious festivals honoring Dionysus, god of wine and fertility. The paper shows that, taking it for granted that their audiences were familiar with the characters and themes, writers during this time based their dramatizations on myth and ritual. It discusses how, in addition to being familiar with the stories acted out on stage, the audience was aware of the workings of a Greek tragedy: how it progresses, what constitutes a tragic hero, what kinds of conflicts characters face, what moral statement or observation is being made. The paper shows that these four components provide the foundation for "Oedipus Rex" by Sophocles and its enduring success as one of the greatest tragedies of all time.
From the Paper
"As does the plot, the characterization of the main character Oedipus revolves around situation more than interaction with other characters. Oedipus is the epitome of tragic heroes, doomed by the excess of some good quality within himself and willing to take responsibility for his ensuing actions (Richards 742). This quality in Oedipus, his hamartia, or tragic flaw, is an unquenchable desire for truth no matter what the cost, a desire that stems from his pride of intellect. Initially, Oedipus, still basking in the glory of having solved the riddle of the Sphinx, exhibits great selfconfidence in his wisdom, oblivious to the fact that his own identity remains concealed from himself. It is this ignorance of the adage "Know thyself," combined with Oedipus' quest for truth, that constitutes tragic character. In terms of Greek tragedy, Oedipus' suffering from hybris, an arrogance resulting from excess (pride, in Oedipus' case), leads to hamartia, the aforementioned tragic flaw that brings about his downfall (Brown 96). The chorus recognizes that "the tyrant is a child of Pride/Who drinks from his great sickening cup/Recklessness and vanity/Until from his high crest headlong/He plummets to the dust of hope" (Sophocles 57)."
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Genre Conventions in Cinema and Film, 2002.
This paper looks at the depiction of women in the film making industry.
1,125 words (approx. 4.5 pages), 6 sources, $ 38.95
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Abstract
The author argues that the inferior societal role of women is still depicted in the way female characters are represented in films and that the male patriarchal dominance is still evident today. The paper focuses on two films: "Letter From an Unknown Women" and "The Piano", which speak for females and about females, and still fall victim to the male-dominated world in order to gain recognition and audience.
From the Paper
"Sex objects, housewives, heart broken lovers, and caring mothers this are the role of the female in Hollywood cinema and other film forms. The societal role of the women has changed yet social consciousness within the genre conventions of the women's film has remained. The women's film is made to target female viewers, by using topics, which the patriarchal Hollywood society of directors and producers feels are appropriate for the housewives of the post-war era to learn and be entertained about. With the evolution of the women's film, "women could ruin their lives - get free of everything - down at the movie house for twenty-five cents with butter on their popcorn." (Basinger, 1993) A women's cinema, is the first movement where women were making films themselves, for and about women. Although the women's movement has been active since before the 1950's when women were told to go back to the home and return to being both as consumers and items for consumption. Film and Cinema has continued to further suppress and enclose women within the male dominated hegemonic world, which continues to exist in the cinema with insignificant change or evolution."
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Gothic Elements in "Jane Eyre" and "Wuthering Heights", 2002.
Examines the similar gothic settings and themes in both Bronte sisters novels.
2,435 words (approx. 9.7 pages), 2 sources, $ 74.95
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Abstract
This paper looks at the many similarities in Emily Bronte's "Wuthering Heights", and Charlotte Bronte's novel, "Jane Eyre". The author discusses the gothic elements present in both books: the dark, the hidden, the secrets, and the brooding characters like Heathcliff and Mr. Rochester. The paper examines the element of the occult in both novels: ghosts, visions, the dead Catharine, and insane Bertha Mason Rochester.
From the Paper:
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Traditionally, Gothic elements were constituted by the ambiguous, the chaotic, the unenlightened, the supposedly irrational, the dark, the hidden, and the secret. According to literary handbooks, Gothic is a matter of decor and mood, of an obscurely pleasurable terror, of the nostalgic melancholy of ruins and of remote times and places. Conventions familiar in Gothic narratives include a vulnerable/curious heroine, a wealthy/enigmatic hero/villain, and a grand, mysterious dwelling concealing violent secrets."
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Cooper and Brown: Early American Literature, 2002.
This paper discusses in detail James Fenimore Cooper's "The Last of the Mohicans" and Charles Brockden Brown's "Wieland" and their contributions to the development of American literature.
1,690 words (approx. 6.8 pages), 2 sources, MLA, $ 54.95
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Abstract
The author reviews in detail the "The Last of the Mohicans" and "Wieland". She concludes that they are different in style and genre. Both Cooper and Brown contributed greatly to the development of a distinctly American literature. Cooper adapted the Romance; Charles Brockden Brown adapted the European Gothic novel to the American context. Cooper's influence is seen in frontier fiction; Brown's influence, in the works of Poe and Hawthorne.
From the Paper
"James Fenimore Cooper wrote in the vein of European Romantic writers like Walter Scott, while Charles Brockden Brown recreated the new form of the Gothic novel. Both adapted the original forms to the American experience, which meant not only embedding them in the land but also shifting the focus from aristocratic European characters to the common man in the democratic social order in America. Both Cooper and Brown elevated the common man over any ideas about the superiority of the aristocracy and did so in the American setting."
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Gothic Literature, 2002.
A discussion of the theory of excess within Gothic Literature and the differences between male and female Gothic with a focus on Matthew Lewis's "The Monk" and Ann Radcliffe's "The Italian".
2,440 words (approx. 9.8 pages), 10 sources, MLA, $ 74.95
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Abstract
This paper examines how Gothic Literature pushed the boundaries of the romance narrative to create stories that were fuelled with fantasy and desire which expanded the realm of the imagination by exciting mystery and intrigue, bringing to the foreground an animated spectacle of terrific apparitions and horrifying spectres. In particular, it demonstrates how within the novels "The Italian" and "The Monk", both Lewis and Radcliffe contrive to produce emotions and passions from an animated and mysterious literary fiction. It looks at how Radcliffe's use of excess is to create suspense and mystery, fear and anticipation, in a more passive manner that evokes reader empathy while Lewis theatrically uses excess to heighten the realism and wickedly expose the precarious features of Gothicism. It shows how both undeniably use it to create excitement and passion at a socially transgressive time.
From the Paper
"It is the Monk Schedoni in The Italian who warps the Marchesa's already vicious mind into acts of iniquitous behaviour. Although the Marchesa's aristocratic values concerning 'bad blood' between Vivaldi and Ellena start the cogs turning in the wheel of evil towards Ellena, it is the Monk who systematically perverts the thoughts of the Marchesa from wrong to evil: "He wished to prepare her for measures, which might hereafter be necessary to accomplish the revenge he meditated, and he knew that by flattering her vanity, he was most likely to succeed." (Italian 130) However Schedoni uses the Marchesa for his profane revenge on the consequences of primogeniture and seeks to repair the damages caused from his exclusion of his family on that of the Marchese di Vivaldi."
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Gothic Revival Architecture, 2002.
This paper discusses that the Gothic style was used by the Ecclesiologists in their Gothic Revival church architecture.
2,525 words (approx. 10.1 pages), 4 sources, $ 93.95
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Abstract
This paper explains that the Gothic style was more or less successfully translated to the construction of the Christ Church Cathedral of Montreal. The author points out that, originally, this style was developed in England in the early part of the nineteenth century and became a defining style in Canadian architecture from the 1840's to the early twentieth century.
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Institutional Slavery & the 1787 Constitutional Convention, 2001.
Examines relationship of slavery issue to political decisions made at Convention. Overview of slavery in late 1780s; debates over issue at Convention. The Great Compromise. Ban on international slave trade. View of Abolitionists.
3,150 words (approx. 12.6 pages), 19 sources, $ 111.95
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From the Paper
"This research paper examines the relationship between the issue of slavery and the political decisions made at the Constitutional Convention of 1787. The institution of slavery of blacks (African Americans) in the original colonies which made up the new union was left intact as a result of the Constitutional Convention and in some important respects its constitutional status was buttressed. At the same time, partial limitations were placed on its spread by the constitutional phased in abolition of the importation of slaves into the United States and the contemporaneous Congressional ban on its spread into the Northwest Territory. These seemingly contradictory political decisions arose out of the dynamics of the debates at the Constitutional Convention which reflected conflicts between..."
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Pastoral Convention in Poetry, 2002.
A research paper on the use of pastoral convention in poetry.
2,105 words (approx. 8.4 pages), 15 sources, APA, $ 66.95
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Abstract
This paper on the pastoral convention in poetry describes the historical roots of the convention and its development. It shows that pastoral poetry is more than a mere convention and many works pertaining to the convention are of a high literary merit with social, political and personal thoughts evident in the work that can only be truly appreciated if they are examined in detail beyond the face value. The paper uses examples of poems that may be seemingly relatively simple with the themes of the convention have a deeper meaning that depends on the reader's interpretation.
From the Paper
"Pastoral Poetry is a literary work dealing with the lives of shepherds or rural life in general. It typically draws a contrast between the innocence and serenity of simple country life and the misery and corruption of the city, especially court life. The Pastoral imitates rural life, usually the life of an imaginary Golden Age, in which the loves of shepherds and shepherdesses play a prominent part. The term today loosely pertains to poetry that contains a reference to rural life."
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