| Papers [1-15] of 49 :: [Page 1 of 4] | | Go to page : 1 2 3 4 —> | Search results on "ART SEDUCTION": |
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The Art of Seduction, 2006.
An analysis of the poem "To His Coy Mistress" by Andrew Marvell.
1,625 words (approx. 6.5 pages), 1 source, MLA, $ 52.95
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Abstract
This paper studies the poem "To His Coy Mistress" by Andrew Marvell, within the context of poetry as seduction. Specifically, the paper examines how seduction becomes Marvell's art and argument, directed solely toward the object of his affection, his beloved mistress. The paper explains that on the surface, Andrew Marvell's poem, "To His Coy Mistress," appears to be nothing more than an invitation for a romp in the hay. However, the paper maintains that there is a much deeper theme that lies at the heart of the poem. The paper discusses how the utilizes casual sex as the vehicle to stress his urgency for intimacy. This urgency, according to the paper, lies in the fact that we should make the most of our lives with the time we have now rather than thinking, or relying, too heavily on the future. The paper details several literary techniques, which the poet employs to illustrate the art of seduction, including persuasion, truth, passion, the aspect of time, and the certainty of death. The paper quotes extensively from the poem in order to illustrate and substantiate its theses.
From the Paper
"The poet also employs persuasion as a seductive tool, which emphasizes the theme of the poem. The poet's power of persuasion is powerful and, upon first reading, it seems he is using it to advance his own purposes. There is no doubt that this man is in love but there is also no doubt that he wants something in return for this love. However, his power of persuasion is strong and convincing. For instance, the first words from the poet's mouth are, "Had we but world enough, and time" (1). This is a wise approach to his art of seduction because what he is saying is true. His mistress, or no one else for that matter, can argue with this assertion. In order to prevent her from becoming offended, he is also very quick to point out that her coyness would not be a crime if the two of them did have all the time in the world. He goes on to say that they "would sit down, and think which way/To walk, and pass our long love's day" (4-5). Here we can see how the poet is using his seduction technique very wisely in that he is fostering it with logic. The poet does not want to appear to be heartless or simply after sex. In other words, he wants his lover to know that he sincerely cares for her but there is more to their love than she might realize. His aim is to bring these things to her attention and his method is through seduction."
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The Theme of Seduction in "Madame Butterfly", 2002.
An exploration of the key relationship in "Madame Butterfly" with a focus on the theme of seduction.
1,324 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
This paper focuses on the theme of seduction in the play ?Madame Butterfly?. The writer concentrates on the complicated relationship between Gallimard and Song. The author indicates that while it appears to be the story of a man being tricked by a woman, it later becomes known that Song is actually a man trying to save himself from the new Chinese communist government. The paper concludes by highlighting how the themes of seduction could be accentuated in a production of the play, through the set, lighting and music.
From the Paper
"In the play the character Gallimard, is seduced by both Song and by his own idea of Song. The seduction of Gallimard is a seduction perpetrated by his own stereotyped ideal of what an Asian woman is and can be for a white man mainly, submissive and by his actual seduction by Song the actor. In the very beginning of the interaction between Gallimard and Song there is the hint of a deception. Song laughs at him when he tells her that she made a convincing butterfly. ?Convincing as a Japanese Women?? she says. (Hwang, 1988 17) Yet, Gallimard must have given her some real indication that he believed that she was a woman, or she was just desperate to win the favor of someone who could give her the information that she needed to save herself".
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Nonverbal Cues as Strategies of Seduction, 2000.
A research proposal for a multi-methodological study on the role of nonverbal cues as seduction strategies in the pre-dating stage.
1,098 words (approx. 4.4 pages), 6 sources, MLA, $ 38.95
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Abstract
This paper presents a proposal for a research study that would concentrate on the very initial stage of dating or romantic relationships in which both women and men have not been acquainted. The proposed study will focus on the strategies that both women and men use to seduce the desired counterpart. The proposed study will also look at the habitual usage of nonverbal cues such as eye contact, smiles and gender related body language aimed to initiate the dating process.
Table of Contents:
Proposal
Conclusion
From the Paper
"Much research has been conducted on dating habits within the field of interpersonal relations. Studies on the same have ranged from the initial stages of dating (Riggio & Woll, 1984; Bell & Rollof, 1991) to the following and final stages concluding in permanent relationships (Gaines, 1996). This present study will primarily concentrate on the very initial stage of dating or romantic relationships in which both women and men have not been acquainted. Moreover, the study will narrow down its focus even more, on the strategies both women and men use to seduce the desired counterpart which they are not acquainted to. In other words, the research will concentrate on the very initial stage of dating where both sides have not met each other thus investigating the habitual usage of nonverbal cues such as eye contact, smiles and gender related body language (flipping the hair) aimed to initiate the dating process."
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Rape/Seduction Scene in "Tess of the d'Urbervilles", 2008.
This paper is an analytical commentary on a passage from Thomas Hardy's "Tess of the d'Urbervilles".
3,590 words (approx. 14.4 pages), 1 source, MLA, $ 100.95
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Abstract
The author analyzes the controversial rape/seduction scene in "Tess of the d'Urbervilles". The author notes the contrasts within the scene, particularly between the serenity of the physical environment and the characters within that environment. Also, the author discusses the importance of the ellipses within the passage as an integral narrative strategy.
From the Paper
"As we read the text we feel that something wrong is to happen, and yet we are held in suspense. Some details we read actually make the reader feel that her having sex with him was unavoidable: she weeps (l 33) as if she were having a premonition that it will happen and were afraid of that, or, lines 19 and 20, "The Chase [is] wrapped in thick darkness, although morning [is] not far off"; it may imply that Tess will have to cope with bad days, hard times ahead. Besides let's not forget the context; Tess has just learnt that Alec had given her father a new horse, so she certainly feels grateful to him for it, and the reader easily guesses how Alec wishes to be rewarded. As for Alec, when he gets lost in the darkness, he is (instinctively?) led to Tess (lines 24-25-26: "he at length heard a slight movement of the horse close at hand; and the sleeve of his overcoat unexpectedly caught his foot. "Tess!" said d'Urbervilles"). It is as if they could not escape from each other, and especially Tess, as Alec is forcing destiny, for example by getting lost with her on purpose. We learn that "Tess's own people" are rather fatalistic: they are tired of saying among each other in their fatalistic way: "It was to be". There lay the pity of it". So we may think it is also what Tess thinks of this event. From line 42 ("why") down to line 44 ("receive"), the narrator clearly contends that it was her fate to meet Alec and to appeal to him and to have sex with him. The question from line 37 down to line 41 ("But, might some day, where was Tess's guardian angel? Where was the Providence of her simple faith?") may imply that her life, her fate could have been different, better, or at least it may be the narrator's anticipation of the reader's reaction, and the following lines might be answer (from line 39 down to line 41)."
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Ovid's Poem "Art of Love", 2001.
Addresses the question of whether Ovid's "Art of Love" was subversive to the rule and reforms of the Roman emperor Augustus.
1,370 words (approx. 5.5 pages), 1 source, $ 45.95
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Abstract
This paper looks at Ovid's poem Art of Love, which cheerfully preached the art of seduction and adultery. Eventually Augustus, the ruler of Rome, regarded Ovid as a threat to his moral regime and exiled the poet in 8 C.E. This paper looks at "Art of Love" and examines how Ovid delighted in poking irreverent fun at everything from the sanctity of Roman marriage to the serious consequences of adultery instituted by the Augustan reforms, and how this was considered subversive to Augustan reform.
From the Paper
"Augustus greatly preferred the poetry of his patron poets, specifically Virgil and Horace. Ovid, however, scorns Virgil?s Aeneid, an epic poem portraying a panoramic history of Rome and its destiny. The hero, Aeneas, was driven by his piety, that is, his duty towards the gods and his devotion to his father. Ovid exhibits his rebellious intentions by mocking the traditional aspects of an epic poem. For example, Virgil begins the Aeneid by summoning the Muses and asking for their guidance in his telling of the tale. Ovid, on the other hand, does not abide by this custom; instead he grants himself credit for having previous knowledge on the subject of his writing. He states his work is clearly ?based on experience: what I write, believe me, I have practiced? (Ovid 167). Thus, Ovid obviously states he has no need for the aid of the Muses, at the same time taunting Augustan tradition."
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American Decorative Arts, 2006.
A history of the interest in Orientalism in America and its influence on the decorative arts.
2,464 words (approx. 9.9 pages), 10 sources, MLA, $ 75.95
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Abstract
This paper begins with a look at what sparked the great interest in Orientalism beginning with the 19th century and continuing until the 1930s. The paper also describes the influence that Orientalism had on American tastes in decorative arts and explains that this interest in Orientalism was no doubt encouraged by the opening of the Suez Canal which had the effect of providing artists with abundant and seductive new motifs for their work.
From the Paper
"Although Bonaparte had had the idea years earlier, it was in 1854 that the French diplomat, Ferdinand de Lesseps persuaded the Viceroy Said of Egypt to grant him the concession to cut a 100-mile long canal across the isthmus of the Suez. DeLesseps had cultivated the Viceroy Said even when the Viceroy was a young man and De Lesseps was the French ambassador to the Egyptian court" (African Business 2003, p. 64). "The creation of the Suez Canal captured the imagination of people around the world, and its opening in 1869 was a party to end all parties. As the champagne flowed, it was hailed as a symbol of progress that would serve to unite the world. You might even call it one of the first adventures in globalization-an infrastructure project designed to strengthen links between Europe, East Africa, the Middle East and the Orient" (African Business 2003, p. 64). In hindsight, of course, it did not work out as the great peace- and commerce-maker some may have had in mind."
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?Three Seductive Ideas?, 2002.
A critical review of the book ?Three Seductive Ideas? by Jerome Kagan which gives an unprecedented glimpse into the foundation of human thought.
1,320 words (approx. 5.3 pages), 0 sources, $ 44.95
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Abstract
This paper analyses section by section ?Three Seductive Ideas? by Jerome Kagan. The book, a blend of philosophy and psychology, focuses on three specific issues that potentially mar the accuracy of empirical studies:The tendency towards over-generalization, the belief in infant determinism and a bias towards a pleasure principle that guides human behavior.
From the Paper
"Three Seductive Ideas is divided into three sections, plus the Prologue and Epilogue. The first section, ?A Passion for Abstraction,? deals with overgeneralization, what he calls ?loose thinking,? (p. 1). Kagan believes that the general public remains particularly vulnerable to the passion for abstraction because of the basic human need to apply specific knowledge to the world at large. However, social scientists perpetuate this problem by resting on species-wide assumptions and context-wide assumptions. What a laboratory rat can do, we assume so can we; what an eight-year old boy thinks and feels we assume will apply to all others in his age group, regardless of gender or upbringing. These assumptions are particularly harmful when studying psychology because of its prevalence today in popular culture. Kagan hones in on four specific areas where generalization is evident: fear, consciousness, intelligence, and temperament. Entitled ?The Allure of Infant Determinism,? the second section of the book confronts the prevalent myth that the first few years of life leave an indelible mark on our psyches, either scarring or blessing us for life. Kagan refutes this widespread fallacy and supports his theories with ample evidence as he does throughout Three Seductive Ideas. Finally, the third section broaches the notion of the pleasure principle, which is deeply rooted in Western philosophy. In the most philosophical section of the book, ?The Pleasure Principle,? Kagan questions morality and ethics and attempts to formulate a new understanding of what motivates human beings to act altruistically. Current scientific knowledge, Kagan claims, is sorely lacking in all three of these areas, impeding honest insights into human nature."
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"Seductions Of Crime" ( Jack Katz ), 1999.
Reviews this work on crime as an evil, amoral, existential, god-like behavior, based on interviews with criminals.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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Abstract
Jack Katz, in Seductions of Crime, explores the evil of crime as if it were a realm, with its almost sacred aspects, starkly opposed to religion, but at the same time with startling similarities. Katz sees much criminality not as a result of economic need, which most sociologists would argue, but as something more existential, more associated with the transcendent aspect of power, as if criminals were trying to be god-like in their behavior.
From the Paper
"Jack Katz, in Seductions of Crime, explores the evil of crime as if it were a realm, with its almost sacred aspects, starkly opposed to religion, but at the same time with startling similarities. Katz sees much criminality not as a result of economic need, which most sociologists would argue, but as something more existential, more associated with the transcendent aspect of power, as if criminals were trying to be god-like in their behavior. The author is aware of the sometimes shocking nature of his study, but he will not be deterred. He claims to seek to understand the criminal mind and personality as objectively as possible, but the reader cannot avoid feeling that Katz's objectivity verges almost on admiration at times, or at least appreciation for the criminal mind, personality and behavior."
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"Seductions of Crime" ( Jack Katz ), 1999.
Critical review of work arguing that robbery is a crime of dominance rather than economics.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"In Seductions of Crime, author Jack Katz contends that violent crime, particularly robbery, is an offense motivated primarily by the perpetrator's desire to demonstrate dominance. This argument lacks sufficient merit. People who commit robbery are pushed by social background forces rather than enticed by psychological foreground factors. Robbery is first and foremost an economic crime.
Katz focuses on African-American males in his discussion of robbery. The author presents data that clearly show black males disproportionately represented in arrest rates for this crime. Katz contends that "doing stickup" is a byproduct of the ethnic subculture of the streets: "For some urban, black ghetto-located young men, the stickup is particularly attractive as a distinctive way of being black" (Katz, 1988, p. 239). Here, the.."
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"Betrayed Into Motion", 2002.
An analysis of the article "Betrayed Into Motion: The Seduction of Narrative Desire in M. Butterfly" by Tina Chen.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper will discuss the article "Betrayed Into Motion: The Seduction of Narrative Desire in M. Butterfly" by Tina Chen. By analyzing the different aspects of performance perception within this paper, Chen utilizes the many aspects of theatrical critique to show Madame Butterflies deviation from common theater tradition.
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Pre-Code Hollywood, 2002.
The portrayal of seduction, sex and morality in 1933 Hollywood.
2,083 words (approx. 8.3 pages), 10 sources, MLA, $ 65.95
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Abstract
This paper explores the depiction of seduction, passion and female costuming in the Hollywood Production Code of the 1930 era. It suggests that although the code prohibited most sexy behaviour from women, the studios continued to fluant sex in their pictures. It also pinpoints many of the causes of the Production Code of 1934 administration, and discusses the history of the code from it's beginnings in the 1920s to its end in the 1960s.
From the Paper
"?The complete spectrum of vice, not sex alone, infested the films ? an epicurean spirit of enthusiastic indulgence in activities illegal, forbidden, and stimulating,? meant that by 1930 Hollywood was in desperate need of regulation (Doherty 103). State and City censors passed legislation against certain films, beginning with Chicago in 1907, in response to public protests (Bernstein 1). Censorship boards were established to review and license moral and decent films; by 1922 six states had organized censorship boards (Jowett 25). Hollywood?s self-regulation policies functioned as a middle ground between the industry and their enemies, reform groups and state regulatory agencies (Jacobs 87). The result of self-regulation was the Production Code of 1930; a document loosely outlining the principles filmmakers should follow in order to produce moral films. Sklar writes, that the Code was written with ?the precise aim of uniting religious morality with box-office necessity? (173). This document was based on the ?Don?ts and Be Carefuls? of 1927, an earlier attempt at influencing Hollywood to include less sex and violence in their features (Vasey 104). The Code was divided into two parts; one outlining the moral vision films should contain, and the other a precise listing of forbidden material (Doherty 7). The Production Code could not have arrived at a worse possible time for Hollywood. In 1930 the studios were still making money, despite the depression, but by 1932 theatre attendance had dropped, dragging down the industry?s profits (Black 73). Their initial efforts were mainly motivated by a fear of a boycott during the worst years of the Depression, but once they realized what the audience wanted to see, they could no longer afford to censor potential box-office stars like Mae West (Cook 283)."
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Depending on the Future, 2003.
A rhetorical analysis of Marc Stiegler's "The Gentle Seduction".
1,641 words (approx. 6.6 pages), 1 source, MLA, $ 53.95
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Abstract
This paper analyzes the dangers of technology as presented in Stiegler's popular short story, "The Gentle Seduction." The paper states that technology has dehumanizing and addictive properties and supports this with many quotes and analyses from the text.
From the Paper
" ?The Gentle Seduction,? by Marc Stiegler paints for us a portrait of what he envisions as the world of the future. While he attempts to portray this future as bright and positive by having us relate to the protagonist who reluctantly but gradually embraces it, the reader finds instead only terror at the thought of a future wrought with increasingly dangerous and dehumanizing addictions, as mirrored by the protagonist?s actions."
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Language of Advertising, 1990.
This paper discusses advertising, the seduction and manipulation of consumers through the written word: Symbols, color, status appeal, typeface, setting and implied messages.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"The use of advertising to sell products has been part of man's culture since the ancient times of Rome and Greece. Today it permeates society at all levels through the medium of print, radio, television, film, video and billboard, attempting to seduce and manipulate the consumer in order to secure or make a sale. The purpose of this paper will be to analyze just what is this specifically designed "language" of advertising, its effect on the buyer, and how it utilizes such elements as the written word, symbols, colors, status appeal, typeface, setting and implied messages,
The 1986-1987 Advertising Red Book lists 3562 advertising agencies in the United States.1 This figure includes the big ten New York agencies down to the two-person shops. All handle three elements within their business: client relations, creative ... "
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"To His Coy Mistress" ( Andrew Marvell ), 1999.
Examines this poem of seduction including the speaker, object of affection, poem's argument and dramatic structure.
675 words (approx. 2.7 pages), 3 sources, $ 23.95
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Abstract
Andrew Marvell was one of the so-called metaphysical poets of the seventeenth century, a title conferred on a group of poets with certain similar approaches by Herbert Grierson and T.S. Eliot. Eliot himself notes that "[n]ot only is it extremely difficult to define metaphysical poetry, but difficult to decide what poets practice it and in which of their verses" (Eliot 23).
From the Paper
"Andrew Marvell was one of the so-called metaphysical poets of the seventeenth century, a title conferred on a group of poets with certain similar approaches by Herbert Grierson and T.S. Eliot. Eliot himself notes that "[n]ot only is it extremely difficult to define metaphysical poetry, but difficult to decide what poets practice it and in which of their verses" (Eliot 23). Grierson offers a definition when he states that metaphysical poetry is poetry which "has been inspired by a philosophical conception of the universe and the role assigned to the human spirit in the great drama of existence" (Grierson 3).
"To His Coy Mistress" is a poem of seduction offered as an argument directed at the lady of the title. Now, he offers an argument as to why she should submit to him, and he uses an extended metaphor to describe the life-cycle, to show how short ..."
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Adam and Eve, 2008.
A look at the themes of righteousness and seduction in the story of Adam and Eve.
1,905 words (approx. 7.6 pages), 4 sources, MLA, $ 60.95
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Abstract
This paper examines how, in its essence, the story of the Garden of Eden is recognized as a recounting of man's fall from paradise. It looks at how deception, betrayal and transgression of God's will all play a significant part in what would come to be known as Original Sin and how man's relationship with God is intervened upon by Satan for the first time and his innocence is forever corrupted. The paper also discusses how, although man emerges from the garden as God's most loved creation, the acquaintance between the subject and his creator would never again achieve the closeness it reveled in while Adam and Eve inhabited the garden.
From the Paper
"The subtext of this story, however, relays a tragedy on the same order and reflects another of man's elusive and yearning desires in that which would bridge the gap between man and woman. Adam and Eve are not simply the first man and woman. They are the first spouses and lovers as well. And in the biblical telling of their expulsion from the garden, there is a very specific sequence of events which implicates them both in separate ways as deviating from the wishes of God. Prior to the infamous moment when Eve and then Adam indulge in the forbidden fruit of the tree of knowledge, the two share a pure love, uninhibited by doubt and fear on one hand and also free of baser, lustful impulses on the other. After bending to temptation however, the two undergo a very tangible and fundamental alteration that, above all else, excepting their mutual relationship with the lord, fully re-aligned their relationship with each other. "
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