| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BLACK LIFE REPRESENTED THEATER": |
|
|
Black Life Represented in Theater, 2002.
This paper looks at Lorraine Hansberry's play "A Raisin in the Sun", the first truly successful play by a black playwright.
975 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
The paper studies the characters in the play, indicating that they are clearly derived from Hansberry's own experience, for she was a young black woman who grew up in this era and her writing shows the depth of first-hand understanding. Through examples in the paper we learn how the play addresses issues of slavery, freedom and the struggle to achieve the American dream.
From the Paper
"The kind of experience the Youngers have leads them to a spiritual and familial regeneration, and they transcend their ghetto not by moving to the suburbs but by understanding themselves and their place in black society. The prevailing racism has left the Youngers with a feeling of inferiority they try to overcome. The anger that such treatment creates is subdued in this family. The one vital element in the Younger family that sets them apart from much of the black experience today is the fact that they are, in the end, a family. The breakdown of the family in the ghetto is much discussed today. The Youngers have stayed together, something difficult even in the 1950s and something which shows them as atypical. Hansberry is not painting a false picture, and she is promoting the idea that family can help salve some of the problems faced in a racist society."
| |
|
Issues in Black Theatre, 2004.
Looks at issues of racial integration and cultural assimilation through two texts, Alice Childress's "Wine in the Wilderness" and Amiri Baraka's "Dutchman."
2,080 words (approx. 8.3 pages), 1 source, MLA, $ 65.95
»
Click here to show/hide summary
Abstract
This paper delves into the depths of the issues of racism and cultural assimilation as addressed in African-American theatre. It examines two plays, Alice Childress?s ?Wine in the Wilderness?, which examines assimilation on a personal level and brings up issues of how it is that we, as a society, develop this assimilation, both consensually and nonconsensually, and Amiri Baraka?s ?Dutchman?, which looks at the effects of assimilation and the forces that drive it.
From the Paper
"America has been called the melting pot of the world. We are a nation composed of and created by the integration of dozens of cultures over two-hundred years. Unfortunately, true racial integration is something that has really only been developing in the past thirty years or so. With this integration come the eventual questions of assimilation and cultural fusion. The answers to these questions will form the basis of the future of our society and how the world culture develops."
| |
|
'Shades of Black - Conrad Black, his Rise and Fall', 2006.
A discussion and review of Richard Siklos's well written biography of Conrad Black's career, "Shades of Black - Conrad Black, his Rise and Fall".
1,800 words (approx. 7.2 pages), 1 source, $ 71.95
»
Click here to show/hide summary
Abstract
This paper reviews "Shades of Black: Conrad Black - His Rise and Fall", Richard Siklos's well written biography of Conrad Black's career and dramatic collapse after 2002. The paper explains that Siklos interviewed more than 200 persons before a 1995 edition of which this volume is a revised expansion featuring another 50 interviews. Siklos also spent hours speaking to Black, indirectly attempting to account for his extravagance and need to impress others, atop his drive for power. Much is revealed through Siklos's notes on Black's wife, the former Barbara Amiel. The paper reports that Siklos leads the reader through a summary of Black's family background, his youth in north Toronto's Bride Path area, his expulsion from Upper Canada College, and later, Trinity College School, before Thornton Hall, Toronto.
| |
|
James Cone: Black Theology and the Black Christ, 2006.
An analysis of the term theology and the essential concepts of "Black Theology" as it pertains to James Cone's idea of a "Black Christ".
4,374 words (approx. 17.5 pages), 15 sources, APA, $ 115.95
»
Click here to show/hide summary
Abstract
This paper examines how James Cone believes that if blacks, particularly African-Americans, don't wake up and change the traditional American image of Jesus, they will probably never grasp the true philosophy and mission of Jesus. It discusses how African-Americans must see Jesus as a black man that endured the struggle and how it is the duty of black preachers, pastors and theologians to advocate black theology, which includes the black image of Jesus, for the sake and survival of the African-American experience.
From the Paper
"When one begins to think about God, questions arise as one lacks significant knowledge of God. When one begins to engage in such a dialogue, or entertains such questions, one has clearly entered the community of theology. The articles states: "The attempt to think about God leads immediately to a host of related question which are included under the term theology. First, there is the question of mans relationship to God, the ultimate source of things? Then we must ask about revelation to God, that is, how does man know what God is like? If God must reveal himself where and how is he revealed?" These are prospective questions that man can't escape when thinking about God or in dialogue about God. "
| |
|
Japanese Noh Theater and the Traditional Western Theater, 2000.
A comparison of the evolution and development of two distinctive forms of theater.
1,965 words (approx. 7.9 pages), 6 sources, $ 62.95
»
Click here to show/hide summary
Abstract
The Noh Theater of Japan is an extremely ritualized tradition, and traces of the Noh Theater are found in Western theater. This paper explores many of the distinctive elements of the Noh Theater, such as the use of masks, the themes presented within plays, and the evolution from the old Noh Theater to a more modern presentation of Noh techniques. While the focus of this paper is on the Noh Theater, comparisons are drawn between the Noh Theater and traditional Western theater. There is also a discussion of the more dialogue-driven kyogen style of Japanese theater in respect to the more ritualized Noh Theater.
From the Paper
"The impact on the Noh Theater on the Western theater can be seen to have occurred in a very diverse way. It appears that the Western theaters managed to assimilate various components from the Noh Theater, such as the use of the hitamen in performances to convey a blank countenance. However, the greatest aspect of the Noh Theater on the West is found within the development of more exacting performance techniques, where rather than a single production being subject to incongruities and shoddy acting, the standards of acting were promoted to a higher level overall."
| |
|
New York City as Represented in Two Films, 2002.
An examination of the portrayal of New York in two films - King Vidor?s "The Crowd" (1928) and "King Kong" (1933), directed by Merian C. Cooper.
2,285 words (approx. 9.1 pages), 3 sources, MLA, $ 70.95
»
Click here to show/hide summary
Abstract
This paper examines the way in which New York is portrayed in these two classic movies. The paper shows how in both films, New York is represented as a foreboding steel and concrete landscape, a haven for cynics who care little about naive newcomers and a center for machinery and industry which often does as much harm as good. The paper compares and contrast the storylines of the two movies - "King Kong" about a huge gorilla monster trying to escape the city but causing panic and havoc in his wake; and "The Crowd" which is about a common man, lost in New York City, seeking to find those basic qualities of success, happiness and home.
From the Paper
"The Crowd and King Kong?s use of New York, at lease on the surface, seem to be diametrically opposite. Vidor?s film was a fable, grown out of and set in the most populist and socialist days of the country, when artists were eager to include the struggle of the common man in their themes. Kong, meanwhile was more of a ?B movie,? less well acted and hinging its success on what at the time were breakthroughts in stop-motion animation and special effects."
| |
|
Australian Nation Represented through Art, 1999.
An essay outlining how the Australian national view can be interpreted from the artist, McCubbin's work, specifically, "A Bush Burial".
1,522 words (approx. 6.1 pages), 28 sources, APA, $ 50.95
»
Click here to show/hide summary
Abstract
An essay outlining how the views and perception of a nation can be both represented and influenced by the art of that nation. In the late 19th century, although two-thirds of the Australian population lived in an urban setting, a bushman identity emerged, both within Australia and in global perceptions of Australians, that was fuelled by such artistic work as McCubbin's paintings. Through an examination of McCubbin's, "A Bush Burial", this essay explores the values of Australia and Australians and their view of themselves as a nation.
From the Paper
"In the late nineteenth century an appreciation of the Australia bush emerged along with a fascination for its populace. Fuelled by contemporary art and literature, a common ?bushman? image surfaced as a popular Australian view of the nation. Although two thirds of the Australian population lived in urban settlements, paintings such as McCubbin?s ?A Bush Burial? romanticised the rural lifestyle and assisted in the development of a bushman identity whose valiant qualities urban dwellers liked to imagine they too possessed. However, historians have difficulty in assessing and agreeing on the reality of this image as, when writing upon a view of the nation, each historian is affected by the concerns embedded within their own time period which, in turn, influences their interpretation."
| |
|
Pain as Represented in the Works of C. S. Lewis and David Morris, 2002.
This essay explores how the issue of pain is reflected in the writings of C.S Lewis and David Morris.
800 words (approx. 3.2 pages), 3 sources, MLA, $ 28.95
»
Click here to show/hide summary
Abstract
This essay explores the works of David Morris and C. S. Lewis and how each believes that pain contributes to spirituality and faith. Particularly, the paper explores the texts "The Culture of Pain" (Morris) and "A Grief Observed" (Lewis). The author of the paper discusses how pain was treated in the past via religion as "visionary" and how it is treated these days as first crippling, then visionary. The paper shows that Morris believes pain can be visionary?hence his term ?visionary pain? while Lewis believes pain is the instrument not of a cosmic Sadist, but a cosmic Healer.
From the Paper
"The pain C. S. Lewis describes feeling after the death of his wife in A Grief Observed is?at least initially?radically different than the pain David Morris describes in the chapter six, ?Visionary pain and the politics of suffering,? in his book The Culture of Pain. The design of this essay is to explore these two authors, uncovering how each believes pain contributes to spirituality and faith."
| |
|
Terrorism as Represented in "Wild Thorns", 2005.
Examines the weaknesses of Sahar Khalifeh's attempts to address terrorism in the novel, "Wild Thorns".
1,005 words (approx. 4.0 pages), 1 source, APA, $ 35.95
»
Click here to show/hide summary
Abstract
This paper explains how author Sahar Khalifeh shows many weaknesses in her novel, "Wild Thorns," in reference to the representation and misrepresentation of terrorism. Included in this paper is an analysis of the text, which is supported with textual examples.
From the Paper
"The endless list of names of characters, including Basil, Adil, an additional Adil, Usama, Zuhdi, Sabir, Abu Sabir, Um Sabir, and so on can become weighty and nearly impossible to absorb. When an individual is not familiar with the nature of names from a certain culture, it is not easy to extract the identities of the individuals and memorize them. This theme, running throughout the novel, contributes to the confusion of the boundaries of terrorism that Americans have acquired over the past years."
| |
|
Black Entrepreneurship, 2007.
This paper discusses the books 'Black Wealth Through Black Entrepreneurship' by Robert Wallace and 'Black Entrepreneurship in America' by Shelly Green and Paul Pryde.
1,159 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
In this essay, the writer examines two books addressing the topic of black entrepreneurship, Robert Wallace's 'Black Wealth Through Black Entrepreneurship' and Shelly Green and Paul Pryde's 'Black Entrepreneurship in America'. The writer notes that both volumes examine the relative lack of wealth in the black community, despite the removal of legal restrictions on black participation in the business area, such as limitations on ownership, hiring and promotion discrimination, and discrimination in lending and capital provision to minority entrepreneurs. The writer discusses that each book analyzes the specific influences on the black community, and possibly the culture, which contribute to this lack of entrepreneurship and capital ownership.
From the Paper
"Green and Pryde's book more directly addresses the issue, specifically examining social criteria necessary for a business class to be created and the lack of these phenomena in the black community. The need for resources is a major factor in the creation of a business class and in the encouragement of entrepreneurship among a community, and although the black communities tend to have fewer financial resources than their white counterparts, Green and Pryde note that they are far from impoverished as a class. They note that new economic activity tends to spring up where resources, especially money, are available to support it, but in spite of this, the black community has not seen such a spurt of new business ventures. The black community, say Green and Pryde, is not nearly as poor as its cultural mythology and popular culture would have it believe."
| |
|
Italian Renaissance Theatre, 2002.
A discussion of the Commedia Del Arte Theatre and contributions of Italian Renaissance theatre to Western theater.
1,453 words (approx. 5.8 pages), 8 sources, MLA, $ 48.95
»
Click here to show/hide summary
Abstract
This paper is in two parts. The first part discusses the Commedia Del Arte or drama that employs comedy and has a happy ending, which began during the Italian Renaissance. It examines its origins and its popularity as well as its methods of acting. It evaluates its effect on modern comedy such as the concept of slapstick, timing in the repartee and romantic comedy. The second part outlines the other contributions of Italian Renaissance theatre to Western theater such as the introduction of the profession of acting and theatre and set design.
From the Paper
"Commedia Del Arte made many contributions to modern comedy. First, timing was important in the repartee and has been in comedy ever since. Second, slapstick comedy, such as that practiced by Chaplin, Keaton, and Lloyd is a direct descendent of Commedia Del Arte. Third, modern romantic comedy had it origins in the plots and characters of Commedia Del Arte. Finally, both situation comedy and animated cartoons employ elements of Commedia Del Arte (Suzuki; Commedia Dell?Arte)."
| |
|
The Elizabethan and Jacobean Theater.
This paper is an extensive discusses of the history of Elizabethan theater, which existed during the reign of Queen Elizabeth I, and the Jacobean theater, which followed Elizabethan theater in the reign of James I.
6,960 words (approx. 27.8 pages), 18 sources, MLA, $ 156.95
»
Click here to show/hide summary
Abstract
This paper explains that the most expressive period in the history of the English theatre was the period of Queen Elizabeth I, the second half of the 16th century in which William Shakespeare was the most significant dramatist of the period. The author points out that Philip Henslowe, a well-known theater manager of the time, left a diary, which recorded the organization of theater companies, the props, the plays, the dramatists, and even the building of the theater itself. The paper relates that, in the Jacobean theater, which is considered to be a continuation of the Elizabethan period, the plays of Shakespeare and his contemporaries were written more to cater to the tastes of the affluent society; the closest modern corollary to these plays is popular cinema, with its films of adventure, violence, horror, or sentimental romance.
From the Paper
"Thus by the period that Shakespeare was writing his plays, there were more playhouses in London than in any other European city. The plays were enacted in the courtyard of inns, or sometimes in the houses of noblemen, before this period. But a noble had to be watchful as to which play should be permitted to perform in his house. Anything that was contentious or political was prone to get him in problem with the crown. Not much is known about the Elizabethan indoor theatres as they were smaller in size and were roofed. Companies did their shows in winter when it was too cold to be outside, signifying that the performance was almost certainly alike. Actors had attained an adequate level of monetary and social strength, by the time of Shakespeare."
| |
|
Representative Democracy, 2008.
This paper explores whether democratic representatives truly represent their voters.
928 words (approx. 3.7 pages), 5 sources, MLA, $ 32.95
»
Click here to show/hide summary
Abstract
The paper defines representative democracy as having representatives that will act in accordance with the needs of the people or different groups. The writer discusses different forms of representation and disagrees with majority-minority districts, believing it is more important to have representatives who represent different classes of people. The paper explains that, whether due to their conscience, their opinion on a topic, or because they feel the decision is wrong for the people, not all representatives act in accordance with the needs of the people or the groups that they represent.
From the Paper
"Does a representative have to share the demographic characteristics of the majority of the constituency? While most people might believe they do, the fact is that they do not. A representative of the people "may" vote differently than what the people want nor does the representative have to vote the way the people want if they believe it is not in the best interest of the people. Representatives may claim to be on the side of the people and even agree with different groups that represent the people, but they may choose not to vote the way the public believes they will vote. Madison tells how representatives often betray the people by voting the way they believe is right or in their own interest, they "pretend to be champions for the right and the capacity to choose their own rulers, yet maintain that they will prefer those only who will immediately and infallibly betray the trust committed to them" (321)."
| |
|
Kabuki and American Theater, 2005.
An examination of how kabuki, a traditional form of Japanese theater, and American theater have had an impact on each other.
1,145 words (approx. 4.6 pages), 5 sources, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
This paper examines how three main groups of kabuki plays, the dance-drama, historical drama, and domestic drama make up the majority of kabuki theater and how they are adapted either from puppet theater, from kyogen dramas, or plays written specifically for kabuki. It looks at how Tokyo's Shochiku Company is one theatrical group that has made an impact on American theater by presenting kabuki in the heart of the U.S., in Texas.
From the Paper
"Kabuki has its origin in Japan's Edo period. The form can be traced back to performances by female shrine dancer Okuni in a dry riverbed in 1603. The dances performed by Okuni and her fellow female dancers combined religious dances and folk dance. Okuni's performances became highly popular, and many troupes soon imitated the style. Performances became increasingly risqu? and boisterous, and women were banned from performing in 1629. In 1652, a brawl between two samurai competing for the attentions of a young male actor spurred authorities to ban young men under the age of 14 from appearing in kabuki (Spencer)."
| |
|
Black Women and Feminism, 2006.
This paper reviews and discusses the historic oppression of black women as well as the existing gap between white and black women as detailed in Bell Hooks' "Ain't I A Woman? Black Women and Feminism."
1,320 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper explores author Bell Hooks' theoretical perspective on blacks and feminism. Hooks claims that the major cause of oppression to black women came from many sources including white women interested in their own personal gain at the expense of black women and the black men interested in keeping them as second class citizens. This paper discusses the exploitation of women during the slave trade as one of the pioneering ways in the continuing devaluation of black women. The writer contends that Hooks' novel contains relevant research and subsequent evidence that clearly details why a gap still exists between black and white women. The writer of this paper stresses Hooks' desire for all women to bond together and for the struggle for equality to end.
From the Paper
"In her research of the exploitation of slaves, Hooks' expertly does not focus on the sexual atrocities committed upon black women. She in fact details the effect brutalizing black women has on the black man, white man, and the white woman. Hooks explores the possibilities of the potential personal gain from dehumanizing black women, some of which include stereotypes/jealousy of the sexuality of a black woman, and "demasculating" the black man (psychological removal of his masculinity) in relation to exploiting 'his' woman. Bell Hooks' research into the hypocrisy of the feminist movement as it relates to white woman is the principal reason why many African American women, myself included, do not want any active participation with the women's movement."
|
|
|
