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"Blair Witch Project" and "Young Goodman Brown"., 2001.
Compares the role and symbolism of the forest in the film & short story. Mentions elements that differ and the effects on the characters.
1,800 words (approx. 7.2 pages), 4 sources, $ 63.95
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From the Paper
"The setting of the forest plays a key role in creating the Gothic quality in the film ?The Blair Witch Project? and Nathaniel Hawthorne?s short story ?Young Goodman Brown.? In the forest, the characters in both works confront nocturnal landscapes and hallucinations, eerie voices, fires and haunted houses?conventional features of a Gothic work (Sedgwick). Far away from the familiar environment and civilization, these characters are plunged into a netherworld of existence. According to Walpole, in Gothic texts, ?a god, or at least a ghost, [is] absolutely necessary to frighten us out of too much sense? (in Morris). In these two works, fear serves to be a powerful force that unleashes the suppressed and hidden emotions of the characters. Heather, Josh and Michael, the protagonists of the film, erupt in anger towards one another as they discover..."
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"The Blair Witch Project", 2002.
An analysis of the popularity of the movie, "The Blair Witch Project".
650 words (approx. 2.6 pages), 2 sources, $ 26.95
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Abstract
This paper will discuss "The Blair Witch Project" and discover why millions have been inspired by its great success in theatres around the world. By finding the elements that made it popular in the film making scope of the art, we can see why it has created such a diverse phenomena in the filmmaking world. This film has generated a new perception in the field of movie making and has made it easier for people without budgets to attain a way into the movie business. This paper will prove why the movie's popularity was so enormous through these channels of the art.
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Women as Witches in the European Witch Hunts, 2003.
An exploration of the gender imbalance in witchcraft accusations during the European witch hunts from a feminist perspective.
3,140 words (approx. 12.6 pages), 30 sources, MLA, $ 91.95
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Abstract
This essay explores the disproportionate number of witchcraft accusations levelled against women during the European witch hunts. It posits that this gender imbalance is directly linked to the patriarchal nature of society by examining the definitional power of men and the subsequent perception of women. Using Jungian/ Lacanian understandings of the 'shadow' and Other, this piece has as its underlying contention that it is women's lack of power to define themselves within a patriarchal society that has led men to project their fear of self onto a woman, indeed all women, and term her 'witch'.
From the Paper
"The identity of ?woman? as it was perceived in early modern times can be further seen as a man-made myth upon closer examination of the nature of patriarchy. Man attempted to label, categorise, map and understand women, and do so with the use of male terms, but because patriarchy is a relational construct such attempts only reinforce for men that ?woman? is not ?man,? she is ?Other.? And in this position as Other, women will always retain some element of mystery, of hidden depths and secret knowledge, never greater than man, but always promising more than he is capable of comprehending. It is the impossibility of exact male knowledge that creates for man the opportunity to map his own meaning upon this depth of Otherness."
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The Worlds of "Phaedo" and the Occult, 2005.
A view of the concept of the occult in "Christabel" by Coleridge, the "Blair Witch Project", and "The Fall of the House of Usher" by Edgar Allen Poe.
3,857 words (approx. 15.4 pages), 21 sources, MLA, $ 105.95
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Abstract
The central thesis of this paper is the meaning of the Platonic concepts of the forms and particulars as they relate to an understanding of the occult. The difference between the forms and particulars, it is argued, is equivalent to the difference between the unknown and the known, or the strange and the familiar. The occult is viewed as the knowledge of the unknown. This view of the forms and particulars is applied using Freudian and Jungian theoretical perspectives and is applied to an analysis of "Christabel" by Coleridge, the "Blair Witch Project", and "The Fall of the House of Usher" by Edgar Allen Poe.
Table of Contents
1. Introduction
2. Platonic Forms and Particulars
2.1. The Occult
3. Critical Perspective
4. Analysis of "The Blair Witch Project" and "The Fall of the House of Usher" and "Christabel"
5. Conclusion
From the Paper
"In his philosophy Plato distinguishes between the world of reality and the world of illusion. The world of reality and timeless truth is that of the forms. The word of illusion refers to the world of particulars and everyday experience. We exist during our lifetimes in this world of the senses or the world of particulars. For Plato and Socrates, death is the escape from the imprisonment of the world of particulars which is the reason why Socrates in the Phaedo states that he welcomes death. He believes that the soul will continue after death and the knowledge that he seeks as a philosopher will be encountered in the death state."
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The Realist Horror Film, 2006.
This paper examines the horror film genre, also known as realist horror, while focusing on two specific films, "The Blair Witch Project" and "Henry, Portrait of a Serial Killer."
2,818 words (approx. 11.3 pages), 10 sources, MLA, $ 83.95
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Abstract
This paper analyzes the realist horror genre in film. The realist horror genre was spearheaded by Alfred Hitchcock in his 1960 film "Psycho." Horror films proliferated throughout the 1970s, 1980s and 1990s in Hollywood. Most of these films used comedy to portray killings, veering away from realism. The writer of this paper contends that the realist aspect of actual human killers is enough to leave lingering fears long after the viewing has ended. This paper focuses on this particular style of filmmaking, in which the approach is to focus on the killer rather than victim, resulting in terrifying the viewing audience. This well-researched paper notes the similarities and differences in "The Blair Witch Project" and "Henry, Portrait of a Serial Killer." This paper describes how both films leave the viewer with a lingering thought and fear of the real world. Specifically, fear of the horrific possibilities. "Henry, Portrait of a Serial Killer" is based on real-life serial killer Henry Lee Lucas. The movie follows the daily life of Henry, beginning with aftermath shots of freshly murdered victims juxtaposed with images of Henry. This illustrates to the audience that Henry is indeed a bona-fide serial killer. "The Blair Witch Project" is a far cry from the typical slasher film. It uses an entirely different approach to realist horror. The film is shown as a documentary and the actors are not actors at all, but real victims captured on video.
From the Paper
"The presentation style changes only during the murder scenes. The pictures are graphic and almost too gory to be real. One woman is seen with a bottle shoved into her throat and the electronics salesman's head goes through a television picture tube - just before the television is plugged in - electrocuting him. Background electric guitar is also present mostly during the build up to a murder. It is not overdone and avoids appearing out of place. Rather, it helps the viewer realize something important in happening. Overall the film does achieve a realism most slasher films cannot approach. This purposeful use of a home-movie style subtly reminds the viewer that the onscreen events are based in truth. Blair Witch takes the realist style one step further by using the camera as a prop in the film. The viewer is constantly reminded that an off-screen character is behind the lens."
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"Young Goodman Brown", 2008.
An analysis of the beliefs of the character, Goodman Brown, in Nathaniel Hawthorne's story, "Young Goodman Brown."
1,228 words (approx. 4.9 pages), 1 source, MLA, $ 41.95
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Abstract
This paper discusses the character, Goodman Brown in "Young Goodman Brown," by Nathaniel Hawthorne. The paper focuses on Goodman Brown's character and personality and his beliefs. It discusses how Brown's beliefs change and the effect that has on him. The paper also describes the plot of the story and Brown's relationship with the other characters.
From the Paper
"Soon, however, Goodman Brown learns the worst. It is not only "a wretched old woman" who is sinning, but his wife, Faith, as well. He hears the arrival of other community members and follows them. As he continues down his path something, "fluttered lightly down through the air and caught on the branch of a tree. The young man seized it, and beheld a pink ribbon." The pink ribbon falling downward from the heavenly sky towards towards hell represents Brown's loss of faith and understanding that evil exists. Brown cries, "My Faith is gone!" (Literature Network, para 27). This sentence has a double meaning. Faith is also gone from the house and is entering the forest, as well. Even Faith cannot be trusted. "There is no good on earth; and sin is but a name. Come, devil; for to thee is this world given.""
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"Young Goodman Brown", 2005.
This paper discusses Nathaniel Hawthorne's short story "Young Goodman Brown", which traces a surreal evening in the life of Goodman Brown, a Puritan in early Salem, who takes a short walk in the woods with the Devil.
1,530 words (approx. 6.1 pages), 0 sources, $ 50.95
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Abstract
This paper explains that, in Nathaniel Hawthorne's "Young Goodman Brown", the root of Brown's failure isn't that he is evil but his ability to construct and maintain his epistemology is inferior and leads to his demise. The author stresses that this story eloquently illustrates that not thinking leaves people completely unequipped to experience truly and understand life. The paper concludes that "Young Goodman Brown" demonstrates no matter how passionately we believe in something, if we do not have a well-established understanding of that belief, we will eventually be deceived. Quotations.
From the Paper
"As humans, it is in our nature to search for answers. Throughout history, our desire for understanding has pushed us to new levels in every aspect of our lives. This natural curiosity is present in each and every human being and plays a role in our daily lives, whether we think about it or not. As Hawthorne illustrates in his story, however, our appetite for knowledge can be a double-edged sword. Without a well-constructed ability to evaluate and construct belief systems, our innate inquisitiveness will only lead us into falsehood. Hawthorne repeatedly shows us both Brown's curiosity and his epistemological ambiguity."
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"Young Goodman Brown", 2007.
This paper highlights the fears and paranoia of Goodman Brown in Nathaniel Hawthorne's "Young Goodman Brown".
893 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
The paper demonstrates how Goodman Brown, the main character of Nathaniel Hawthorne's story, experiences a lifetime of paranoia and misery, leading him to a gloomy death. The paper portrays how his fears are displayed both overtly and through symbols in the story.
Outline:
Faith and Faith
Faith's Ribbons
The "Stranger"
Paranoia
Conclusion
From the Paper
"Brown's fears and paranoia can be seen through several symbols that persist throughout the story. These things can be seen through his wife, Faith; through Faith's ribbons; and through the image of his uncle. The effects that are created by the interaction of these things cause Young Goodman Brown to live his life in doubt of what he sees with his very eyes, leading him to his misery at his death."
"The most overt symbol of this story comes in the person of Brown's wife, Faith. Her name represents the central device that moves the plot: the characters' faith in God. Without Faith, Brown's life loses purpose. He is only newly married, but, in fact, he already intends to "cling to her skirts and follow her to Heaven" (Hawthorne, 1892, p. xx). Before leaving, Brown sees that Faith appears troubled at his departure; however, he decides to keep his appointed meeting, anyway."
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Faith in "Young Goodman Brown", 2005.
Analysis of the theme in Nathaniel Hawthorne's "Young Goodman Brown".
977 words (approx. 3.9 pages), 1 source, MLA, $ 34.95
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Abstract
This paper presents a literary reading of Young Goodman Brown's wife, Faith, to show that Hawthorne is really discussing Goodman Brown's faith in God and in people. The paper demonstrates how Hawthorne uses the stories of the witch trials to parallel Goodman Brown's thinking, or the lack thereof.
From the Paper
"According to the passage of "My Faith is gone!" in Nathaniel Hawthorne's Young Goodman Brown, the witch trials would have never happened if the village people put their faith in God and in people instead of believing their imaginations (1269). This key passage relates to the entire story; Hawthorne illustrates logical reasoning by Goodman Brown's wife, Faith, and the dream Goodman Brown has. Faith's name means belief God or in people, and the dream stands for people's imaginations. Because Goodman Brown leaves his Faith and gives up his faith easily, he is quickly persuaded that his dream is real. With his dream being real, he believes that the people he used to trust to be Christians are now devil worshipers and witches. At the end Goodman Brown becomes the man he never wanted to be - a man who denied God and thus letting the devil have his soul."
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"Young Goodman Brown", 2006.
Three different essays on Nathaniel Hawthorne's "Young Goodman Brown".
2,070 words (approx. 8.3 pages), 3 sources, MLA, $ 71.95
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Abstract
This paper provides three essays on Nathaniel Hawthorne's story, "Young Goodman Brown" with the following themes in each: 1)How Goodman Brown?s experiences in the woods cause him to lose complete faith in the piety of the Puritans and their religion. 2)How Goodman Brown?s experiences in the woods undermine his faith and leave him with a fractured sense of reality. 3)How Hawthorne?s use of language in the story conveys the internal spiritual dilemma endured by Goodman Brown.
From the Paper
"In Young Goodman Brown the protagonist is a firm believer in the Puritan religion and faith until he makes a fateful trek through the forest. While in the forest he undergoes a significant transformation. His >>."
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"Oedipus Rex" and "Young Goodman Brown", 2006.
A comparison and contrast of Sophocles' "Oedipus Rex" and Nathanial Hawthorne's "Young Goodman Brown."
747 words (approx. 3.0 pages), 0 sources, $ 26.95
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Abstract
The title characters of Sophocles' "Oedipus Rex" and Nathanial Hawthorne's "Young Goodman Brown" share common traits -- those of arrogance, righteousness and a belief that they could raise themselves to the level of the gods. The paper shows that both sought to define the wicked, though only Oedipus truly succeeded because he was determined to discover the truth, even if it meant his own destruction. The paper shows that Goodman Brown, through fear or stupid, smug piety never confirmed or denied whether his one defining event -- that wild witch meeting in the woods -- was reality or merely a dream.
From the Paper
"In reality, Brown is a fence-sitter. He perceives himself as a perfect judge of others: Are they pious or ungodly? Do they meet at the communion table or riot in the taverns? Perhaps it is the absolutist need of his to label others to one extreme or another that put his own soul in such a precarious position when he discovered (or dreamt) that these same folk he thought were saintly Christians were all in attendance at a witch-meeting."
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Journalist Ellen Goodman, 2002.
Examines Ellen Goodman's style of writing known as feminist journalism.
1,590 words (approx. 6.4 pages), 5 sources, MLA, $ 52.95
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Abstract
This paper discusses well-known journalist Ellen Goodman. Her style of non-confrontational feminism is examined and her use of rhetorical techniques is analyzed. The paper reviews several of Goodman's essays and cites them as examples of her technique. Finally, the paper provides a brief critique of Goodman's writing style.
From the Paper
"Ellen Goodman is often called a feminist journalist. However, within the framework of any ideological movement such as feminism, there are many different factions and many different ?isms.? Rather than attempting a radical critique of gender roles, Goodman usually prefers a more gentle, mainstream examination of the relationship of males and females in contemporary society. Goodman does not discount the presence of discrimination against women today. She acknowledges that she has faced discrimination personally, both professionally and as a media consumer. But Goodman also, through the use of a discursive and relatively un-confrontational rhetorical prose style, reinforces male and female binaries. Goodman?s refusal to use a traditionally structured argument in many of her pieces on gender both reinforces as well as questions gender norms."
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An Analysis of Nelson Goodman?s Theory of Depiction, 2006.
This paper explores Nelson Goodman's theory of depiction in relation to art and the expression of emotions.
2,900 words (approx. 11.6 pages), 8 sources, MLA, $ 85.95
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Abstract
This paper probes Goodman's theory of depiction which is a form of metaphorical exemplification which the philosopher also calls expression. This well-researched and detailed paper examines Goodman's system of determining the relationship between work and emotion which applies broadly to the arts. This paper also focuses on Goodman's approach to nominalism as an ontological position about the existential status of abstract objects as well as his aesthetic program that advances a belief in the intellectual nature of art.
From the Paper
"For Goodman, the nominalist, there is no chance of inherent essence of a label, and so the only explanation for the interplay in a re-assignment involved in metaphor are rules of association which govern the behavior of labels. A sort of conventional nominalism chalks these rules up to "practice," while a stipulative nominalism would determine that the rules are handed down by an unknown source. In any case, the rules are ordered by the conditions in which the label is applied. For example, when confronted with a painting, a decision is made to apply the predicate "inspiring" to the object in question."
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Nathaniel Hawthorne's "Young Goodman Brown", 2005.
This paper discusses the symbolism of Salem witchcraft in Nathaniel Hawthorne's "Young Goodman Brown".
675 words (approx. 2.7 pages), 0 sources, $ 26.95
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Abstract
This paper relates that the symbolic characters of Satan, Goody Cloyse and even Martha Carrier represent symbolic characterizations of witchcraft within Salem. The author points out that the female witch is a powerful symbol of witchcraft but only through the root of all evil within Satan's power of illusion. The paper states that, by presenting Satan as the seed of all destruction, immorality and deviance, the symbol of witchcraft lies within Hawthorne's "Young Goodman Brown" making it a tale of good verses evil.
From the Paper
"This literary analysis presents the evils present in witchcraft within the story "Young Goodman Brown" by Nathaniel Hawthorne. By analyzing the characters within this tale, one can discover the various symbols of witchcraft that depict evils that Goodman Brown must overcome in the forest. In this manner, the aspects of symbolic witchcraft are related by the main characters opposing the Bible, which, in turn, depict the nature of witchcraft that abounds in the plot structure of Hawthorne's classic tale of good verses evil. Young Goodman Brown, the main character in Hawthorne's tale, must ultimately search for a greater faith. When he ventures into the forest, he meets his catechism teacher Goody Cloyse, but finds that her faith is challenged."
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?Young Goodman Brown?, 2002.
A review of Nathaniel Hawthorne?s novel, ?Young Goodman Brown?.
2,257 words (approx. 9.0 pages), 6 sources, MLA, $ 69.95
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Abstract
This paper examines how Nathaniel Hawthorne?s ?Young Goodman Brown? details the temptation and eventual disillusionment of a young Puritan man, who, when confronted with the massive possible hypocrisy of the community in which he lives, is unable to adapt successfully to a portrait of the world that does not live up to his romantic ideals. It looks at how Hawthorne weaves enough structural ambiguity into the story to make it unclear for both the reader and for Brown just what the actual reality is and how, at its conclusion, we are left to a realm of unknowns and suspicion as much as he is. It shows how, ultimately, the story of "Young Goodman Brown" is the story of a young man who, once his romantic ideals about the world are tested, lapses instead into a cynicism and frustration that represents the completely opposite end of the spectrum.
From the Paper
"Nathaniel Hawthorne?s Story ?Young Goodman Brown? opens with a brief exchange between Young Goodman Brown and his wife, Faith, whose very name points to an obvious symbolic dimension of her character in the story. We discover quickly in their exchange of dialogue that they are newlyweds, very much in love. Indeed, the fact that they are newly married, as well as the title of ?young? that precedes Goodman Brown?s name all inform us that the are both new to the world of independent experience, that the still possess many romantic illusions about life, and that they are generally inexperienced. Yet, at their otherwise sweet parting, there is a strangeness. Faith asks her husband not to depart on his unspecified errand and suggests that she has had some sort of premonition, a premonition that Young Goodman Brown himself seems to share."
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