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Brecht?s 'The Good Woman of Setzuan', 2000.
Bertolt Brecht?s 'The Good Woman of Setzuan' portrays the struggle to be good while living in a corrupt society and the delicate balance needed to survive within it.
2,085 words (approx. 8.3 pages), 1 source, MLA, $ 65.95
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Abstract
An analysis of Bertolt Brecht?s play 'The Good Woman of Setzuan'. Throughout the play Shen Te juggles her promise to be good with the necessity to be bad. The author finds through the protagonist and the creation of her doppelganger, 'The Good Woman of Setzuan' portrays the struggle to be good while living in a corrupt society, and the delicate balance needed to survive within it as seen in Shen Te's struggle as a good woman leading the life of a prostitute.
From the Paper
"Shen Te, a good woman, a prostitute, and the only one willing to take three gods into her home is rewarded with 1000 silver dollars, with which she is to ?above all be good?(712). This mission tears her in two. Shen Te and her doppelganger Shui Ta are in a delicate balance of power. Shen Te needs to keep her promise to the gods by being a good woman, helping those around her in need. Because Shen Te is too good, those she helps threaten to ruin her own survival. To remain a good woman Shen Te must create someone to fight for her. Like parents, both Shui Ta and Shen Te make up the whole of one unit. Shen Te is a nurturing, sweet mother-type while Shui Ta becomes a strict, disciplinarian, father-type. Through the protagonist and the creation of her doppelganger, Brecht?s The Good Woman of Setzuan portrays the struggle to be good while living in a corrupt society, and the delicate balance needed to survive within it."
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"The Good Woman of Setzuan" and "Pygmalion", 2007.
A comparative analysis of the themes in "The Good Woman of Setzuan" by Bertolt Brecht and "Pygmalion" by George Bernard Shaw.
2,969 words (approx. 11.9 pages), 2 sources, MLA, $ 87.95
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Abstract
This paper examines how there are two dominant themes as well as a subliminal theme present in "The Good Woman of Setzuan" and "Pygmalion". More specifically, the paper explains that the first dominant theme is evident in that both Brecht and Shaw question the levels of morality in social rankings by proving their low class lead female to be the most honorable character portrayed. The paper then shows how both authors also portray women that have the ability to rise above their lowly upbringing and lifestyle, which defies popular male chauvinist views, but yields a self-identity problem. The paper also discusses how both plays have an underlying theme of man's dominance over women by showing that despite Shen Te and Liza's recent social and personal advancements, their success can only be credited to a man in their lives.
From the Paper
"Likewise, in The Good Woman of Setzuan, we see how Brecht portrays Shen Te, who comes from the most despicable of the low class, the prostitutes, as a woman of good moral character. She allows the gods to stay with her and kicks out her "appointment", despite her needing money for the rent due the next day (Brecht, 8). Once she has been blessed by the gods, Shen Te allows numerous guests to live in her newly acquired tobacco shop when they have nowhere else to stay (Brecht, 13). Shen Te also shows great compassion on Yang Sun when he is on the brink of suicide, and even gives him money so that he may return to pilot school (Brecht, 35 & 53). Shen Te contradicts her neighboring tenant, the barber, who is known as being extremely wealthy, "The barber is filthy rich (Brecht, 46)." "
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Behind Every Good Man is a Good Woman, 2003.
The following paper presents a detailed examination of women in the confederacy.
1,400 words (approx. 5.6 pages), 9 sources, $ 46.95
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Abstract
The writer discusses the duties and involvement that women had in the way as well as examples of patriotism shown by women. We are also given some examples of female heroines from the war.
From the paper:
?When we think about a Southern Belle, we envision a pale, fragile wisp of a woman who swoons if it gets to hot. She is delicate and beautiful and must be taken care of by a man. Over the last centuries this is the image that we have adopted when it comes to the way we perceive Southern women. The reality however is much different. Even during the Civil War women of the Confederate side were tough, capable and willing to do what ever it took to win the war effort against the North.?
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"The Good Woman of Sezuan", 2002.
An analysis of the style and function of the songs and heightened lyrical passages in Brecht?s Der gute Mensch von Sezuan (The Good Woman of Sezuan).
3,900 words (approx. 15.6 pages), 1 source, MLA, $ 106.95
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Abstract
This paper shows how the key to understanding Brecht's "Der gute Mensch von Sezuan" and its place in the development of Epic Theatre is to understand the way in which he uses songs and poetic language throughout the action of the play. At certain significant moments, the actors break into song, or speak in blank verse, a style vastly different from their characteristic mode of expression. The essay?s discussion of these moments, and explanation of their function within Brecht?s dramatic theory, will enable the reader to fully understand the play and its importance. The essay concentrates fully on the text of the work rather than reworking critical literature on the subject.
From the Paper
"As well as the five songs, on around twenty-five occasions the play is ?interrupted? by excerpts of free verse, lacking rhyme and meter but distinct in style and vocabulary from the character?s normal speech. These interludes form a framework of comment and reflection embracing the action of the play and are usually directed to the audience rather than to the other characters. This commentary intertwined with the action of the play force the audience to consider it immediately whilst still under the direct influence of the playwright instead of reflecting on it later and at a distance. The characters are more perceptive in this altered mood and provide the audience with insight into their behavior, and for this reason as well as because the action of the play is interrupted, the songs and heightened lyrical passages are also an important part of Brecht?s Verfremdungeffekt (estrangement effect). The fact that several of the characters break into song at different points in the play is an anti-naturalistic device and the elevated language is also clearly not spontaneous or believable dialogue. Some of the dialogue and songs also have a persuasive function, serving Brechts interests. Many of them could stand alone, indeed some did before Brecht appropriated them for his work, and are simple and memorable excerpts that the audience could take home from the theatre."
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"The Good Woman of Bangkok", 2006.
This paper reviews and analyzes the semiotic references in Dennis O'Rourke's 1991 film "The Good Woman of Bangkok."
1,734 words (approx. 6.9 pages), 8 sources, MLA, $ 56.95
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Abstract
This paper examines the semiotic references that are found in Dennis O'Rourke's film "The Good Woman of Bangkok." The writer defines semiotics as being primarily concerned with how meaning is generated and conveyed and explains how the director used this form of communication to confuse his audience. The film, which is reviewed in this paper, discusses the prostitution industry in Bangkok and the director's goal to find the bond between the banality and the aesthetics of love. The writer also explores the semiotic codes used to define the signifier/signified relationship between prostitution and its meanings which are initially the typical codes of contemporary culture.
From the Paper
"Of course the code that these men use to interpret themselves and their own behavior is of a mostly deceptive nature. It could be argued that the filmmaker uses his own interpretive code in the same manner to deceive himself. Some argue that the true reason for the film was to indulge in gratutous sex only to justify oneself afterwards. The rice farm is seen as a reward, or a payment, for Aoi to provide her services as a prostitute."
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"The Good Woman of Bangkok", 2006.
A detailed analysis of the 1991 Dennis O'Rourke film "The Good Woman of Bangkok".
3,900 words (approx. 15.6 pages), 5 sources, MLA, $ 106.95
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Abstract
This paper analyzes the controversial film "The Good Woman of Bangkok", directed by Dennis O'Rourke. Most of the reviews of the film were negative, which the author explains is understandable given the controversial subject matter of the film. In the film, O'Rourke plays a "fictional" filmmaker who comes to Bangkok after his divorce, and then sets out to have sex -- and film it -- with one of the prostitutes who cater to the foreign market. The paper investigates the motivations and actions of the characters, and then considers the various reviews and public responses to this movie. The author also attempts to understand O'Rourke's intention in directing the film and to present his subject honestly.
From the Paper
"The first major problem with the presentation of the prostitute Aoi is the "reward" she is being offered for her appearance in the film. The filmmaker offers to buy her a rice farm. This might be seen as just another act of prostitution. Aoi gives the filmmaker what he wants in exchange for compensation. This, along with the documentary conventions of nights with a hand-held camera in bars and the attempted elicitation of the cool and ambiguous Aoi, contributes to an effect of what Cynthia Fuchs (2002) calls the film's "lumpy moralizing". Fuchs continues her harsh judment of the film by claiming that the filmmaker used his film and his stated purpose for the film simply as a screen for gratuitous sex."
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A Good Woman in Colonial Times, 2007.
An analysis of "Sovereignty and Goodness of Good" by Mary Rowlandson.
1,410 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
The paper discusses how "Sovereignty and Goodness of Good" by Mary Rowlandson is both typical and atypical of captivity narratives of the early American colonial period. The paper examines how the author refers to the Native-Americans as savages. However, as her captivity wore on, and her experiences with the Native-Americans grew more intimate, Mary Rowlandson began to show more compassion and balance in her point of view of the Native-Americans. The paper reveals her morality and culture and maintains that this personal adaptability, combined with a balance and generosity of spirit that marks Mary as a distinct voice, may have garnered Mary's greater acceptance by her captives. The paper adds that it also gains her an additional credit as a historical voice and testimony to early settler and Native conflicts.
From the Paper
"It is true that Mary's religious language makes itself evident in the narrative early on. Mary paints the Native's conflicts with the settlers in black-and-white moral terms and demonstrates the similarity of her perspective with other captive women in her theological viewpoint. Mary's view of the events of her life as a playing-out of Biblical conflicts, rather than a struggle for amoral natural resources shows how her fundamental perspective is still united with the culture of her original English people, throughout her travels with the Indians."
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"Legend of Good Women", 2002.
Studies the masochistic bases of female sexuality from a psychoanalytic point of view, as medieval writer Geoffrey Chaucer presents it in his work, "Legend of Good Women".
10,500 words (approx. 42.0 pages), 43 sources, APA, $ 209.95
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Abstract
The paper looks at the way in which female desire and sexuality as a whole have been presented in the "Legend of Good Women". The paper explores the masochistic bases of female sexuality as a theme in Chaucer's "Legend of Good Women". Further questions arise in relation to the portrayal of female sexuality in Chaucer's work. The dissertation explores Chaucer's stance as presented in his piece, relates it to the (misogynist) medieval culture, and evaluates its reliability through a feminist-psychoanalytic reading of the text.
Paper Outline:
Introduction
Anatomy as Destiny: Acquiescence and/or Resistance
Pre-oedipal Stages of Development
Phallus
Taking up or Rejecting Gender Roles & Identities
'Women Desiren to have Sovereyntee'
Ambiguities in Female Sexuality
Silence, Secrecy & Suffering
When Sex is Synonymous to Danger & Fear
'Sex Trade'
The Weaker Sex?
Conclusion: Orgasmic Deaths - Masochism at its Peak
From the Paper
"The tension between sexual danger and sexual pleasure is a powerful one in women's lives. Sexuality is simultaneously a domain of restriction, repression, and danger as well as a domain of exploration, pleasure, and agency. To focus only on pleasure and gratification ignores the patriarchal structure in which women act, yet to speak only of sexual violence and oppression ignores women's experience with sexual agency and choice and unwittingly increases the sexual terror and despair in which women live. ... The juxtaposition of pleasure and danger ... [is] an ongoing subject in the lives of individual women who must weigh the pleasures of sexuality against its cost in their daily calculations, choices, and acts.' Entangled in this web of patriarchal constructs, the woman's taking steps towards the reconciliation of the polarities of Desire is not without pain. Not being able to come to terms with the ambivalent nature of her Desire, of Desire in itself, can be even more agonising. In fact, the assertion of female sexual Desire is itself equivalent to standing against patriarchal society and defying its norms; which is not an effortless act. On the other hand, curtailing one's Desire would be to impose restrictions upon oneself, which can often create tensions and anxiety; as Muriel Dimen puts it, 'constraint of desire leads directly to self-betrayal'. Does this suggest that pain and suffering are not inextricable from the woman's experience of negotiating sexuality? Or rather, are these the very elements that lead to fulfilment of female sexual Desire? If this is so, it will not be irrelevant to suggest that female sexuality is extensively based on masochistic tendencies of 'enjoying pain'.
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Wallace Stevens and Desire: Woman Lost--Woman Ignored, 2005.
A psychosexual and archetypal study of feminine figures in "Collected Poems of Wallace Stevens".
5,141 words (approx. 20.6 pages), 33 sources, MLA, $ 128.95
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Abstract
This paper examines the "Collected Poems of Wallace Stevens", America poet. The paper shows that desire and desired denied in this work may be interpreted through the archetypal psychology of Carl Jung to disclose the reason for Stevens' preference for places over people and to explain his ambivalence toward the abstract feminine figures in his poems.
From the Paper
"Feminine archetypes reconstruct the distant attitudes in Stevens' poetry by figuring-forth embedded emotions. First, they provide an archetypal perspective on individual poems. Second, they illustrate how, ranging from Harmonium (1923) to The Rock (1954), clusters of motifs influence the poet-hero's psychic development. Although their appearances change to fit their ambiguous roles, these singular feminine figures determine the poet-hero's canon-long struggle to achieve a regulated unity of self. Two categories need to be distinguished: (a) feminine figures and (b) the interior paramour. Their protean capability makes scrupulous demarcations between exterior feminine figures impossible, but three forms or combinations prevail: the summer maiden (Kore or lover), the universal mother or earth mother, and the maiden-mother (an overlapping maid and mother figure). The interior paramour represents a climax to the poet-hero's experience with exterior feminine figures."
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Sophocles and Brecht, 2005.
Examines and compares Sophocles' "Antigone" and Brecht's "The Good Woman of Setzuan".
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
Sophocles and Brecht were playwrights separated not only by millennia of time but also by the radically different cultural and social contexts of classical Greece and 20th century Europe. This being said, the paper shows that one of the striking elements of a comparison and contrast of Sophocles' "Antigone" and Bertolt Brecht's "The Good Woman of Setzuan" is how similarly they depict the forces that constrict and define women's identities in society. The paper argues that while the primary focus of both works is not specifically related to issues of gender and women's identities, both plays represent challenges to social codes.
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Virtue in Shaw and Brecht, 2004.
This paper examines two idealistic heroines from Brecht's "The Good Woman of Setzuan" and Shaw's "Saint Joan."
1,130 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
In this paper, two idealistic heroines are examined from Brecht's "The Good Woman of Setzuan" and Shaw's "Saint Joan."
From the Paper
"The German Bertold Brecht and the Englishman George Bernard Shaw were both innovative and controversial writers who were most active during the first half of the Twentieth Century. Brecht adopted communism and Shaw espoused socialism and free love. Both were radical gadflies and social critics who shocked their contemporaries with the activist philosophies and unpopular but progressive ideas of their plays and other writings."
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"Good Night, and Good Luck", 2007.
This paper discusses media ethics in the movie "Good Night, and Good Luck."
999 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
The paper describes how the film, "Good Night, and Good Luck"
takes place in the hostile environment of the "Red Scare" in 1950s America. The paper relates that "Good Night, and Good Luck" tells the story of the CBS broadcast team who overcome immense pressure from sponsors, owners and even the government in an attempt to broadcast the truth to America. The paper examines how the characters face three ethical dilemmas that are a reflection of the difficult ethical choices that exist in the media.
From the Paper
"There are numerous ethical issues facing the characters in "Good Night, and Good Luck." The primary ethical issue is Edward Murrow's quest to maintain what he believes his right from wrong in his reporting of the news. A second ethical issue is Joseph McCarthy's apparent unethical decision to use lies to get his point of view across. He calls anyone that crosses or dares oppose him a Communist. A third ethical decision involves the CBS Studio who decides to turn a blind eye to the in house marriage which is against company rules and regulations."
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Film: "Good Night and Good Luck" (2006), 2007.
This paper is a a visual analysis of the film "Good Night and Good Luck" (2006).
2,580 words (approx. 10.3 pages), 1 source, MLA, $ 77.95
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Abstract
This paper explains that the film "Good Night and Good Luck" is a social commentary and biography of 1950s era CBS television newsman Edward R. Murrow (1908-1965), and the period of the "McCarthy Years". The author points out that the transitions between film shots and real footage was made excellent because both the entire film and the real footage are in black and white and almost always the people inside the CBS studio itself are seen looking at television monitors where this footage is playing. The paper relates that the film was effective visually as a depiction of the 1950s because it was shot it entirely in black and white (as there was no color television in the 1950s), the 1950s-era costumes, the prevalence of cigarette smoke inside the workplace, the 1950s jazz instrumental and vocal music and the overall stark, "no frills" atmosphere of this era and setting.
Table of Contents:
Introduction: A Background History of the Film
Beginning Credits
Lead-in Shots, Techniques, and Attraction of Audience Interest Sequencing of Scenes and Episodes from a Visual Standpoint
Color Scheme and Motifs
Costume Design. Music: How Does Music Support the Visuals? Recurring Visual Motifs and Symbols
A Scene with Only a Little Dialog Dependent on Visuals
The Most Memorable Scene
Camera work: Close ups? Distance shots? Unusual Angles?
Closing Scenes
Observations
From the Paper
"The credits at the beginning of "Good Night and Good Luck" appear, interspersed with various lead-in shots of newsmen dressed in 1950's era tuxedos and smoking cigarettes, along with a few women in evening dress, waiting for a speech by Edward R. Murrow. The credits are not given all at once, but rather, mixed in, at evenly-timed short intervals, among the opening shots. The opening credits are not extensive, but mention only the director, producer, and a few others. When these few credits are over, then, wed are already involved in the lead in action of the movie, ..."
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Women's Poetry and Women's Politics, 2002.
A comparison between the poetry of Muriel Ruckeyser and that of Adrienne Rich, and an exploration of their feminist messages.
1,030 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper analyzes the poetry of Muriel Ruckeyser, as found in her book ?The Book of the Dead?, and that of Adrienne Rich, using her work entitled "Twenty-one Love Poems". The paper gives a biographical background on each of the poets, stressing their importance to the contemporary women?s movement and to American poetry. Rich?s poems are explored for their ideas on the relationships between women, and Ruckeyser?s are studied in terms of their comparison to a documentary and in relation to her strong political view.
From the Paper
"To many, Poetry is the voice of women. It is the way in which women can express their inner thoughts and feelings, to write the things that they can not say. Poetry is more than words on paper but someone?s feelings and life poured into the readers mind. Poets let the readers climb inside their heads and taste what the poet feels, sees, and thinks.
Two major women poets that are in the inner ring of American feminist poets are Muriel Ruckeyser and Adrienne Rich. Though their poetry may be different in content, many of their messages are the same: we need to be heard. Ruckeyser?s ?The Book of the Dead? describes conditions and feelings of the Gauley Bridge tragedy through actual courtroom testimonies to words from actual citizens of the town. Adrienne Rich?s ?Twenty-one Love Poems? describes in many ways, her love of her companion as well as their struggles and times together."
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