| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "BRIGHTON ROCK": |
|
|
"Brighton Rock", 2006.
A book review of the novel "Brighton Rock" by Graham Greene.
1,100 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
»
Click here to show/hide summary
Abstract
This paper reviews the novel "Brighton Rock" by Graham Greene, a novel about a teen-age criminal gang leader, named Pinkie. The book is part detective story, part psychiatric case study and part moral theology. According to this paper, out of all of Greene's body of work, "Brighton Rock" most reflects the author's ardent commitment to Catholicism. As a convert, Greene's new-found religious foundation in his life permeates this novel, published in 1938. This paper focuses on those elements, in particular the symbolic struggles between good and evil in the story.
From the Paper
"Brighton, in this novel, is not the bright seaside resort fancied by many Englishmen before (and after) World War II. We see darkness at night, and even darkness in the morning. There is absolutely no humor in this book. With the characters as they are, humor would reduce them from the prototypes they represent. In fact, when you analyze the two main characters, both the sixteen year old girl and her seventeen year old lover are the most stupid and evil people possible."
| |
|
Troubled Youthful Protagonists in English Novels, 1994.
This paper examines troubled youthful protagonists as products of a destructive society and homes as illustrated by three British novelists, Graham Greene's "Brighton Rock", Alan Sillitoe's "The Loneliness of the Long Distance Runner" and Anthony Burgess
2,250 words (approx. 9.0 pages), 9 sources, $ 79.95
»
Click here to show/hide summary
From the Paper
"Writers often present characters who are out of step with their society, and often this occurs because the values of that society are seen as warped or misguided. Three British novelists have created youthful characters who show a strong reaction against society and authority. Viewed objectively, the youthful characters in Graham Greene's "Brighton Rock", Alan Sillitoe's "The Loneliness of the Long Distance Runner" and Anthony Burgess's "A Clockwork Orange" might be considered evil or psychologically troubled, but they must also be seen as products of their society, as personalities shaped by the problems of that society and by the warped values the society has come to represent. An analysis of the two novels and one short story shows how the authors address the limitations of their society and the culpability society has in the crimes committed by their youthful ... "
| |
|
Classical Rock and Popular Prophecy, 2005.
A paper discussing the influence of classical music on rock music and why rock music is the classical music of the future.
2,873 words (approx. 11.5 pages), 10 sources, MLA, $ 85.95
»
Click here to show/hide summary
Abstract
This paper discusses the contention that pop music is tomorrow's classical music within the context of rock/classical music collaborations since the early 1950s. The paper makes the point that pop is as certainly the classical music of tomorrow as classical music is the spirit of rock today.
From the Paper
"Long before the official birth of Rock and Roll, the incorporation of old classics into a new sound was a common practice among trendsetters and musical rebels alike. Classical music is certainly not the only genre of music to be reinvented in meaning and sound, but the choice of Classical pieces is a popular one because of the impact on listeners. Classical pieces are almost universally recognized as familiar to an audience, whether they are able to make a distinct identification of the piece, or if it is simply a vague sense of deja vu influenced by the historical music. "Thus even the early days of ragtime and vaudeville produced their own variations on the classics, though we have few recordings. From the 1920s through the 1940s, James Price Johnson, Jelly Roll Morton, and Fats Waller 'jazzed up' the classics, alongside the Big Band versions of Paul Whiteman, Duke Ellington, Harry James, Tommy Dorsey, Glenn Miller, Les Brown... Many composers of Broadway shows also appropriated classical melodies." (Duxberry, "Nexus...") Pre-Rock Classical interpretations did not stir nearly the amount of controversy that would be seen in later years. The fervent nature of Rock and the moral/political rebellion associated with the genre, perhaps coupled with the passionate dedication of Rock musicians that equals that of the greatest Classical virtuosos, has been fuel for the fires of disapproval."
| |
|
"Rocking-Horse Winner", 2002.
A discussion of the symbolism of the Rocking-Horse in D.H. Lawrence?s "Rocking-Horse Winner".
1,580 words (approx. 6.3 pages), 6 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
This paper reviews the novel "Rocking-Horse Winner" by D.H. Lawrence about the devastating effects that money can have on a family. In particular it looks at how Lawrence uses the rocking-horse to symbolize not only the lost innocence of childhood but also the lost innocence of a world gone mad with greed. It examines how the meanings of the rocking-horse evolve through the story. The object first emerges as a symbol of the type of monetary greed expressed by a family attempting to live beyond their means in the form of a Christmas present. Later the horse becomes the avenue for which young Paul attempts to find the luck that his mother feels she and his father are missing. Further on in the novel, images of the horses at the races become superimposed over the idea of a little boy growing too large for his new, then old and worn, rocking-horse and this is the imagery that really influences the reader into the idea of the rocking-horse as a real sweating and shackled racer. It attempts to put forward the message that people living in a corrupt environment imagining that the bridle of a horse can bring them salvation can only receive salvation at a high price.
From the Paper
"Paul steps away from innocence and embraces the faith that embodies the world of horse racing. The track representing almost a poor mans modern cathedral. His cohorts look upon the manner in which Paul receives the knowledge of the name of the winner as a mystical occurrence. When Paul?s Uncle Oscar questions the servant Basset about just how the whole betting process occurs with his young nephew, he still thinks it rather comical and is not quite sure how much to believe."
| |
|
Rock and Roll Film Genre, 1982.
This paper examines the Rock and Roll film genre and the correlation between movie outlaws and Rock and Roll music by looking at films: ?The Wild One?, ?Rock around the Clock?, ?Shake, Rattle and Roll? and ?Hot Rod Gang?,
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
»
Click here to show/hide summary
From the Paper
"The rock and roll film came into being at the same time as the music began to make itself known. The use of "Rock Around the Clock" in The Blackboard Jungle was one of the first instances of this type of music serving as background to a film, though it was only used in the titles and was not embedded into the film itself in any significant degree. The music was popular, though, and within a short time films specifically about the music were being produced. The early films were primarily intended to assuage parental concerns, though they usually had an attitude of defiance as well. Over time, though, rock became more and more associated with the idea of the outlaw. Performers in the early films were clean-cut types trying to make a success with something new and innovative, but over time this image shifted to the musician as ... "
| |
|
Rock-n-Roll History, 2005.
A comparison of today's rock-n-roll with the original rock-n-roll music.
1,300 words (approx. 5.2 pages), 8 sources, MLA, $ 43.95
»
Click here to show/hide summary
Abstract
This paper compares the stars and music of today's rock-n-roll to the stars and music of yesterday's rock-n-roll. The paper points out that while early rock-n-roll music and its stars wrote and performed original music with social messages, today's rock-n-roll songs and performers are unoriginal and express no social consciousness.
From the Paper
"As a way of setting the cultural stage for the process of comparing and contrasting newer musical groups with older rock groups - since music reflects culture in the same way literature does - it is worth taking a look to see if "The Times (have been) A-Changin," (or how much they have been changing) as Bob Dylan wrote in the Sixties. The times have changed from yesterday's consistently progressive, liberal, and into social change activities, to today's more "party-oriented" young people who espouse a more conservative brand of politics and enjoy music that tends toward the predictable and bland."
| |
|
African Rock Art, 2008.
Looks at African rock art as true art.
1,545 words (approx. 6.2 pages), 9 sources, APA, $ 50.95
»
Click here to show/hide summary
Abstract
This paper argues that African rock art is both art and ethnographic records, created by hunter-gatherers, herders and later farming communities five or six thousand years B.C. The paper relates that rock art includes rock engravings (petroglyphs) and rock paintings (pictographs) depicting comparable themes and images but traditionally present a limited number of details and human figures. The paper describes the techniques used in creating the art and contends that African rock art is art because art is in the perception of an individual. The paper includes color pictures, map and graphs.
Table of Contents:
This is Art?
Ethnographic Records
This is Art
Rock Art Links
The Rock Art Research Institute's Perceptions
This is Art!
Complicated Pictures?
Perceptions
From the Paper
"Ethnographic records or rock art, created by hunter-gatherers, herders, and/or later farming communities, is displayed in the majority of Africa countries. Southern African rock-art, however, traditionally records experiences reflecting the belief systems and rituals of the indigenous people of their particular region. Although a minimum of 14,000 sites are currently on record, more exist, not yet formally recorded and projected to exceed 50,000 sites in the Southern African region."
| |
|
Rock Musician David Bowie, 2005.
This paper explores the music of David Bowie, especially his character Ziggy Stardust, which was a reaction to the latter half of the 1960's British rock movement.
3,330 words (approx. 13.3 pages), 4 sources, MLA, $ 95.95
»
Click here to show/hide summary
Abstract
This paper explains that the concept album "The Rise and Fall of Ziggy Stardust and the Spiders from Mars" by David Bowie, the self-made man who is famous for his fleeting construction of personas, changed the way heavy metal, hard rock, punk music, glam rock and progressive rock sounded. The author points out that David Bowie's teenage wilderness years coincided with the gold-lame era of vintage rock 'n' roll, which reached England in the late 1950s in the form of American hip-swinging, lip-curling singers giving vent to youthful frustrations in a way seen as morally threatening such as Elvis Presley's "Hound Dog", Fats Domino's "Blueberry Hill" and Little Richard. The paper states that the album represented the archetypal rise and fall of the world of pop, which recently had experienced a sense of lost with the breakup of the Beatles and, with them, the cheery innocence of the 1960's; thereby, Ziggy became for many people the missing link between American punk and tight Beatle melodies.
From the Paper
"Kenneth Pitt first entered Bowie's life when he made a suggestion to Bowie's manager that there were already too many Joneses in the entertainment world. The Bromley-raised David Jones saw the adoption of a new stage name as an opportunity to redefine his faltering career and changed his name to David Bowie, after the American Colonel James Bowie, Davy Crockett's sidekick in The Alamo. Pitt and Bowie soon paired up, and it became apparent the Bowie desired to become the "renaissance man of pop". Bowie's aspirations were to sing and dance; he wanted to be seen as an artiste rather than someone who had only just recently shed his rough and ready R&B skin."
| |
|
Rock Films, 1982.
This paper discusses the presentation of rock and roll on film, from the 1956 dramatic film "Don't Knock the Rock" through later documentaries like "Woodstock", "D.O.A." and "The Decline of Western Civilization".
675 words (approx. 2.7 pages), 1 source, $ 23.95
»
Click here to show/hide summary
From the Paper
"The sexual component of rock and roll has been a strong element in films about and featuring rock and roll from the beginning. In the 1950s, when rock music was new, the films featuring rock often were based around parental fears of the rampant sexuality supposed to go with the music. In films like Don't Knock the Rock (1956), the plot revolved around convincing parents that kids listening to rock and roll were not inevitably preparing for an orgy. Ironically, the sexual component of rock became stronger and more overt as initial parental fears were sublimated if not eliminated, and rock on film would become sold for its sexual content rather than in spite of it.
Ehrenstein and Reed note how rock and roll fit with the rebellious spirit of teenagers in the 1950s, specifically ... "
| |
|
Brighton and Hove - A New Economy, 2007.
A discussion of the strengths and weaknesses of the new economy created by the Brighton and Hove region in the south east of England.
1,590 words (approx. 6.4 pages), 5 sources, $ 52.95
»
Click here to show/hide summary
Abstract
This paper examines how Brighton and Hove (B&H) has built itself a new economy taking advantage of the changes in the UK economy and diversifying into the service sector. It explains how this was done through development, a favourable environment and taking advantage of the highly skilled labour force that moves to the city either to study or because of its attractiveness as modern city. The paper points out that at the same time the city has left its self open to new problems that will have to be addressed by local and central government and that these problems mainly revolve around the existing infrastructure of the area. The paper also notes that in recent years the B&H council seems to be addressing some of these problems with projects such as the new Library and the Black Rock development, but other problems still require attention especially those of housing, the skills gap at the lower level of the jobs market, transport links and suitable business premises, so the economy can expand more.
From the Paper
"Brighton and Hove (B&H) is situated in the south east of England within the most prosperous region outside of London, benefiting from this, it has turned it's economy around from unemployment rates as high as 12% during the 80's down to rates of around 2%. In many ways it reflects the changes put on the whole country as it has moved from the industrial base of the 70s towards the providing of services now seen all over western economies. This change while improving the local area and the standards of living for its inhabitants and employees also brings new problems and challenges such as the business cycle, inflation and the risk of unemployment that they may bring and these problems must be met by local and central governments."
| |
|
An Examination of the Development of Rock and Roll Music in America, 2002.
This paper examines the forgotten black roots of rock music in America, its influence on rebelling youth, and the evolution of new popular musical genres.
3,508 words (approx. 14.0 pages), 4 sources, APA, $ 98.95
»
Click here to show/hide summary
Abstract
Rock and Roll music was both influenced by and influenced the youth movement of the 1960s. The beginnings of Rock music during the 1950s were actually quite rebellious and controversial. This paper puts the development of rock music into a cultural and historical context, drawing on examples such as Wynonnie Harris, Elvis Presley, the Beatles and Bob Dylan. The paper also mentions beatniks and the psychadelic counterculture.
From the Paper
"Rock and Roll music broke into the forefront of American culture as the baby boomer generation came of age. During the 1950s, the new musical style helped young people begin to rebel against their parents? generation in a stylistic, subtle, and symbolic way, generating more differences and encouraging a widening of the generation gap. Popular culture tends to disregard the 1950s as a sterile and orderly decade, however, the youth of the 1950s were beginning to rebel much more drastically and blatantly than we are led to believe, and more so than what remains as the lasting image in the historical memory of Americans who were alive at that time. While this music that we now call ?oldies? seems so boring and unhip by today?s standards, the earliest Rock and Roll music contained sexual implications and a gift of immediate gratification that spoke to the so-called juvenile delinquents of the time. By the early Sixties and the beginnings of the ?movement,? Rock and Roll music had already established itself as a successful form of cultural radicalism, that is, an individuality of spirit and expressive form of defiance against the norm. (The ?movement? collectively refers a shift to the ?New Left? which supported the Civil Rights Movement, was against the Vietnam War, and opposed the Old Left Liberal methods of working within the system to end poverty and racism by means of a technocracy.) The more the youth rebelled, the more the music changed to suit this rebellion. The lyrics became more overtly political and explicit, and Rock and Roll music began to ?evolve out of artistic necessity,? when new ways to rebel were necessary, in order to keep on rebelling, as it were. Folk musicians began to blend their lyrics and style with Rock music, and wrote songs that were true reflections and reactions to the times and responded to the changing world. By the mid 60s, a youth ?counterculture? hit the scene, and Rock and Roll had split into two breeds of music: one which served an industry and popular culture, and another type of music for political activism, which eventually infused itself in the drug-laden hippie subculture."
| |
|
Three Generations of Rock and Roll, 2005.
Examines the life and career histories of rock and roll musicians, Elvis Presley, Jim Morrison and Kurt Cobain.
1,400 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
»
Click here to show/hide summary
Abstract
Over time, many musicians have shown us what good rock and roll music is all about. Musicians such as Elvis Presley (the king of rock and roll), Jim Morrison (lead singer and songwriter for the 'Doors'), and Kurt Cobain (musical genius from 'Nirvana'), are discussed in this paper to try and understand the fascination of rock and roll.
From the Paper
"Kurt Cobain was the lead singer and guitarist of Nirvana. He started the group with Krist Novoselic, a fellow punk rock devotee. They developed a style that became known as "Grunge Music". "It was a style that evolved as a reaction against the perceived superficiality of 1980s stadium rock and the over the top metal bands of the time" (5). Nirvana was an underground band with a devoted following. After four years of playing, the band just exploded into the mainstream. Cobain struggled with the band's success and felt the success was contradictory to their beliefs and what they stood for. The Nirvana song, "Smells Like Teen Spirit", became the anthem for Generation X. (3)"
| |
|
The Dome of the Rock, 2008.
An analysis of the true purpose and meaning of the Dome of the Rock.
3,668 words (approx. 14.7 pages), 6 sources, MLA, $ 101.95
»
Click here to show/hide summary
Abstract
The paper discusses how the Dome of the Rock was built to propose new religion and to place it atop of two older ones - Christianity and Judaism. The paper also discusses how the Dome of the Rock was also builty because Abd Al-Malik wanted to build a temple that would compete in its significance with Ka'ba. Lastly, the paper examines a third view, which represents the traditional Muslim belief that the Rock is the place from where Muhammad ascended to heaven and that the Dome was built over it to commemorate this event.
From the Paper
" The historical background of the Dome of the Rock may direct us to the conclusion about the real meaning of this splendid structure. The construction of the Dome of The Rock, or the Qubbat as-Sakhra, was ordered by the Umayyad caliph 'Abd al-Malik ibn Marwan and was completed in 692 CE (72 AD). The building is located in the eastern part of the city of Jerusalem, on the rocky platform generally known as Temple Mount, or as Mount Moriah to Jewish people and as Haram al-Sharif ("Noble Sanctuary") to Muslims. The Dome of the Rock was built on the ruins of the Solomon's Temple destroyed long before Muslims entered Jerusalem by Babilonians. Around 640 CE Jerusalem fell under the Muslim rule of the Umayyads, however historians agree that there was not any kind of the battle before conquering the city and that Muslims entered the city rather peacefully. "
| |
|
Censorship of Rock 'n Roll Music, 2002.
Explores the controversial issues surrounding Rock 'n roll music.
2,400 words (approx. 9.6 pages), 13 sources, $ 89.95
»
Click here to show/hide summary
Abstract
Rock 'n roll music violated many cultural and social taboos of the 1950s. Performers and their recordings were frequently subject to censorship. This paper traces society's responses to pioneer rock stars such as Elvis Presley and Jerry Lee Lewis and examines why rock 'n roll has stirred so much controversy since its inception.
| |
|
?The Rocking-Horse Winner?, 2004.
A critique of ?The Rocking-Horse Winner? by D.H. Lawrence.
981 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
»
Click here to show/hide summary
Abstract
This paper examines the story, ?The Rocking-Horse Winner? by D.H. Lawrence, in which the main character, a young boy named Paul, constantly hears voices whispering in the house about the family?s need for money, causing him to get involved in a series of events that eventually lead to his demise. In particular, it looks at how the symbols of money and rocking horse play a significant role in the story?s theme; the money symbolizes desire, and the rocking horse symbolizes inspiration and ambition.
From the Paper
"According to Lawrence, Paul?s family enjoyed living in style yet always lived beyond their means. There was never enough money, causing a great deal of anxiety in the house. The parents dreaded the fact children were growing up, as they knew they would need money to send their children to school. As a result of the all the psychological trauma associated with money, the house became haunted with the phrase: ?There must be more money! There must be more money!?"
|
|
|
