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The Comedy of Errors: Christianity in Shakespearean Era, 2002.
Shows that although it is a comedy, Shakespeare's play, "The Comedy of Errors" contains a great deal of insight into the religious state of Shakespeare's era.
1,542 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper explains in what ways Shakespeare was quite critical of the practice of Christianity and its hypocrisies. Ephesus, the town where "The Comedy of Errors" is set, contains a great deal of religious history. It is one of the places where St. Paul preached Christianity, as told in Acts of the Apostles in the Biblical New Testament. Ephesus was the source of much witchcraft and sorcery, and subsequently much Christian reform. It shows how through scene setting, Shakespeare had many things to say about Christianity in his play. We see the way in which the characters deal with the Christian hypocrisy of their time. The church focuses power in a patriarchal way; the men abuse this power while the women and servants (Adriana, Dromio) are expected to abide by biblical ideals. The paper addresses all these themes, including detailed adverse effects of the Christian society on the female and lower-class characters. Included are an overabundance of textual quotes, as well as some direct biblical references.
From the Paper
"In moving the location of Plautus?s play, The Brothers Menaechmus, from Epidamium (in Ancient Greece) to the Turkish city of Ephesus, Shakespeare placed the action in a newer and more dramatic religious environment for The Comedy of Errors. The missionary St. Paul, whose travel and imprisonment in Ephesus are recorded in the Christian Bible?s ?Acts of the Apostles,? associated the city with witchcraft and evil sorcery, but also sought to refine it. There are several places in Ephesus whose names hark back to the mythology of Ancient Greece, such as the ?Centaur? (Antipholus of Syracuse?s inn) and the ?Phoenix? (Antipholus of Ephesus?s home). Yet this sets up a religious conflict within the city of Ephesus, for most of the characters indicate themselves to be Christian. Antipholus of Syracuse directly states, ?I am a Christian?? (23), while characters like Luciana and Adriana suggest it in their moral counsel, or even simple exclamations (LUCIANA: ?God for Thy mercy?!? (123)). At the beginning of Act IV, the Second Merchant reminds Angelo the goldsmith, ?You know since Pentecost the sum is due? (87), demonstrating that the Christian calendar is instituted so that it guides even business dealings. However, Shakespeare does not praise Christianity in this play; at times, the manipulation of Christianity is equally as bad (if not worse) than the paganism that St. Paul had originally set out to dispel. It serves as an oppressor to selected characters throughout the play."
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Plot in Shakespearean Comedy, 2007.
A discussion of the typical elements of plot in Shakespearean comedy, with a focus on how "Much Ado About Nothing" deviates from these elements.
1,928 words (approx. 7.7 pages), 6 sources, MLA, $ 61.95
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Abstract
This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.
From the Paper
"Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"
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Connubial Bliss in the Shakespearean Comedy, 2001.
This paper is about marriage and relationships in the Shakespearean comedy.
5,970 words (approx. 23.9 pages), 16 sources, MLA, $ 142.95
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Abstract
This paper compares and contrasts Shakespeare's portrayal of connubial bliss in his comedies "Much Ado About Nothing," "Measure for Measure," and "Twelfth Night." The institution of marriage during Shakespeare's time is examined in detail, including how one decided when one should marry, and to whom, and contrasted to today's notion of marriage. Some of the topics examined include finances, a person's reputation, family involvement, love and honor.
From the Paper
"However, despite the fact that in early modern England, ?Most people got married, and most people had children,? (McDonald 265), Beatrice and Benedick seem hell-bent against marriage. It is therefore probable that, while it wouldn?t strike modern audiences as particularly odd, Elizabethan theatergoers found both Beatrice and Benedick?s adamancy against marriage a source of humor and eccentricity in social behavior. When Claudio makes light of his intention to marry Hero, Benedick?s immediate reaction is, ?Is?t come to this? In faith, hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of threescore again? Go to, I? faith, and thou wilt needs thrust thy neck into a yoke, wear print of it, and sigh away Sundays,? (Sundays were the day a man was expected to be with his wife), (Shakespeare, MAAN, I, i, 197-202). Likewise, the Prince, Don Pedro, says of Beatrice, ?She cannot endure to hear tell of a husband,? (Shakespeare, MAAN, II, i, 347-8)."
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The Shakespearean Comedies, 2004.
This paper discusses the problems of classifying Shakespearean comedies, using "Much Ado about Nothing," "The Tempest," and "Measure for Measure" as examples.
850 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in Shakespearean comedies, a specific play can have, at the same time, both a happy ending and a cruel ending, as well as a character being both good and evil. The author contends that "Measure for Measure" can be interpreted as one of the happiest and the scariest endings written by Shakespeare, and yet it is classified as a comedy. The paper concludes that, because there is little solid documentation about many of Shakespeare's ideas, it is nearly impossible to comment on how Shakespeare feels about anything in his plays and to determine if a play, which is listed as a "comedy", is really a comedy.
From the Paper
""Much Ado About Nothing" is an extremely humorous play, mostly about lovers and the obstacles it took to get two couples together. In the end of the play, there is not only one proposal for marriage, but two! All begin to dance and the 'happy' ending is reached, however, the villain of the play that caused these great obstacles has not been punished. He is here, at the 'happy' ending brought to the attention of the characters, so merry in their dancing and their future weddings."
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Shakespearean Comedies: Defining Gender Limitations, 2005.
The paper discusses the feminist dimension of Shakespearean comedies, focusing on "As You Like It" and "Taming of the Shrew."
3,127 words (approx. 12.5 pages), 9 sources, MLA, $ 91.95
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Abstract
The paper argues that Shakespeare's heroines were vital and constructive protagonists; they were fully realized, independent, and capable beings. Through the presentation of such examples of females within the framework of the comic, Shakespeare was able to argue for a re-evaluation of gender norms and stereotypes at a safe distance. The writer explains that the comic framework served as a type of buffer, allowing him to castigate his society without coming under attack for doing so because, in the end, he was writing comedy.
From the Paper
"Shakespeare's comedies, possibly due to the unfailing tendency to unfairly contrast them to his tragedies and historical dramas, have never received the critical attention they deserve. His body of comedies, according to Milton Crane, contain some of Shakespeare's most insightful comments regarding human nature and society in addition to some of his most quotable and profound lines (68-69). Nevertheless, and in comparison to the attention given the other Shakespearian works/genres, his comedies have received comparatively scant attention. While Crane forwards explanatory theories, two in particular stand out. According to the first theory, Shakespeare's comedies are underappreciated because they do not subscribe to any set ad established definition of comedy. They rarely elicit laughter and, as Crane contends, are "sensible and serious" even as they are lighthearted (68). What this means is that according to the predominant critical view, as explained by Crane, critics have been unable to truly accept Shakespeare's comedies as comedies because they are not the thoroughly humorous, farcical or satirical works that they tend to categorize comedies as being. Instead, they are, at one and the same time, lighthearted and sensible and, tragic and comic, thereby defying any categorization (68). Consequently, the failure of Shakespearian comedies to fit neatly into predefined conceptions of comedy have enforced their comparison to his other works, with the result being that his comedies end up being dismissed as lightweights within the totality of his works (68-69). It is because of this that Shakespeare's comedies have not received the attention awarded to his other works."
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Comedy In Los Angeles, 1995.
Discusses the business of comedy; specifically, comedy clubs. Focuses on three Los Angeles clubs: The Comedy Store, the Laugh Factory and the Improvisation.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"INTRODUCTION
Comedy has become a major business over the last 20 years or so, and the proliferation of comedy clubs in major cities is a testament to this fact. Three of the seminal and more successful comedy clubs are found in Los Angeles--The Comedy Store on Sunset Boulevard, the Laugh Factory on the same street, and the Improvisation on Melrose Avenue. These clubs are known for featuring new talent, as places where established talent tests material, and as magnets for celebrities in the audience as well as on stage. Each has also been well-served by their respective owners' dedication to promotion. The venues have somewhat different approaches to the presentation of comedy acts and target somewhat different audiences. They have also been buffeted recently by a downturn in the comedy business, though they have ..."
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"Divine Comedy" and "King Lear", 2004.
A look at the theme of dark humor and satirical comedy in ?Divine Comedy? by Dante and ?King Lear? by William Shakespeare.
887 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how, in these literary works, a notable characteristic is the authors? ability to weave in the aspect of dark humor, aptly using satirical comedy in order to criticize the rulers and leaders of their societies during their time. It explains how, in ?King Lear,? Shakespeare uses character profiles that fit the description of the antagonists and protagonists in political conflicts that were happening in Shakespeare?s society. It also describes how Dante?s work served as revelation to the people to witness the anomalies going on in their society.
From the Paper
"In Inferno/Hell, Dante is accompanied by Virgil as they go through the inner circles, called bolgia, where different offenders of the sins of humankind are suffering and are being punished for their sins. There are nine bolgias inside, where the first circle is the limbo, described as a place where people experience ?gentle sadness.? Inside the bolgias are people suffering from the sins of humankind: lust, gluttony, the avaricious and prodigal, sullen, heretics, violent people against the tyrants, gods, or goods, fraudulent people in love, flatterers, simonists, diviners, barrators, hypocrites, thieves, fraudulent counselors, sowers of scandals and schism, falsifiers, rebels, and traitors against kin, homeland, guests, and benefactors."
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Medication Administration Errors, 2004.
An examination of what nurses perceive as the causative factors contributing to medication administration errors.
1,742 words (approx. 7.0 pages), 16 sources, MLA, $ 56.95
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Abstract
This paper examines how, too often, health care systems do not take the time necessary to define causative factors for medication administration errors and how, rather, it is more convenient to simply assign blame. It looks at how studies suggest that medication administration errors are on the rise and how far more errors happen than are currently reported. It proposes a study to investigate how health care systems contribute to medication administration errors and to better define exactly what critical factors are most to blame for those errors. It aims to examine the notion that systematic errors are in large part to blame for administration errors, rather than individual errors. It also intends to develop a framework for identifying potential causes for errors, thus supplying nursing care professionals much needed tools to enable them to prevent such errors.
Outline
Introduction
Background of Problem
Significance of the Problem
Problem Statement
Conceptual Framework
Preliminary Literature Review
Method
Research Design
Data Collection Procedure
Ethical Considerations
From the Paper
"In a health care environment, a system may be defined as the following: an integrated delivery system, a centrally owned multi-hospital system, an operating room, an obstetrical unit or an oncology unit (NAP, n.d.: 45). To understand how errors might happen in a system, one must first examine the more far reaching elements of a system. For example, the operating room can be tied to the larger surgical department, which is part of a hospital, which is ?part of a larger health care delivery system? (NAP, n.d.:45). This makes the process of identifying an error within the system more challenging, because there are greater areas to examine."
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Restoration Comedy, 2005.
Examines the 'comedy of manners' genre, with focus upon William Congreve and Richard B. Sheridan.
2,980 words (approx. 11.9 pages), 9 sources, MLA, $ 87.95
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Abstract
Within the larger framework of the comedic genre, Restoration comedy has suffered more criticism than any other type. Judged as immoral, unrealistic, and artificial by numerous literary critics from Lamb to Macaulay, Restoration comedy has often been misinterpreted as a senseless jumble of clever-sounding sentences and words. This paper shows, however, that just as it had it virulent critics, Restoration comedy also had its own share of defenders, including Walter E. Houghton and Robert D. Hume. Writing thirty years apart, both these literary critics maintained that the rejectionist criticism of Restoration comedy is founded upon the false premise that this particular strain of comedy is meaningless and unrealistic. However, this particular viewpoint is incorrect and emanates from a failure to comprehend the purpose of comedy, on the one hand, and the importance of evaluating artistic works from within the context of their own period, on the other. Therefore, as this research argues, while Restoration comedy, or the 'comedy of manners' genre is largely satirical, as seen through the works of Congreve and Sheridan and characterized by extreme exaggeration in the representation of mannerisms, one may interpret this particular genre as a realistic and serious social criticism, which sought to impact cultural and social values and mannerisms.
From the Paper
"The condensation of vice within characters gives the impression that the play is not rooted in any recognizable reality yet, as Weber argues, this reductio ad absurdum devise is a recognized and legitimate means of exposing these vices and taking them to their ultimate consequence, in an effort to reveal society, as it is, without disguise (Weber). Hence, in taking mannerisms and the exercise of particular vices to their extreme absurd limit, Sheridan is not undermining the realistic foundations of his work per se, but is exposing the amorality of its so-called moral base."
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Reducing the Incidence of Medication Errors, 2008.
An analysis of the reasons for and the ways to prevent medication errors in the healthcare setting.
1,556 words (approx. 6.2 pages), 8 sources, APA, $ 51.95
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Abstract
This paper provides an overview of medication errors. It describes the most common types and causes of medication errors and discusses the impact of medication errors on patient care. The paper then provides some strategies that can be used in virtually any healthcare setting in order to help reduce the number of medication errors that occur and therefore improve patient care.
Table of Contents:
Review and Discussion
Definition of Medication Error
Causes of Medication Errors
Impact on Client Care
Strategies to Prevent Medication Errors
Conclusion
From the Paper
"The research and empirical observations suggest that because healthcare professionals are just human, medication errors will happen and the consequences of such errors can be severe. The research also showed, though, that nursing staff in particular can benefit from the above-stated five "rights" to help them avoid some of the most common types of medication errors which were shown to include improper dosages, the wrong drugs and the wrong route of administration. Because the consequences of medication errors can be so dire, it is vitally important for all healthcare providers to take the time necessary to use the strategies outlined above to help guide them in the proper preparation, dispensing and administration of all medications."
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Physical Comedy on Film, 2002.
An interpretation of physical comedy in the movies of Fred Astaire and Ginger Rogers.
2,650 words (approx. 10.6 pages), 10 sources, MLA, $ 79.95
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Abstract
This paper examines how physical comedy does not stop at slapstick and considers how the movies of Fred Astaire and Ginger Rogers could also be defined as physical comedy. Through a review of several of their movies with an emphasis on "Top Hat", it demonstrates how all of their movies, made in the mid-1930s, shortly after sound had been added to films in the previous decade have elements of hilarity which can be attributed to physical comedy.
Outline
Sophisticated, Funny and Physical: The Romances of Astaire and Rogers
Let?s Get Physical, Depression-Era Style
The Namesake Dance as Comedy
Feathers and Fred
A Short Compendium of More Fred and Ginger Physical Comedy
From the Paper
"In the natural comedic way of things, Dale runs into Jerry by chance and they hit it off. But then Jerry sends her flowers billed to Hardwick?s room and a bellman points Jerry out to her, so she?ll have a name to go with the face of the man she?s interested in; he had just called himself ?Adam? since she said she didn?t know him from Adam in an early line. Unfortunately, in that instant, Horace and Jerry trade places and Dale ends up thinking it is her friend Madge?s husband with whom she is falling in love. And, of course, Jerry and Horace know nothing abut this. Neither does Madge at first. When she does hear of it, what she is told is, naturally, also wrong."
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Tragedy and Comedy, 2004.
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
2,510 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
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Abstract
This paper identifies one characteristic of comedy and two characteristics of tragedy and demonstrates their application to scenes from four plays considered some of the greatest tragedies ever penned, Shakespeare?s ?Oedipus Rex?, ?Macbeth?, ?Romeo and Juliet?, and ?Hamlet?; and from two films, the comedy, ?Pretty Woman?, and tragedy, ?The Path to War?. The author explains that one characteristic of comedy is the exaggerated or wry manner in which human folly or foolishness is underscored, and two characteristics of tragedy are the struggles or suffering of the protagonist over moral issues and the raising of questions about the meaning of human existence. The paper states that the ?Path to War? and ?Oedipus Rex? are pure tragedy based on circumstances and errors in judgment; whereas, ?Pretty Woman? is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics.
From the Paper
"Perhaps the most appropriate starting point for demonstrating that a comedy and tragedy are not necessarily mutually exclusive, though they have long been considered the main divisions of drama is "Romeo and Juliet". Indeed, although "Romeo and Juliet" is hailed as one of the greatest love tragedies ever written, it, almost deceptively, appears to be a comedy for the most part. In fact, had Shakespeare not used the prologue to announce that the play was about star-crossed lovers; the audience may well have been completely deceived in expecting or hoping for a happy ending, particularly since the opening scene itself is a witty one that mocks human foolishness through a dialogue between Sampson and Gregory from the house of Capulets."
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Comedy, 2006.
An analysis of comedy as a form of entertainment, looking at two particular plays, "Candida" by George Bernard Shaw and "The School for Scandal" by Brinsley Sheridan.
1,898 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
The paper analyzes the use of comedy within the entertainment business. The paper specifically compares two plays - George Bernard Shaw's Victorian-era comedy "Candida" and Richard Brinsley Sheridan's "The School for Scandal". The paper discusses each of these plays in detail and focuses on the use of comedy within them.
From the Paper
"Shaw presents a play that is designed to teach as well, however, although Shaw holds up a far less socially acceptable model for his viewers to embrace. The characters are not immediately humorous in as broad a fashion as Sheridan's caricatures, even though the Shaw comedy does aspire to a didactic purpose. "Candida" tells the tale of the Reverend James Morell who is happy in his marriage to a woman named Candida. "Get a wife like my Candida; and you'll always be in arrear with your repayment." (Act I) Morell speaks some of the common, conventional notions about morality, marriage, and loving one's wife that would likely have been embraced by Shaw's Victorian audience. This creates a sense of connection between the audience and the conventional characters that Sheridan lectured his audience overtly to feel."
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Medical Errors, 2005.
How mandatory reporting systems and computer technology are addressing the issue of medical errors.
8,105 words (approx. 32.4 pages), 12 sources, APA, $ 174.95
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Abstract
This paper takes a detailed look at what the health care industry is doing in order to combat the current crisis of deaths due to preventable medical errors. The paper also examines the benefits and challenges to the system, which the health care industry is implementing to deal with the problem, and provides recommended guidelines for improving patient safety.
Table of Contents
Medical Errors Background Information
Stakeholders
Type of Errors
Mandatory Reporting Systems
Challenges
Legal Protection of Error Information
Public Disclosure of Errors
Legislation
Patient Involvement
Recommended Guidelines
Elements Impacting Mandatory Reporting Costs
The Mandatory System at Work: Florida and NY
Use and Analysis of Data: Florida
Use and Analysis of Data: New York
Cost Analysis of Reporting Programs
From the Paper
"The solution is to crate an atmosphere in hospitals that fosters less blame, not more, according to the IOM report. A blue-ribbon pane appointed by the IOM argues that the failure to acknowledge and analyze mistakes deprives hospitals of important information that could help prevent similar mistakes in the future. However, many in the healthcare industry argue that mandatory reporting of errors will foster an atmosphere of lawsuits and backlash by the public. The end results would be increased costs, higher insurance premiums, and an overall distrust of hospitals and other healthcare facilities."
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Greek Comedy, 2002.
An examination of the origins of Greek comedy and the work of the playwright Aristophanes.
965 words (approx. 3.9 pages), 2 sources, MLA, $ 34.95
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Abstract
This paper briefly discusses the origins of the Greek theatre and how Greek comedy was distinctive in Athens and became an official part of the Dionysian festivals about 50 years after tragedy did. It looks at how Greek comedy is represented by Aristophanes, the only playwright from the period of Old Greek Comedy whose works survive. It shows how Aristophanes' works were satires directed at specific people in Athenian society. He attacked many political figures in his plays, but he also directed attacks at other cultural figures in Athenian society. It also analyzes how Aristophanes satire was carried in to the Roman era by the works of Plautus.
From the Paper
"The theater in its full form came into being in Classical Greece. At that time, the theater was part of a religious festival and so included a number of ritual elements, several of which have been modified for use in theater ever since. Roman theater developed from Greek traditions carried over in the Hellenic period and then transformed to fit the Roman social structure and Roman sensibilities. The two theaters have similarities and also differences. They often use the same myths as source material and give those myths different treatment. The Roman theater also developed new theatrical forms and genres which extended what the Greeks had performed."
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