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Romantic Period Literature, 2007.
This paper looks at "Pride and Prejudice" by Jane Austen and Karl Marx's Communist Manifesto as symbolic of the society of the Romantic Period.
1,390 words (approx. 5.6 pages), 6 sources, MLA, $ 46.95
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Abstract
The paper discusses how the Romantic Period of literature was marked by many representations of the reinforcement of tradition and propriety by industrialists who wanted to represent themselves as wealthy. The paper shows how this can be seen in the literary tradition of the era. The paper examines the novel "Pride and Prejudice" by Jane Austen that is populated by characters that meet the ideals of this period. The paper examines Marx's Communist Manifesto in conjunction with romantic literature and explores the ideals it supports.
From the Paper
"The Romantic Period of literature was marked by many representations of the reinforcement of tradition and propriety, as well as satire on the whole of the traditions and challenges. The romantic period being marked by a change of hands, with the rise of the "new" moneyed rich, who had been a part of the great industrial revolution, presumably as a part of the group who had walked upon the backs of others rather than been walked upon for another's gain. These newly rich characters were making every stride to live, as if they were members of an earlier and more foundational aristocracy. To do so they had to embark on building asset of rules and social demands that represented their desire for public acceptance."
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The Romantic Period of British Literature, 2003.
This paper discusses the Romantic period of British literature, from approximately 1785 until 1830, which was spurred in part by the French revolution and followed the Age of Enlightenment period of literature.
1,900 words (approx. 7.6 pages), 6 sources, MLA, $ 60.95
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Abstract
This paper explains that the Romantic period is about the ordinary and the outcast becoming glorified; romantic literature parallels romantic domestic life: Men spend their time talking of great ideals while women go unrecognized for meeting those same ideals as they get down and do the real work. The author points out that, after Wordsworth and Coleridge, Lord Byron is the next big name in the Romantic period of British Literature. The paper relates that the women writer of the Romantic period, such as Mary Robinson, Mary Wollstonecraft and
Anna Leticia Barbauld, also were predominantly members of the aristocracy, but, by the virtue of being women of their era, they were more down-to-earth.
From the Paper
"Wordsworth and Coleridge are essentially credited with starting the Romantic Era of British literature with the publication of the Lyrical Ballads. Wordsworth and Coleridge were heavily influenced by Milton and this shows the "Preface to Lyrical Ballads," in which Wordsworth defends his poetry, but not without making dozens of references to Milton throughout. The Lyrical Ballads themselves are very difficult reading, obviously intended for the elite. Then we have the "Rime of the Ancient Mariner" in which we have a tale set up much like the Odyssey in which the "Ancient Mariner" has an epic adventure in which he is taken to the South Pole by a storm an kills an albatross which causes bad luck and releases spirits, but fortunately for our narrator he is saved by the "grace of the Holy Mother" and is witness to such epic-style special effects as ghosts, miracles, and reincarnation. This certainly does not fall under the heading of "glorification of the ordinary." It is another epic."
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The Romantic Period, 2006.
This paper examines the era of romantic literature and poetry as well as the common thread which binds various works of writing into a particular field of literature.
2,912 words (approx. 11.6 pages), 6 sources, MLA, $ 86.95
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Abstract
The writer of this paper contends that one of the most difficult questions to answer in the study of English literature is the method by which literary periods are defined. This paper attempts to define the romantic period in both literature and poetry as well as the metaphorical common thread which brought it all together. While the romantic period is a somewhat vague era, this paper presents a study of major poets over a particular period that describes how the evolution of one idea can came to define a period. This paper explores how two major leaders of the romantic movement, Wordsworth and Coleridge, were influenced by the events of French Revolution. When the course of the revolution soured and reality proved far different from the dream, so began an important school of writing. Their joint release of the "Lyrical Ballads" signaled this change. This paper also examines the writings of various poets and authors including Lucy Aikin, Percy Shelley and Anna Letitia Barbauld as well as the mitigating factors that influenced their writing.
From the Paper
"Shelley's poem "Ode to the West Wind" is a prime example of this shift in focus. In this poem, he hopes to sound the "trumpet of a prophecy." He believes that he has discovered the all-powerful force which exists in the universe. This "power", as he terms it, holds all in its sway. Power, like the West Wind, is an unchanging force in a changing universe. The wind holds dominion over the land, the sea, and the air. It disperses the leaves in the autumn, blows the clouds across the skies, and causes the waves to roll. The wind itself, however, is immutable. It has blown for all time, and will continue to do so. The point of Shelley's poem is that humans have attempted to usurp a power which they cannot. Humans believe they are the controlling force, and that is why society has degenerated. Only when submission to this higher power occurs, will real change be able to take place. Consequently, humans must learn to overcome their own egos in order to achieve a balance in the world."
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Romantic Poetry, 2008.
This paper argues that some of the best examples of Romantic poetry are from unlikely individuals that are rarely included in the canon of "Romantic literature".
1,660 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
The paper relates that Romantic poetry was a clear demand for social justice, expressing that the past social structure was too rigid and the new social order must allow for individual growth. The paper posits that some of the best examples of Romantic poetry were produced by working class individuals. The paper uses the example of the working class, self-educated poet, Mary Collier, and analyzes two specific examples of Collier's poems. The paper explains that this working class woman was not only not an exception but probably even more committed to the ideals of the period than many of the classic Romantic poets.
From the Paper
"The term romanticism related to a period of European history associated with the end of the eighteenth and the beginning of the nineteenth century. Romantic poetry is an expression of the period, the emphasis of such poetry was frequently nature as well as individual expression of emotions and imagination as a rejection of earlier classicism and strict social rules and conventions that defined life, prior to the time. In a sense romantic poetry, as well as other literary and artistic expressions during the period were a clear demand for social justice, expressing that the past social structure was to rigid and the new social order must allow for individual growth. "
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Classical and Romantic Music, 2005.
A comparison between classical and romantic music periods.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper looks at the details which characterize the musical romantic and classical periods. It begins with a look at the classical styles and its composers, and then moves to address the romantic style and its composers. It concludes that distinct differences in purpose, emotion, form, function and fusion of musical genres are apparent in the two.
From the Paper
"Classical music ranged from about 1750 to 1820, at which point Romantic music became the current style, which itself lasted until around the year 1900. As one inevitably lead into the other, their characteristics perhaps can be best described when they are fully compared to one another. The classical style, as exemplified by its composers, was more fixated on form, design, balance and grace, while romantic style instead aimed at fusing together musical genres to capture the true, expressive spirit of the work, as likewise captured by the composers of this era. The classical period aimed backwards in history, attempting to recreate the classical period of the past in Grecian and Roman terms. Classical music, like many other periods, had variations of its styles. Beginning as a courtly style, which most likely was a remnant of the previous baroque period, it was intended to please the ..."
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Romantic Age, Slavery and Blacks, 2006.
This paper explores the extent to which inclusion of literature related to slavery and blacks is an aspect of the Romantic Age.
1,986 words (approx. 7.9 pages), 4 sources, MLA, $ 63.95
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Abstract
The paper discusses how the inclusion of literature related to slavery and blacks is to a tremendous extent an indisputable aspect of the Romantic Age. The paper relates that the Romantic Age coincided with colonialism and the acquiring of African slaves. The paper reveals that this era founded and birthed racial taxonomies and the very term "Blacks" among other racial slurs. The paper shows how the height, depth and demise of slavery were witnessed during the Romantic period.
From the Paper
"The exact span of time attributed to the Romantic Era is still debatable. According to Joseph Strayer and Hans Gatzke, "The term Romanticism defies clear definition. It differed not only from country to country but from Romanticist to Romanticist" (The Mainstream of Civilization; 550). What is definite and sure is that Romanticism coincided with Colonialism. Colonialism has been defined as, "The practice of acquiring control over another country, occupying it with settlers, and exploiting it economically" (The Oxford Dictionary). The chief tool utilized to achieve the ends of colonialism was African slaves. As stated by Damrosch et. Al. "From 1783 to 1793 more than 300,000 slaves were sold in the British colonies, at a value of over 15,000,000 pounds" (108)."
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Paintings of the Romantic Age, 2003.
A summary of Romantic paintings, what makes them Romantic, what they depict, and how they reflect the culture of Europe and the world at the time.
1,090 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
The Romantic Age was an age in which artists employed many different techniques to create certain effects and feelings in their paintings. This paper focuses on some of the key pieces of art from the Romantic Age and analyzes each painting to reveal its true meaning and explain what aspects of each painting make it a Romantic work of art. It also examines how each painting reflects a certain aspect of both European and world culture at the time. This includes social, economical, and political aspects of life. The paintings include "The Raft of Medusa" by Theodore Gericault and "Hunting in the Pontine Marshes" by Florace Vernet.
From the Paper
"One painting, The Raft of Medusa, by Theodore Gericault, is a painting of a small raft that is afloat in the sea which is covered with people sprawled out over the raft. There is a wide range of emotions shown by the people floating on the raft, as some are waving a white flag trying to catch the attention of a passing ship in the far distance, to the dead bodies of those not fortunate enough to make the journey on board the raft. In fact the range of emotions seems to follow a pattern from the top right to the bottom left. In the top right a ship can be seen very far off in the distance, which symbolizes the chance of rescue. Then moving downward and leftward there are a couple people trying to get the attention of the ship. Then there are some people who seem rather indifferent and are standing about, then there are people who seem worried, which gradually advances to into mourning, some people have their hands clasped over their faces, and finally there are the sick and then the dead. The elements of art which are important in this painting are line, space, and color. The line in this painting by Gericault is much defined by the way he outlines the bodies and faces to shape their expressions. Gericault also uses symbolism, using people to represent possible human emotions for dealing with such an event, and he expresses individualism by showing almost each person with their own emotion. Finally he uses the horizon very well by giving the painting a sense of depth."
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The Romantic Era, 2006.
An evaluation of the writers and poetry of the Romantic era in English literature.
1,950 words (approx. 7.8 pages), 7 sources, MLA, $ 62.95
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Abstract
This paper studies the Romantic period in English literature, from 1798 to 1832. The paper evaluates the lyrical ballads of Sir William Wordsworth and Samuel Taylor Coleridge, which were published at the turn of the 19th century. The paper first analyzes William Wordsworth's poems "Expostulation and Reply" and "The Tables Turned", to demonstrate how the Romantic poets turned to nature as their schoolroom and derived life's lessons from nature. Next, the paper examines three Coleridge poems: "The Rime of the Ancient Mariner," "Kubla Khan" and "Christabel". The paper explains that each of these poems demonstrates the juxtaposition between nature and the sub-conscious, particularly the dream-state.
From the Paper
"The old regime in England took its stand in the face of revolutionary fervor based on the American and French Revolutions. For those who sympathized with the Revolution, they needed a new revolution directed against reason and toward something else, and that "something else" was imagination (Adams 363). Romanticism was a movement marked by a shift in feeling, a shift in sensibility, as well as a new concept of man's relation to the natural order and to Nature in particular. As with most movements, the perception that a group of poets exhibited this sort of shift in sensibility is something imposed after the fact by critics reading the works of Keats, Coleridge, and Wordsworth, among others, and finding that many of their sentiments and responses demonstrate a similarity in outlook different from the previous age. Romanticism was marked by certain attitudes, among them the following: 1) a growing interest in Nature and in the natural, primitive, and uncivilized manifestations of Nature; 2) a growing interest in scenery; 3) an association of human moods with the "moods" of Nature, leading to a subjective feeling for it and interpretation of it; 4) an emphasis on natural religion; 5) an emphasis on the need for spontaneity in thought and action and in the expression of thought; 6) more importance given to natural genius and the power of the imagination; 7) a tendency to exalt the individual and his or her needs and an emphasis on the need for a freer and more personal expression; and 8) the cult of the Noble Savage (Cuddon 814-815)."
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Contemporary Music, 2002.
A paper which evaluates contemporary music and what constitutes good and bad contemporary music.
1,049 words (approx. 4.2 pages), 6 sources, MLA, $ 36.95
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Abstract
The paper argues against the cliche that contemporary music is without lasting significance. It shows that contemporary music is made up of a multitude of facets, including jazz, country-western and rock and roll. The paper discusses what constitutes good contemporary music, from its style to the source from which it springs. The paper also explores how one judges the cultural strength of a particular style of contemporary music. Finally, the paper looks at the inventive side of contemporary music, such as the use of instruments and lyrics.
From the Paper
"A good example of contemporary music that served our culture well were the anthems and songs sung on 9/11/2001. A few songs were chosen again and again at ceremonies, gatherings, commemorations and fundraisers, and these songs had an even greater impact than the American flags that were waved in so many towns, in so many homes across the country. Although we have a national anthem, and a beautiful one, simpler songs often won the day. ?God Bless America? could not be more homespun in its words and simple melody. Like a poem of the people, it inspires and reverberates through the cultural fabric. Another song that was almost always performed was ?America the Beautiful.? The melody is simple and memorable, the words evoke the majesty and myth that is America?her spacious skies, her amber waves of grain?and the song inspires emotions that very few Americans can resist."
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Modern Portuguese Literature, 2005.
A discussion on three romantic, realist and neo-realist figures of modern Portuguese literature.
2,925 words (approx. 11.7 pages), 4 sources, $ 115.95
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Abstract
This paper discusses the Portuguese romantic and Brazilian realist authors of importance in Dinis and Azevedo, en route to the 20th century poet, De Oliveira's neo-realism. The paper examines them in the light of an uncertain Portuguese society of great class divisions, a parochial Church, and debate concerning a possibly democratic public. It shows the important role of bourgeios authors in pulling together old aristocratic vs. vernacular letters.
From the Paper
"Three Romantic, Realist and Contemporary Figures of Modern Portuguese Literature. Introduction This paper explores the romantic literary contributions of Julio Dinis in As Pupilas do Senhor Reitor, Aluisio Azevedo's O cortico, and the social and psychological romantic poetry of Carlos de Oliveira as found in Uma Abelha na Chuva. It is written by a student who speaks both Portuguese and English and is intended for an English reader, in order to provide an introduction to tendencies in modern Portuguese literature that may be little known. Effort has been made to situate works within the historical development of Portugal and Brazil, and with attention to the authors' backgrounds within two Portuguese-speaking cultures that were long very divided between its educated and uneducated classes."
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The Contemporary Fine Art Markets, 2007.
This paper is an anthropological analysis of the contemporary fine art market based on Stuart Plattner's study, titled 'A Most Ingenious Paradox - the Market for Contemporary Fine Art' from "American Anthropologist".
2,270 words (approx. 9.1 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Plattner's article, 'A Most Ingenious Paradox - the Market for Contemporary Fine Art', reports trends in the North American contemporary fine arts markets and in the commodification of fine art that reflect a neo-liberal environment of considerable new wealth and the culture of consumerism. The author points out that Plattner's orientation is one of participant-observation; a person exposed directly to the phenomenon of local fine art businesses and those who produce for them. The paper concludes that the local fine art markets are well established and profitable and that its artifacts may indicate a great deal regarding consumer tastes and behavior.
Table of Contents:
Introduction
An Informal Ethnography
The Decline of Authority
Economic Anthropology and Fieldwork in Toronto
Concluding Remarks
From the Paper
"Few consumers can know much of why one piece of fine art in a local venue costs more than another, as producers know that few seem to purchase with an eye to buying something to appreciate in value, as opposed to buying due to personal preference. In local and regional markets, the artists that Plattner refers to as identity producers can have an involved philosophy towards what they produce of which consumers need not know, featuring ideas of contributing to a total cultural heritage rather than pursuing artistic fame or monetary success."
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Baroque, Rococo, Neoclassical and Romantic Art, 2009.
A comparison of the styles of Baroque, Rococo, Neoclassical and Romantic art.
882 words (approx. 3.5 pages), 2 sources, MLA, $ 31.95
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Abstract
This paper discusses several art styles as well as cultural movements, namely Baroque, Rococo, Neoclassical and Romanticism. The author provides a brief summary of each of these art movements including its timeline in popularity and gives examples of paintings that bear these signature styles. The paper also compares these art movements to one another, highlighting their differences and similarities.
From the Paper
"By the middle of the 18th century, the rediscovery of ancient Greek art and architecture turned the artistic tastes of Europe in a brand-new direction which began the style and period known as Neoclassical. Within this period's admiration for the art of Greece, a similar admiration came about for the art of ancient Rome via the excavations of the towns of Pompeii and Herculaneum in the 1730's and 1740's. Several excellent examples of this new style include the portico of the Church of Ste. Genevieve, now known as the Pantheon, in Paris, designed by Jacques Germain Soufflot (1713 to 1780)."
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Burdett A. Loomis' "The Contemporary Congress", 2006.
This paper discusses Burdett A. Loomis' "The Contemporary Congress", which examines the dynamics of the contemporary Congress and how these have changed from the ideal embodied in the Constitution and from the practices of earlier eras.
1,785 words (approx. 7.1 pages), 1 source, MLA, $ 57.95
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Abstract
This paper explains that Burdett A. Loomis' "The Contemporary Congress" begins his examination in the Thirteenth Congressional district in Pennsylvania, from 1992 to 1997, when the Republicans changed the make-up of Congress and gained control of the House of Representatives for the first time in years. The author points out that, although he also finds that a reasonably homogeneous party can overcome these tendencies, Loomis refers to the centrifugal Congress because there are a number of forces decentralizing it. The paper stresses that the forms of political institutions should serve the needs of the people they serve and should uphold and promote the values that these people want to elevate to special status.
From the Paper
"Loomis discusses the changing nature of congressional politics, with the growth of lobbying as a way for special interests to reach legislators and to wield influence. Various social and economic pressures also operated to change the way policy is made and the budget is created and passed. The idea of balancing the budget is often raised, but this is rarely achieved. Even when it is, other forces may prevent a balanced budget from achieving what leaders think it will achieve."
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Victorian Literature, 2002.
A discussion of how a common theme that can be seen in Victorian Literature is that of memory, or a sense of the past.
1,215 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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Abstract
This paper examines how writers during the the Victorian era, typically identified from the years 1832 through 1901, did not differ from the Romantic writers as much as the Romantic writers differed from their Restoration predecessors. It looks at how Victorian writers, surrounded by change and advancement, reflected attitudes in response to their circumstance and these attitudes varied and were as diverse as the ideas themselves and how often a common theme that can be seen in the literature of this period is that of the past. It shows how these writers recognized the incredible impact their work would have with the recollection of days gone by and whether clinging to the past fearfully or willing to remember but not let go and move forward, the Victorian writers contributed greatly by simply remembering anything at all.
From the Paper
"Victorian literature is not only prominent, but it is also versatile because it ranges from sentimental fiction to he the fictional reworking of the ideologies that were in progress at the time. It could be asked if the Victorian writers exaggerated their history and if they did, by how much. Historical accounts can be balanced with history records, leaving the reader to enjoy the literature as it was written and how it was meant to be enjoyed as a piece of art. Art when England was on the brink of an industrial revolution probably makes it more insightful and interesting to the reader."
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Monsters in Literature, 2006.
This in-depth paper analyzes various works of Western literature in which the authors utilize monsters or images of evil to symbolically represent the dark side of humanity.
4,151 words (approx. 16.6 pages), 11 sources, MLA, $ 111.95
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Abstract
The writer of this well-researched paper contends and explains the manner in which the theme of monsters in classic Western literature originates from religious, cultural and linguistic sources. This paper focuses primarily on Mary Shelley's "Frankenstein" and Victor Hugo's "The Hunchback of Notre Dame," both classic romantic novels which clearly depict dark and gothic images. This paper explores Shelley's writing style which illustrates how evil can emerge from the human psyche literally as well as symbolically. The writer discusses and details the similarities in both novels. This paper analyzes Hugo's intention when describing Quasimodo who is slightly more appealing than Frankenstein, albeit Quasimodo's appearance does convey a certain amount of fear. This paper contains several selected portions of text from both novels which are relevant to the specific topic detailed in this paper. The writer also discusses how this particular style of dark writing has evolved in more contemporary and up-to-date works by authors such as Stephen King as well as in films such as "Fatal Attraction" and "Silence of the Lambs."
Table of Contents:
Introduction
Frankenstein: Who Was the Real Monster?
Victor Hugo's Hunchback: An Illustrative Device
Allegory or Entertainment?
Modern Monsters: The Theme Continued
Conclusions
Works Cited
From the Paper
"There is little question that Hugo fully intended Quasimodo to evoke horror in his readers. He creates Quasimodo as a grotesquely deformed, almost non-verbal, and deaf. Interestingly, Hugo assigns the character a friend, if not a creator as in Frankenstein, but as a protector--one who supposedly has the best interests of the monster at heart. This friend, Dom Claude Frollo, ironically on some levels represents the "best" of humanity as is exemplified by his devotion to the Church and a life of God. However, the reader soon sees the irony, as well as the inherent evil of the human heart not in the monster, but in the supposedly "good" human man. This, the reader sees most clearly in the following passage, perhaps one of the most striking in the novel, when Frollo, a supposed beacon of hope and mercy, passes by Quasimodo being tortured by a terrible mob."
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