| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "DECEPTION JOHN WEBSTER DUCHESS MALFI": |
|
|
Deception in John Webster's "Duchess of Malfi", 2002.
The paper looks at the play "Duchess of Malfi" by John Webster, suggesting that through the characters we learn that one's only chance for survival in a hostile world is through the deception of others.
843 words (approx. 3.4 pages), 4 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
The writer analyzes the drama, in particular the title character of the duchess. According to the paper, the duchess learns only at her death that the perils of life cannot be masked by deceit. The writer notes that Webster has the ability to create characters evocative of pathos in a way that is similar to Shakespeare.
From the Paper
"Following the Duchess's self-deception that an ideal existence for her and her lover is possible is the aforementioned deception of her brothers, the act which leads to her downfall at their merciless hands. In addition to her marriage to Antonio, she must conceal the births of her children from Ferdinand and the Cardinal (She must go so far as to accuse her husband of being a thief!), all the while refusing to acknowledge the danger involved in her actions (Mahaney 167). In response to Antonio's asking "But for your brothers?" (Abrams 1254), the Duchess says, "Do not think of them./All discord without this circumference/Is only to be pitied, and not feared;/Yet, should they know it, time will easily/Scatter the tempest" (1254). Such a reply gives evidence both to her lack of perception of her brothers' intentions, as well as to her lack of introspection in recognizing her own impossible ideals. Only when she is confronted by Bosola, who harshly denies all she believes herself to be (Whitman 154), does the Duchess realize her fallacies of life. She asks Bosola, "Dost know me? Who am I?" (Abrams 1294)."
| |
|
John Webster?s ?The Duchess of Malfi? and ?The White Devil?, 2002.
This paper is a critical analysis of Webster?s ?The Duchess of Malfi? and ?The White Devil?, focusing on the theme: ?Sense of an elite woman?s place in the world?.
1,875 words (approx. 7.5 pages), 2 sources, APA, $ 59.95
»
Click here to show/hide summary
Abstract
This paper first presents in detail Webster?s view on morality and social relevance in the two plays especially in his use of imagery and characterization. The author then compares the strong central female characters in both plays. The paper argues that the plays force the re-evaluation of traditional social conventions, almost presenting a case for allowing women more freedom in deciding their own futures.
From the Paper
"Perhaps the most powerful argument in favor of the presence of a social and moral comment in The Duchess of Malfi and The White Devil is to disprove the view that Webster was nothing more than a tawdry showman who resorted to grisly horror to entertain and amuse his audience. One cannot deny that both The Duchess of Malfi and The White Devil cause a great deal of emotional discomfort in their unabashed use of bloody murders, including the killing of innocent children in The Duchess of Malfi. But a counterpoint to this argument could well be that the very effectiveness of Webster?s plays lies in his use of baser human instincts to illustrate on the one hand, human resilience and fortitude even in the face of the greatest of horrors, and on the other the dire consequences of giving into negative emotions such as greed, lust and the desire for revenge and power."
| |
|
Webster's "The Duchess of Malfi", 2001.
A look at the characteristics of the main character, Bosola, his experiences and changes throughout the play.
2,380 words (approx. 9.5 pages), 6 sources, $ 72.95
»
Click here to show/hide summary
Abstract
An analysis of the character of Bosola in Webster's "The Duchess of Malfi" contending that the character, like the play, is shrouded in uncertain mists of evil, ugliness, and depravity. The author looks at the experiences of the character and how the character changes throughout the play.
From the Paper
"The Duchess of Malfi takes place in what Northrup Frye called a ?sick and melancholy society? (Rabkin 119). Rupert Brook described Webster?s characters as ?writhing grubs in an immense night? (Rabkin 112). Evil, ugliness, and depravity rule. Beauty and goodness are doomed. In the beginning the character Bosola appears to fit right in, to be an unprincipled man with no conscience. Whether this is his real self, or whether he is an actor playing a part in order to survive in a polluted and perverted world, or whether he changes during the course of the action are some of the questions Webster enshrouds in the mist of this play. Finding clarity is the responsibility of each individual reader or viewer, as it was, in the end, up to Bosola to find his own way through the mist."
| |
|
English Renaissance Tragedy ? "The Duchess of Malfi" by John Webster., 2001.
An in-depth analysis of this English Renaissance tragedy, the various factors involved which lead to the tragic ending and the struggle between good and evil.
2,800 words (approx. 11.2 pages), 2 sources, $ 83.95
»
Click here to show/hide summary
Abstract
In this paper the author examines the theme of tragedy that runs through this play. In so doing he looks at the primary relationships in the play - the relationship between the Cardinal, the Duchess and Ferdinand and the relationship between the Duchess and Antonio which he suggests is central to the play. He also suggests that the character of Bosola is an additional factor in the events that lead to the tragic end. The author examines each of these factors in turn, looking at the characters involved, their characteristics and the meaning of each factor and concludes by showing, not only how all these events led to the tragic ending, but also what meaning this has for the reader.
From the paper:
?The central tragedy of the play is that of the Duchess. She is represented as a fine woman in terrible circumstances. Her tragic flaw is her need to follow her heart. She defies the reality of the situation and makes the decision to marry Antonio and ultimately suffers for this choice. The tragedy of the situation is that she does nothing wrong. Her relationship with Antonio is pure. Even with the tragedy that results, she accepts this as a consequence of loving Antonio and accepts her fate.?
| |
|
"Macbeth" and "The Duchess of Malfi", 2002.
A discussion of the architectural similarities between Shakespeare's "Macbeth" and Webster's "The Duchess of Malfi".
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
»
Click here to show/hide summary
Abstract
This paper examines parallels between Shakespeare's "Macbeth" and Webster's "The Duchess of Malfi" with respect to the architectural elements within each play which become symbolic of the deception and secretive schemes.
| |
|
"The Duchess of Malfi", 2002.
This paper examines John Webster's "The Duchess of Malfi".
1,900 words (approx. 7.6 pages), 5 sources, $ 71.95
»
Click here to show/hide summary
Abstract
This paper analyzes the issues of gender and sexual politics in English playwright John Webster's macabre Elizabethan era tragedy, "The Duchess of Malfi".
| |
|
"The Duchess of Malfi", 2006.
Examines John Webster's "The Duchess of Malfi" considering his representation of 'rebellious, outspoken or desiring' women.
776 words (approx. 3.1 pages), 0 sources, MLA, $ 27.95
»
Click here to show/hide summary
Abstract
Concentrating specifically on the Duchess herself in "The Duchess of Malfi", this paper explores both her social and political transgressions that ultimately cause her tragic death. The author of the paper challenges Bartel's assertion that there is 'no escape for those subjects who show remarkable autonomy before they go', by concentrating specifically on the events surrounding the death of the Duchess. The author further attempts to demonstrate how the Duchess' 'remarkable autonomy' continues, even at the time of her death, leaving her the most powerful figure in the play.
From the Paper
"The Duchess of Malfi has been compared to the real lives of Arbella Stuart, and Catherine of Valois. All were noble women in socially isolated environments, each was at the mercy of more powerful male relative(s), and all three wanted to remarry but were forbidden to do so, yet each insisted on marrying anyway. Further to this, each married not only the man of her choice, but also someone beneath her on the social scale, resulting in each being persecuted."
| |
|
Gender in Novels, 2002.
A look at gender in Milton's "Paradise Lost" and Webster's "The Duchess of Malfi".
650 words (approx. 2.6 pages), 2 sources, $ 26.95
»
Click here to show/hide summary
Abstract
This paper discusses issues of gender raised by the characters in the play "The Duchess of Malfi" by John Webster, which shows how women were viewed in Elizabethan England, and "Paradise Lost" by John Milton, which suggests how ideas of gender began in the first place as Adam and Eve were seduced by Satan.
| |
|
Deception and 'The Glass Menagerie', 2008.
This paper analyzes the theme of deception in 'The Glass Menagerie' by Tennessee Williams.
860 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
»
Click here to show/hide summary
Abstract
In this study, the writer examines the theme of deception in the Wingfield family in 'The Glass Menagerie' by Tennessee Williams. By analyzing the roles of Laura, Tom, and Amanda the writer notes that the crucial elements of self-deception can be realized within Williams' text. The writer points out that by critically analyzing how these characters deceive themselves, we can see that they also have a damaging impact on the very people they are trying to hide from within the play's storyline. In essence, the the writer maintains that the fantasy escapism of Laura, the sexist attitudes of Tom, and the materialism of Amanda are three aspects of deception that occur within 'The Glass Menagerie' by Tennessee Williams.
From the Paper
"In this vital narrative, it is Laura that is deceiving herself through an obsession within unreal or fantasy objects in her glass collection. Self deception in this case is by far more damaging to the spirit, since Laura is incapable to finding a relationship with anyone else but her glass objects. This perspective comes in the realization that she cannot escape the insular world she has created, and in unable to reach outside of her fantasy world. This is the mot damaging aspect of this character's self-deception, as it denies her any type of relationship with real people."
| |
|
Deception in "King Lear", 2003.
An investigation into the use of deception and manipulation in William Shakespeare?s ?King Lear?
2,618 words (approx. 10.5 pages), 2 sources, MLA, $ 78.95
»
Click here to show/hide summary
Abstract
This paper discusses how deception and manipulation are two strands in Shakespeare ?King Lear? that are manifested in a variety of ways in different situations and with different characters. It looks at how when one character deliberately aims to deceive or manipulate another, it is done for different purposes throughout the play. It shows how the more unfavourable characters like Goneril, Regan and Edmund are prepared to use any method they can contrive to ensure they achieve what they desire and how their shrewd usage of these techniques consistently have disastrous effects for those whose their actions are inflicted upon. In contrast, it examines how there are however, other characters like Kent, who use deception and manipulation for the gratuity of others, and those, like Edgar, who are forced to deceive and manipulate, as they appear to have no other viable option.
From the Paper
"Edmund is consistently evil throughout the play, but when in the end he becomes mortally wounded he appears to undergo a transformation, in which he attempts to redeem himself ?some good I mean to do despite of mine own nature?. Heeding the religious context of the play, one may think that Edmund is trying to lessen the intensities of his judgement, but this, I think is unfounded, as whenever Edmund does speaks of religion he does so only to scorn at it. The only similarity between Edmund and his brother Edgar is that they are both sons of Gloucester. While Edmund may be seen as the most evil character in the play, responsible for the deaths of the princesses, the King and the maiming of his own father, Edgar may be viewed as the most favourable."
| |
|
Vanity and Self-Deception, 2007.
This paper examines Brian Hanley's work "Modernity's 'Mr. Rambler': Tobias Wolff's Exploration of Vanity and Self-Deception in 'The Night in Question'".
1,145 words (approx. 4.6 pages), 1 source, MLA, $ 39.95
»
Click here to show/hide summary
Abstract
The paper examines Hanley's analysis of the central theme of vanity in both Tobias Wolff's "The Night in Question" and Samuel Johnson's "Rambler". The paper discusses how the literary traditions of the eras of both authors reflect their social and cultural norms. The paper is of the opinion that the most remarkable feature of Hanley's essay is the author's ability to parallel two otherwise disparate works of literature.
From the Paper
"Yet Wolff's moralism is not intentional as Johnson's was, and not nearly as overt. As Hanley notes, Johnson wrote from an orthodox Christian perspective offering pointed opinions that were "never ambiguous or softly hued," (p. 147). On the contrary, Wolff never strives for didacticism. Instead he allows his narrators to open the minds and hearts of readers to steer them in the general direction of self-awareness. If readers come just a tad closer to self-assessment and self-honesty then Wolff would be satisfied in Hanley's assessment. Part of the reason why Wolff succeeds in becoming a modern-day Johnson is his literary acumen. His narrative voice and characterization elucidates the central moral theme in Johnson's work: vanity."
| |
|
Deception and Destruction in Venice, 2003.
An analysis of the themes of deception and destruction in William Shakespeare's "Othello" and "The Merchant of Venice".
926 words (approx. 3.7 pages), 0 sources, $ 32.95
»
Click here to show/hide summary
Abstract
This paper examines how, in both "Othello" and "The Merchant of Venice", Shakespeare associates Venice with a disturbing existence of sadism. It looks at how this idea of sadism is prevalent throughout both plays and can especially be seen in the relationships between the persecutory culture of the Christians and those outsiders who have been spurned by this Venetian community.
From the Paper
"The outcasts in these two plays seek relief in their evil and destructive power. This malign power primarily manifests itself in those who are afflicted by the intense stereotyping of others and the sadistic persecution that makes categorizing others possible. While it can be inferred, through Shylock, that Shakespeare incorporates this idea of sadism because of racism and anti-Semitism in his plays, it is also possible to infer that the sadistic nature of characters such as Iago is a result of something entirely different. And though Shylock?s sadistic behavior stems from his obsession with Antonio, it is also a function of the persecutions visited on him by all of Christian Venice."
| |
|
"The Taming of the Shrew" and Deception, 2002.
Examines how the deceptive presentation of a personality achieves freedom in William Shakespeare's "The Taming of the Shrew":
650 words (approx. 2.6 pages), 1 source, $ 26.95
»
Click here to show/hide summary
Abstract
This paper compares the concept of deception with the character of Kate in William Shakespeare's "The Taming of the Shrew". The argument that Kate uses deception as a survival technique is used throughout the essay, concluding with how Kate sought to maintain her very freedom through presenting a "tamed" version of her true nature.
| |
|
Certainty and Deception, 2007.
This paper discusses Miguel de Cervantes' "Don Quixote" and Rene Descartes' "Meditations on First Philosophy".
1,312 words (approx. 5.2 pages), 2 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
The paper describes Cervantes' "Don Quixote" as a groundbreaking satire, critique and novel on the understanding of the power of deception. The paper also examines "Meditations on First Philosophy" where Descartes believes he must doubt everything that might deceive him. The paper illustrates how both writers are acutely aware of the power of deception, as humans can easily be deceived. The paper explains that despite the recognized deception in the world, Descartes and Cervantes both maintain that one thing can be known for certain and that is the existence of the self.
From the Paper
"Descartes, from the very beginning of his Meditations on First Philosophy makes clear the power of deception. In the first meditation he reflects on how "we may doubt in general of all things" and further expounds on the ability for the senses to deceive (Descartes 7). This seems to hint that we cannot know things for certain; because how can we know things for certain if our senses will deceive us? To Descartes, he must doubt everything and he cannot trust his imagination, for instance. Things he thought he knew for certain must be doubted, and this hints to suggest that Descartes not only believes in the power of deception, but also that things cannot be known with certainty."
| |
|
Desdemona's Deception, 2005.
This paper analyzes the character and actions of Desdemona, wife of Othello in Shakespeare's play "Othello."
2,025 words (approx. 8.1 pages), 5 sources, $ 80.95
»
Click here to show/hide summary
Abstract
The paper argues that Desdemona, the wife of Othello in Shakespeare's play of the same name, is ultimately responsible for her own death through her deceptive actions. The paper details many of her actions that could possibly be construed as deceptive and argues that regardless of the truth of any of those deceptions, her deceit of her father is what causes her downfall.
From the Paper
"It is often believed that Iago is the soul source of the conflict and dishonesty in Shakespeare's Othello, but there is a definite question as to the honesty of Othello's wife, Desdemona. Desdemona's words and actions indicate that she was not completely honest in her protestations of innocence regarding Cassio. In fact, as it will be shown, her dishonesty and deceit was indeed her own downfall that led to her own death at the end of the play. From the very first act in the play we can see the beginnings of Desdemona's deceptiveness when her father Brabantio realizes that she has sneaked out of the house and married Othello without her father's knowledge or permission. Brabantio laments: "It is too true an evil... O she deceives me/ Past thought... O Treason of the Blood!" (Shakespeare 1.1.172-85)."
|
|
|
