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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
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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)."
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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
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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."
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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
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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."
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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
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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)."
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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
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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."
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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
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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."
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"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
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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.
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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
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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."
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Deception of Self-Righteousness in Literature, 2005.
This paper addresses the issue of grace and righteousness in Flannery O'Connor's short story, "A Good Man Is Hard to Find."
1,647 words (approx. 6.6 pages), 0 sources, $ 53.95
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Abstract
This paper argues against the common assertion that the grandmother in the story is an agent of grace. An alternative analysis is offered for those who do not see the story as a parable of grace. The grace is a guise, a rationale that is not brought off. O'Connor focuses her story on what is sinister in The Misfit and satirical in the grandmother and her family. She depicts pure evil in The Misfit as he obliterates the whining grandmother and her clan. The naive and deluded Grandmother is brought low by a violent encounter that shakes her out of her petty superiority and pretentious dress. Ultimately, she is forced to realize her vulnerability and ridiculous condition.
From the Paper
"Flannery O'Connor's short story, "A Good Man is Hard to Find," provokes the reader to consider the issue of grace and righteousness. The main character in the story, the Grandmother, believes that in her day "people did right" and certainly in her mind, she was the most righteous of all. In analyzing the actions of the Grandmother, the reader gains insight about her attitudes and values. One could interpret, as O'Connor herself does, that the Grandmother's final act leads her to an awareness of her feigned righteousness and ushers her into a true state of grace. However, rather than seeing the grandmother's final gesture as an embodiment of spirituality, one could assert her final act as mundane, selfish, and in every sense unredeeming."
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Servitude and Deception in "Dr. Faustus", 2002.
How Faustus comes full circle in his realization that he is not, nor has he ever been, the master of his fate.
1,970 words (approx. 7.9 pages), 1 source, MLA, $ 62.95
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Abstract
This essay examines the relationship between Faustus and Mephistopheles in Marlowe?s original ?Dr. Faustus?. It successfully argues that although Faustus thoroughly believes that he is in control of his own destiny and the magic that he wields, he is really nothing more than a pawn of the devil, and eventually, will come full circle in his life as he begins to realize that he never had control of Mephistopheles ? rather quite the opposite.
From the Paper
?Christopher Marlowe?s tragedy ?Doctor Faustus? is a Renaissance play about greed, good versus evil, and the corruption that often accompanies the quick acquisition of power and material wealth. The play chronicles the later life of the theologian and scholar Dr. John Faustus; a man who has become bored with the seeming mundane and slow progression of his studies and who longs for the power and omniscience of a deity. In return for these ?blessings,? he agrees to sell his soul to Lucifer, the ruler of Hell, partially because he realizes that the Judeo-Christian god will not grant him such power, and partly because the path he chooses is quicker and easier than a life of academic study.?
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Deception In Communication, 1995.
Examines theory, types, motivations, effectiveness, detection of, equivocation vs. falsification and the role of familiarity.
1,125 words (approx. 4.5 pages), 7 sources, $ 39.95
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From the Paper
"Communication in the course of the day is based to a very great degree on trust. We know that deception is always possible in the process of communication, but we generally trust that people with whom we are intimate are communicating with us in an honest fashion. Research has shown that deception often takes place in interpersonal communications, and sometimes it is detected and sometimes it is not. This raises the question of how deception is detected and how accurate the individual can be in deception detection. An examination of the research in this area will show how this issue is being analyzed and tested.
Burgoon, Buller, Ebesu, and Rockwell (1994) note one reason why this issue has become so important in research--they point to the fact that media attention to a number of issues of deception, from the erosion of business ethics to the rise of cheating among ..."
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Deception and Death, 2006.
An analysis of Iago's motive for revenge in William Shakespeare's "Othello".
1,045 words (approx. 4.2 pages), 0 sources, $ 36.95
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Abstract
This paper examines how the central theme within a morality play is that a devilish character referred to as vice tempts a Christian character and how Othello's vice is represented in Iago. It discusses how the loathing that Iago feels toward Othello determines and influences the actions of others throughout the play. Iago is a man driven by his desire to destroy Othello while believing his actions are vindicated because Othello has betrayed him professionally and personally without justification.
From the Paper
"The language of the play is as diverse as the characters, containing a mixture of poetry and prose. Othello often speaks in lofty poetry while Iago speaks in prose about how vile things are around him, often using animal imagery. Iago appears to the audience in Act I and wastes little time demonstrating his anger at Othello. He openly laments to Roderigo that he is cursed in his service to Othello and he is "worth no worse a place" than in service to him. It appears to the audience that Iago, who loves to talk about himself, has been a devoted and loyal servant in Othello's army but was overlooked when Othello named his lieutenant as Cassio. He feels dishonored that his duty was not recompensed with a promotion."
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Desdemona, the Ideal Woman, 2002.
Examines how the character of Desdemona in "Othello" depicts the male concept of the ideal feminine role of a woman.
950 words (approx. 3.8 pages), 1 source, $ 33.95
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Abstract
The character of Desdemona in William Shakespeare's tragedy "Othello" reflects an ideal woman in the eyes of men. Desdemona acts in a gentle manner at all times, even though with men she uses her sexual prowess and strong will to achieve her ambitions. The paper shows that Desdemona remains both virtuous and dutiful to her husband, Othello, while slanderous comments about her chaste result in her final death. Therefore, Desdemona's sincerity and faithfulness to Othello become ill spent. Although Desdemona acquires Othello as a husband by her own devices by enabling her femininity to get what she wants, Othello ironically ends up murdering her. The paper shows that Desdemona depicts the male concept of the ideal feminine role of a woman.
From the Paper
"In the tragedy of Othello, Desdemona uses her sexual appeal to men in order to achieve her ambitions. At the beginning of the play, Desdemona manages to seduce Othello through her gentle and passive use of words which men find attractive. When Othello relates the story of their elopement, he comments on how Desdemona professed her love for him. "She wish'd she had not heard it, yet she wish'd / That heaven had made her such a man; she thank'd me, / And bade me, if I had a friend that lov'd her, / I should but teach him how to tell my story, / And that would woo her. / Upon this hint I spake." (I,iii,162-166). Obviously, this quote shows that Desdemona's main motive includes the acquisition of Othello as her husband which she achieves through her use of gentle words, passiveness, and apparent fascination in Othello's life which the male character of Othello finds as an attractive trait in the female character Desdemona."
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The Symbolism of Desdemona's Handkerchief, 2006.
Analyzes the significance and symbolism of Desdemona's handkerchief in William Shakespeare's "Othello".
1,621 words (approx. 6.5 pages), 1 source, MLA, $ 52.95
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Abstract
This paper explains how Shakespeare uses the handkerchief given to Desdemona by Othello to symbolize the way in which Iago manipulates Othello's perception of women and, consequently, his relationship with Desdemona. More specifically, the paper charts the demise and the approach of Desdemona's murder through the handkerchief's sequential movement from virgin to wife to whore.
From the Paper
"Shakespeare infuses even the first appearance of the handkerchief with significance in that it emerges just as Othello begins to appreciate the sexual dimension of Desdemona. Iago has just proposed to Othello the possibility of Desdemona's infidelity when she offers it to Othello as a remedy for his headache, saying "it will be well" (Shakespeare 3.3. 286). Although Othello ultimately dismisses the idea, saying, "if she be false, heaven mocked itself!/ I'll not believe't" (3.3.277-8), Iago nonetheless lifts Desdemona's sexuality to a new level of consciousness. Furthermore, the manner in which Desdemona attempts to use the handkerchief defines it also as a symbol of her virtue. As new ideas stir in Othello's mind, Desdemona tries to press her handkerchief against his forehead. She figuratively smothers his thoughts of her infidelity with the symbol of her virtuousness. Shakespeare introduces the handkerchief through this precise encounter, because it marks the point at which Othello has just begun to contemplate Desdemona as a sexual being outside of their marriage."
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Desdemona and Juliet, 2002.
Compares the female characters Desdemona and Juliet from plays by William Shakespeare and looks at the role perception plays in these texts.
1,650 words (approx. 6.6 pages), 2 sources, $ 62.95
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Abstract
At the core, Desdemona's dedication to her husband, Othello, is as pure as that of Juliet to Romeo. Desdemona was not blessed with great intellect or passion. Hers was not a love like Juliet's which was forged in fire. (V.ii.323). In the process of destroying Othello, Iago's actions result in the deaths of Othello, Desdemona, Emilia (Iago's wife), Roderigo and the wounding of Cassio and of Iago himself. Perception indeed plays an enormous part in both plays, but perhaps no more so than in "Othello".
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