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Desdemona: Saint, Sinner or Fool, 2001.
Analyzes the character of Desdomona from Shakespeare's play "Othello". Paints a picture of Desdemona as a feminist hero victimized by life in an era hostile to women.
1,125 words (approx. 4.5 pages), 1 source, $ 39.95
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From the Paper
"The character of Desdemona in Shakespeare's "Othello" is one of the most puzzling and challenging characters in the entire Shakespearean canon. This is so partly because of the curious dramatic fact that, unlike other Shakespearean heroes and heroines whose soliloquies give us entrance to many aspects of their personalities, Desdemona is "known" more by what others think about her than for what she says or does. For instance, her saintly virtue is referred to throughout the play (II.iii.23; III.i.34; IV.i.14 to cite but a few) by everyone except her father and Iago."
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Saint or Sinner, 2007.
This paper looks at Shakespeare's play 'The Merchant of Venice' and discusses whether Portia is a saint or a sinner.
1,100 words (approx. 4.4 pages), 1 source, MLA, $ 38.95
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Abstract
In this article, the writer argues that although Portia's nature is perceived as saintly and kind, in truth she is a sinner. The writer maintains that while she conceals her sinister nature, portraying herself as God's gift to mankind, having no access to her free will, she utilizes her wit and therefore reveals her true nature as a sinner. The writer further maintains that, even though Portia is portrayed in a saint like manner throughout the play, underneath her facade lies a resentful, indignant Portia, explicitly concerned with the idea of free will. The writer concludes that Portia struggles with the fact that she is unable to choose her own husband, must act accordingly, concealing her genuine nature and must disguise herself as a gentleman to employ her intelligence.
From the Paper
"While Bassanio claims his love for this renowned maiden, there is no indication that he has ever met her. Therefore, one must assume that Portia's reputation as virtuous, demure, honorable and desired, made way throughout the immediate area of Venice. Must Portia present herself as virtuous and desirable in order to fulfill her father's legacy? Will she reveal her genuine rebellious nature once she is claimed by a suitor?
"In honor of her father, Portia stays true to her legacy and willingly gives herself up to any suitor who correctly chooses the casket that holds her portrait. Even for the sake of Bassanio, the suitor she fancies, Portia would not break her oath. This is very honorable of her. However, Portia's true incentive is to present herself as a virtuous and righteous woman. In the secrecy of her home, she mocks the suitors, all of whom are foreigners; an immature manner of rebelling against her legacy."
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Saint Peter and the Saint Peter's Basilica, 2008.
This paper discuses Saint Peter, his deeds and the architecture and symbolism of Saint Peter's Basilica.
2,230 words (approx. 8.9 pages), 4 sources, APA, $ 69.95
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Abstract
This paper explains that the Basilica of Saint Peter in Rome reflects the acts of Saint Peter, serves as a model for all the great Churches in Italy and provides a deep historical and religious framework for Christianity. The author points out that Saint Peter is one of the most significant icons of the New Testament. The paper notes that the first Basilica of Saint Peter, finalized in 324 and which was designed in the form of a cross, became worn through the ages and reconstruction was inevitable. The author explains that reconstruction of the new Saint Peter's Basilica, begun in 1503, involved Donato Bramante, who implemented a Greek style cross design, followed by Antonio da Sangallo, who added the Baroque features to the interior, Michelangelo, who contributed his awesome dome, and Bernini, who designed in 1667 the square directly outside the Basilica.
Table of Contents:
Saint Peter's Profile
The Deeds of Saint Peter
Saint Peter's Burial
History of Saint Peter's Basilica
Architecture of Saint Peter's Basilica
The Deeds of Saint Peter Reflected in Architecture
From the Paper
"Jesus christened Peter with the name, Cephas. In translation, Cephas means 'The Rock'. The inference of this name clearly describes the role that Saint Peter played as a primary leader during Jesus' life. As a disciple, Peter witnessed a great deal of miracles and promoted the salvation of Christianity through example. Along with apostles James and John, Saint Peter remained close to Jesus and advised him on many issues. Peter was present for many of Jesus' trials and miracles, documented as the main apostle at Jesus' transfiguration, the revival of Jairus's daughter from the dead and the Agony of the Garden of Gathsemane."
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The Fool in "King Lear", 2006.
Explores the role of the Fool in Shakespeare's tragic play, "King Lear".
1,059 words (approx. 4.2 pages), 0 sources, $ 37.95
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Abstract
The Fool in William Shakespeare's "King Lear" is often mistaken as foolhardy, but everything he says has a deeper significance and greater truth. Since he is the court jester, the audience assumes that the Fool's main purpose is to entertain us. The paper shows that the Fool's dramatic function is not to humor us, but to tell King Lear the truth through his metaphoric rhymes and jests. The Fool is a representation of King Lear's psyche. The paper explains that when the Fool disappears after Act III, scene ii, what is left of King Lear's stable mentality quickly disintegrates. The relationship between King Lear is not one of master and servant. The Fool could be considered King Lear's subconscious; he has perceptions the King Lear does not. With his knowledge, the Fool tries to teach King Lear how to reason out the truth for himself.
From the Paper
"The Fool states that King Lear was wise in a time when he did not need it as he doe now. King Lear was a wise King but when his wisdom was greatly needed he did not apply his knowledge. The Fool states that he is merely a Fool, but he would rather be a Fool than a befallen King. He strives to inform Lear of how adverse his situation is, but King Lear still does not fully comprehend the Fool's metaphors. Before King Lear decided to see his other daughter, Regan, the Fool warns King Lear that Regan's reception will be similar if not worse than Gonerils'."
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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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Saint Peter's Cathedral, 2002.
A history of Saint Peter's Cathedral in the Vatican.
1,018 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This paper discusses Saint Peter's Cathedral, situated in the Vatican, Italy. Saint Peter's Cathedral, also known as the Basilica of Saint Peter, stands in what was once the Circus of Nero in Rome, where Saint Peter was crucified in 61 A.D. In around 200 A.D., an altar was constructed at the site and Saint Peter's body was buried beneath it. It examines its architecture and history, the way it was, the way it has changed over time and the way it is today. It looks at how it serves as the home church for the Pope and is a glowing testament to the art and architecture of the Renaissance, one of the most influential periods in world culture.
From the Paper
"Saint Peter's contributed to the art world in many ways. Artists were in great demand to paint the many walls and ceilings, and contribute to art works to be placed in the cathedral, so many artists were kept busy in Italy during the time, thereby increasing the awareness and employment in the arts. There are also many mosaics is the church, so a wide variety of artisans were kept busy for decades decorating the massive structure. Art flourished during the Renaissance, and Saint Peter's kept artisans busy, and helped them develop new methods for their crafts, as Michelangelo did when he created the iron beam system to support the massive concrete dome (Editors)."
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Saint Francis of Assisi, 2005.
An examination of the life and work of Saint Francis of Assisi.
1,657 words (approx. 6.6 pages), 5 sources, APA, $ 53.95
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Abstract
This paper looks at the life contributions of Saint Francis of Assisi. The paper discusses what his career discloses about male-female roles in late medieval Europe. It explains that Saint Francis of Assisi is still one of the most popular and well-known saints of the Catholic Church. It shows how today, many people know him as the saint representing animals and the land.
From the Paper
"Saint Francis' real name was Francesco di Pietro Bernardone. He was born in Assisi in 1181. His father was a well-to-do cloth merchant, and Francis' young life was spent in the normal pursuits of the time, including education at the local church school, dreams of chivalry and knighthood, women, celebrations, and an early love of hunting and nature. He learned his father's trade, and was happy to "one day becoming a bachelor, a squire and finally a knight." However, as he grew older he felt an increasing need to follow God's word. He made several pilgrimages to religious capitals such as Rome, and he forced himself to overcome his fear and loathing of the less fortunate, such as lepers, as he began to see the goodness in all God's creatures. In 1206, at a small, destitute church near Assisi, San Damiano, Francis heard the word of God speak to him. He began to try to raise money to help repair the church, and to help in his cause, he took some of his father's most valuable merchandise and sold it along with his horse, then gave all the funds to the priest at San Damiano."
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The Fool in "King Lear", 2006.
Examines the contribution of the Fool in William Shakespeare's play, "King Lear".
1,882 words (approx. 7.5 pages), 3 sources, MLA, $ 60.95
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Abstract
The parallel stories of Lear's and Gloucester's sufferings at the hands of their own children reflect anxieties that would have been close to home for Shakespeare's audience. This paper explains that many of William Shakespeare's plays feature a clown of some sort, and "King Lear" arguably has two such clowns: the Fool himself and Edgar in his later disguise as Tom O'Bedlam. This essay focuses on the character of the Fool in the play, and how he can be compared to Cordelia. The author of the paper considers the contribution he makes to the play and his importance to the play as a whole in terms of the influence he has over events and other characters. The paper concludes that "King Lear" would not be the same without the character of Fool.
From the Paper
"The word 'pined' again makes the Fool sound like a dog or puppy and suggests that there is some sort of connection between Cordelia and the Fool. They are linked in the text emotionally not only because the Fool is clearly upset when Cordelia is banished, but also because they are closest to Lear and loved most by him. It is noticeable that Cordelia and the Fool do not appear on stage at the same time at any point in the play."
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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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Mont Saint Michel, 2007.
This paper examines the history and architectural character of the structure, Mont Saint Michel.
2,752 words (approx. 11.0 pages), 3 sources, MLA, $ 82.95
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Abstract
In this article, the writer looks at the history of how the Mont Saint Michel structure was built and how the abbey and the island has been used over the centuries. The writer further traces how the Mont Saint Michel evolved from a cultural repository to an abbey, a dungeon and the world heritage site that it is today. The writer then examines the architecture and design of the Mont Saint Michel, looking at the village structures as well as the abbey itself. Next, the writer details how the structure has evolved from its original Romanesque design to exhibit the Gothic characteristics that the abbey is famous for today. In addition, the writer looks at the conservation problems that have arisen as a result of all this construction, and the efforts being made to safeguard this world heritage site.
Outline:
History
Architecture and Design
Present Day Architectural Concerns
Conclusion
From the Paper
"The structure of the Mont Saint Michel that is familiar today took shape in the early seventh century, an effort spearheaded by Saint Aubert, who was then bishop of Avranches, located just across the Couesnon River. Local legends state that Saint Michael appeared to the bishop, with instructions for the building of a church on the rocky outcropping. Considering the logistical difficulties of such a feat, it is not surprising that Saint Aubert did not immediately follow through, that is, until Saint Michael reappeared and burned a hole into the bishop's skull. The island was therefore officially dedicated to Saint Michael in 708."
"While the Mont Saint Michel is often ascribed religious importance, it also had political and military significances at various times in history. In 933, the Norman invaders embarked on a new conquest, beginning with the annexation of the Cotentine Peninsula."
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The Fool in "King Lear", 2002.
A discussion of the function and effectiveness of the character of the fool in William Shakespeare?s ?King Lear?.
1,440 words (approx. 5.8 pages), 0 sources, $ 47.95
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Abstract
The paper examines how "King Lear" is an epic tragedy, which has been passed down through generations as a masterpiece. It looks at how the mastery does not lay in the character of the work?s anti-hero, but in the lowliest servant in the kingdom, the King?s fool. It evaluates how because the tragedy is so thick, the fool is needed to provide the leverage the audience needs in order to still obtain a lesson. It analyzes how the fool never ceases to be obvious and blunt with the King and how he is the only one who can do this without being offensive.
From the Paper
"When discussing how well The Fool aided the King in both the realization and potential correction of his mistakes, we must see the final product of his work throughout the play, which is solely the task of opening his master?s eyes in hopes of changing his behavior. Of course, how much could Lear have rerouted his inheritance through a more sensible direction, such as giving his land all to the daughter who loved him most, Cordelia, so as not to break up the kingdom, once the initial damage was done? This would have been nearly impossible to wholly correct, and is what makes the play a sure tragedy. It can be seen how effective The Fool was by his final sightings in Act III, scenes ii, iv, and vii, because as the play proceeds, more and more of his character, and Lear?s character are shown, it is just like getting to know a friend, who at first may seem like a simple person to figure out, but who in reality has several layers of depth."
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Desdemona, Bianca and Emilia, 2008.
An analysis of the female characters of Desdemona, Bianca and Emilia from William Shakespeare's "Othello".
1,192 words (approx. 4.8 pages), 1 source, MLA, $ 40.95
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Abstract
This paper discusses how, in William Shakespeare's "Othello", Desdemona, Bianca, and Emilia, the three main female individuals, are shown in different lights through the usage of both uplifting and demeaning descriptions. It looks at how Desdemona's humble and benevolent character is contrasted greatly against the harsh words used by Othello to describe her, how Emilia's outgoing and outspoken personality is revealed when speaking to both Desdemona and Iago and how Bianca's allegiance to Cassio differs significantly from her darker hypocritical side. It also analyzes how all three female characters reflect their personas through their actions, displaying their emotional outpourings, opinions on controversial issues, as well as their strengths and weaknesses.
From the Paper
"The main object of affection is Desdemona, the one woman who is known by all men as the wife of Othello. She is called by Othello "gentle" (I.I.28) as well as "gentle mistress" (I.3.205) by Brabantio. Cassio describes her as "a most exquisite lady" who is "most fresh and delicate creature" (2.3.20, 22-23). Desdemona displays her gentleness through her actions with her father and Othello. She attempts to be diplomatic and faithful to the people she most loves, especially when she is confronted by her father about Othello (I.3.208- 218). She is "bound" to her father "for life and education," showing how loyal and grateful she is towards to her father for raising her as a notable parent. Desdemona also believes that she should take the role that her mother once took by stating that she must upkeep the "duty" by "preferring you (Brabantio) before her father.""
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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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The Character of the Fool in "King Lear", 2002.
A look at the contribution the character of the Fool makes in Shakespeare's play in terms of his influence over plot and other characters.
1,915 words (approx. 7.7 pages), 2 sources, MLA, $ 61.95
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Abstract
This paper looks briefly at the background of a fool/court jester in history and gives a brief history of King Lear. It looks closely at the Fool's character and his interactions with the other characters of the play, especially his relationship with Lear. The paper discusses the fool's function of comic relief, his function as the teller of Truth, and as Lear's conscience and reason.
From the Paper
"The Fool in King Lear is often a misunderstood presence. In the late seventeenth and eighteenth centuries, shortened versions of the play omitted the character altogether. In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. Many of the fool's quips and riddles were made at the expense of the king, and this is depicted in King Lear. In Act 1, Scene 4 Goneril refers to the Fool as "?all-licensed fool?"(1.4.191), highlighting the fact that because fools hold a special license they are allowed to say things to their superiors that anybody else would be punished for. When the Fool tells Lear what he thinks of him, Lear threatens him with the whip if he goes too far: The Fool in King Lear is often a misunderstood presence. In the late seventeenth and eighteenth centuries, shortened versions of the play omitted the character altogether. In Elizabethan times, the role of a fool, or court jester, was to professionally entertain others, specifically the king. Many of the fool's quips and riddles were made at the expense of the king, and this is depicted in King Lear. In Act 1, Scene 4 Goneril refers to the Fool as "?all-licensed fool?"(1.4.191), highlighting the fact that because fools hold a special license they are allowed to say things to their superiors that anybody else would be punished for. When the Fool tells Lear what he thinks of him, Lear threatens him with the whip if he goes too far."
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Saint Augustine, 2005.
A look at the life and philosophy of Saint Augustine.
3,323 words (approx. 13.3 pages), 4 sources, MLA, $ 94.95
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Abstract
This paper first provides a biographical account of the life and death of Saint Augustine of Hippo. The paper then goes on to discuss Saint Augustine's theological philosophies and beliefs and how he came to arrive at these beliefs.
From the Paper
"Saint Augustine, also known as Aurelius Augustinus, was born in 354 A.D. in the small town of Thagaste in the Roman province of Numidia (now located in northeastern Algeria). His parents seem to have been bohemian in nature and part of the middle class; his hard-drinking father Patricius apparently developed the symptoms of alcoholism quite early along with severe emotional disintegration in the form of obsessive womanizing and violent outbursts toward his son and wife. This prompted Augustine's mother Monica to turn to religion and give up the bohemian lifestyle which then transformed her frustrations and disappointments with life into ambitious designs for her obviously gifted and talented son."
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