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"If We Must Die" by Claude Mckay and " We Wear The Mask" by Paul Laurence Dunbar, 2000.
A comparison of the structures of works by African-American poets.
675 words (approx. 2.7 pages), 2 sources, $ 23.95
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From the Paper
"The formal structures of Claude McKay's "If We Must Die" and Paul Laurence Dunbar's "We Wear the Mask" operate in unusual ways. Because both poets were African Americans writing about the injustices suffered by their race, they were writing about fundamental feelings of rage and the struggle to avoid despair. But they were also writing specifically about the ways Africans Americans face the white world that oppresses them. Ironically, of course, they also wrote in the language and, at times, in the poetic tradition of the white culture.
The formal structures in these two poems are means by which the poets develop a greater intensity of feeling in the poems, and both Dunbar and McKay do this in two different ways. On the one hand, the regularity of their rhyme schemes and meters allows the poets to build their ideas and emphasize the major points in
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Claude McKay?s ?Home to Harlem?, 2004.
This paper discusses Claude McKay?s novel, ?Home to Harlem?, and the Harlem Renaissance.
1,200 words (approx. 4.8 pages), 2 sources, MLA, $ 41.95
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Abstract
The paper explains that Claude McKay?s novel, ?Home to Harlem? (1928), the most commercially successful book ever written at the time by an American black man, provides an eye-opening and realistic insight into the urban lives of black Americans in the early 20th century. The author points out that the Harlem Renaissance (1918 to the 1930s), mainly a literary movement of black writers, also was tied to advancements in black music, theater, and art. The paper relates that McKay?s characters are most likely a combination of the stereotyped and realistic black men from the time.
From the Paper
"The setting and theme of Home to Harlem is 1928 Harlem. The author expertly shows real life for the black men and women of the time. Harlem in those days was the cool place to be, yet the story still addresses in detail the overall alienation and continued frustration of the urban American blacks. The city was represented as both exciting but dangerous. There are few to no job opportunities for black men. That lack of opportunities makes them feel inferior and depressed. They could give their lives for their country militarily but there was nothing waiting for them when they returned."
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Claude McKay's "Home to Harlem", 2004.
Summary and analysis of Claude McKay's book, "Home to Harlem".
1,024 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper introduces, discusses, and analyzes the book, "Home to Harlem", by Claude McKay. Specifically, it looks at how the poet deals with the other side of the Harlem Renaissance in his novel.
From the Paper
""Home to Harlem" is the story of two young black men, Jake and Ray, who attempt to make a living while enjoying all the joys of Harlem during the height of the Harlem Renaissance. McKay's novel clearly shows that the Renaissance was more than just an intellectual and artistic movement that grew up in Harlem during the 1910s and 1920s. With his two diverse characters, McKay shows there were many different elements creating the Harlem Renaissance, from the less-educated immigrant such as Jake, who lives mainly for pleasure and self-gratification, to the intellectual Ray, who dreams of being a writer. He is not as hedonistic as Jake, and he is torn between the white man's world, where he does not fit in, and the Harlem world, where he does not quite fit in either."
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"Home To Harlem" by Claude Mckay, 1994.
A review of the characters, setting, theme and plot of the novel on life in 1920s Harlem.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"Claude McKay's Home to Harlem, originally published in 1928, is possibly the most important novel to come out of the Harlem Renaissance of the 1920s. It is thus a uniquely valuable window into that time and place, since its broad novelistic canvas presents us with a view of Harlem life that is both detailed and sweeping. As with any novel, it is probably an error to view Home to Harlem as primarily an example of social observation; McKay's picture of the Harlem social setting is not an end in itself, but a canvas upon which plot and character are played out.
Nevertheless, McKay may be said to bring to the book a distinct vision of the African-American experience, at least as that experience was lived in the Harlem of the 1920s. That vision, implied thoughout the book and made explicit at the very..."
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"We Wear the Mask?, 2002.
An analysis of poet Paul Laurence Dunbar's poem ?We Wear the Mask?.
860 words (approx. 3.4 pages), 5 sources, MLA, $ 30.95
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Abstract
This paper examines the poet Paul Laurence Dunbar?s 1903 poem ?We Wear the Mask?, which is in open defiance of the commonly accepted fallacy of his day that African-Americans were happy in the subservient roles they were forced to assume in the face of white racism. The paper describes Dunbar's uses irony and the religious rhetorical to convey the disparity between the false face African-Americans were forced to wear to earn a living in white society. The author shows how the prose illustrates the theme of the socially assumed mask.
From the Paper
"The title of Dunbar?s and first lines of the poem may at first suggest a mask that an actor or a performer wears. ?We wear the mask that grins and lies, / It hides our checks and shades our eyes.? (Lines 1-2) However, the next lines of the poem suggest that the nature of the mask that is worn is far more complex than a mask made of paper or plaster. The poem strikes a contrast between African American?s exposed social faces and the bleeding hearts within their apparently smiling, happy exteriors."
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"We Wear The Mask" by Paul Laurence Dunbar, 2007.
An analysis of Paul Laurence Dunbar's poem written in 1913 - "We Wear The Mask".
941 words (approx. 3.8 pages), 0 sources, $ 33.95
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Abstract
This paper analyzes the poem "We Wear The Mask" by Paul Laurence Dunbar. The writer explains that the poem suggests that the nature of the mask that is worn is far more complex than a mask made of paper or plaster. The writer further discusses how the poem strikes a contrast between African Americans' exposed social faces and the bleeding hearts within their apparently smiling, happy exteriors. The writer points out that Dunbar does not speak only for himself in the poem, but for his entire race of people. The writer concludes that the poem does not tell Whites to treat African Americans with greater dignity, instead it functions as a revelation and an explanation.
From the Paper
"The poet Paul Laurence Dunbar wrote his 1913 poem "We Wear the Mask" in open defiance of the commonly accepted fallacy of his day that African-Americans were happy in the severe roles they were forced to assume in the face of white racism. Dunbar uses irony to redefine the positive connotations of smiling. He also uses the religious rhetorical tropes of exclamation and crying out to God to further convey the difference between the false face African-Americans were forced to wear to earn a living in white society and the pressure they feel within as a result of this cognitive dissonance."
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African-American Poetry, 2002.
Discusses and compares the formal structures in the poems by Claude McKay ("If We Must Die") and Paul Laurence Dunbar ("We Wear the Mask").
934 words (approx. 3.7 pages), 2 sources, $ 33.95
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Abstract
The formal structures of Claude McKay's "If We Must Die" and Paul Laurence Dunbar's "We Wear the Mask" operate in unusual ways. The paper shows that because both poets were African-Americans writing about the injustices suffered by their race, they were writing about fundamental feelings of rage and the struggle to avoid despair. It shows however that they were also writing specifically about the ways African- Americans face the white world that oppresses them. Ironically, they also wrote in the language and, at times, in the poetic tradition of the white culture.
From the Paper
"Dunbar's poem is written in iambic tetrameter and contains very few words of more than one syllable. The short words emphasize the regular rocking rhythm that resembles a children's rhyme. And for the first three lines of the poem the reader, while aware that something is being hidden, is not fully prepared for the fourth line where the shocking image of "torn and bleeding hearts" emerges. It emerges only to have its intensity quickly suppressed as the line ends with "we smile," which rhymes almost childishly with "guile." But the true depth of feeling is established by the contrast between the "torn and bleeding" and the "smile." The smile, a feature of the mask, hides the true feelings of the people who are Dunbar's subject -- just as the "smile" in this line masks the intensity of the words that precede it."
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Claude?s Norms vs. Contemporary International Politics, 2003.
An analysis of Inis L. Claude, Jr.?s piece on ?The Theory of Collective Security? .
762 words (approx. 3.0 pages), 3 sources, MLA, $ 27.95
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Abstract
This paper examines Inis L. Claude, Jr.?s piece on ?The Theory of Collective Security?, which includes three subjective norms, encompassing Claude?s thoughts on how international politics can strive for collective security.
From the Paper
"For collective security to be successful, we must assume that there is a possibility of agreements throughout the industrialized and non-industrialized worlds. Of course, within all nations there are differences between the urban archaeology of different nations and states. These differences between cultures may make it impossible for collective security to ever pose as a possibility. As of now, the world is nowhere near a place where it could meet the subjective norms as stated by Claude, during this brief pause of violence throughout the world."
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Kuroda Seiki and Claude Monet: New Methods in Composition, 2002.
Examination and comparison of Kuroda Seiki's "Withered Field (Grez)" and Claude Monet's "Waterloo Bridge, Grey Day".
3,150 words (approx. 12.6 pages), 10 sources, $ 115.95
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Abstract
Kuroda Seiki (1866-1924) from Japan and Claude Monet (1840 -1926) from France are examples of artists who shared an urge for creative discovery. Both artists painted what are considered to be impressive and revolutionary paintings. In their paintings, they instilled new ways of representing reality through composition. This essay will examine Kuroda Seiki's "Withered Field (Grez)" and Claude Monet's "Waterloo Bridge, Grey Day" in order to show the similarity of their respective methods, a similarity that was radical in its time because it broke with the accepted methods of composition and attempted to reinvent the nature of artist experience and representation.
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Claude Monet's "Water Lily" Paintings.
This paper discusses Claude Monet's "Water Lily" paintings, which have had a major influence on contemporary artists.
4,170 words (approx. 16.7 pages), 29 sources, MLA, $ 111.95
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Abstract
This paper explains that Claude Monet's "Water Lily" paintings represent plein-air painting, meaning they were painted outside the confines of the studio, which relates directly to the Impressionistic mode of thinking about art. The author points out that Claude Monet emphasized the visual experience of the sensuously immediate, producing a new kind of art from an unacknowledged, yet most commonplace, kind of visual experience called "the glance". The paper relates that these later Monet paintings are akin to the Abstract Expressionism of Jackson Pollack and Abstractionists like Kandinsky because, in essence, the later water lily paintings are abstract in their concentration on flow, color texture, and movement.
Table of Contents
Monet and Impressionism
Giverney and the Water Lilies
"Water Lilies"
Importance
Figure 1: "Water Lilies" ("The Clouds")
Figure2: "Water Lilies" (1906)
Figure 3: "Waterlilies, Green Reflection, Left Part" (1916-1923)
Figure 4: "Water Lilies" (1907)
Figure 5: Bridge at Giverney. "Le Bassin aux Nympheas"
From the Paper
"In art historical terms Monet was the heir to a departure in style and content in 19th Century painting and was one of the instigators of the new school of French landscape painting. Monet's earlier work signals a break from the past conflict in art between line and color as the dominant aspects of painting. He also began his painting career in an atmosphere which no longer felt bound to paint from a religious and mythological basis - which had previously been seen as essential elements of artistic creation. This meant that the artist felt free to explore new and more expressive methods of artistic creation and "they no longer troubled themselves about composing pictures based on geometric principles. They continued to compose, of course, but they chose their patterns with an eye to pictorial rhythm, and were thereby led to seek out new rhythms."
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Claude Monet, 2002.
A review of some of Claude Monet's paintings, including a brief analysis of Walter Benjamin's literary work, "Illuminations".
1,025 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper discusses various paintings by artist, Claude Monet. The paper outlines Monet's methods of painting in his series of London paintings, emphasizing his various techniques and use of color. Monet's practice of painting the same scene at different times of day and in differing weather conditions, is illustrated in the paper. Walter Benjamin's literary work, "Illuminations" is presented. The paper explains Benjamin's opinions on the concept of art in general, and the issue of reproduction of original art in particular.
From the Paper
"Monet's London pictures demonstrate his ability to convey atmosphere and also show his approach to experimentation with the technical means to portray atmospheric effects. These are part of the "series" method of representing nature, a method that originated in giving attention to more and more specific weather phenomena. In a series, Monet would paint the same subject at different times of day, on subsequent days, with different atmospheric conditions, and so on, and in so doing he would observe and recreate the range of light and a variety of specific atmospheric conditions. Many of the works he painted in London show his dedication to finding a technique that will accomplish this task."
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Claude Debussy and Ryo Noda, 2008.
A comparative analysis of Claude Debussy and Ryo Noda's musical compositions.
1,159 words (approx. 4.6 pages), 8 sources, MLA, $ 39.95
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Abstract
The paper compares and contrasts the renowned French composer Claude Debussy's compositions for flute entitled "Syrinx" with the modern Japanese composer Ryo Noda's compositions for saxophone entitled "Improvisation I", " Improvisation II" and "Improvisation III". The paper examines the similarities and differences between these composers and their respective works in terms of style, technique and instrumentation. The paper shows how the works of both composer reflect their mutual regard for traditional influences but higher regard for innovative creativity. A large amount of source material is appended to the paper.
From the Paper
"In discussing Claude Debussy's work, it is important to note the shift in music compositional style that he instigated in the late Nineteenth Century and early Twentieth with Impressionism. Syrinx, which was written in 1913 for an uncompleted Gabriel Mouray play entitled Psyche, embodies such traits and demonstrates why Debussy was considered "a great harmonic innovator of the Twentieth Century." His new compositional style featured "fresh, new tonal perspectives without abandoning tonality itself." (Moss)"
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Claude Monet, 2004.
An analysis of impressionism and Claude Monet's, "Saint-Lazare Station."
1,150 words (approx. 4.6 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper offers a critical analysis of Claude Monet's impressionistic style and techniques as illustrated in his painting, "Saint-Lazare Station." It discusses the painting's color scheme and how Monet uses the impressionist technique to simulate light.
From the Paper
"The unique style of the Impressionists caught many in the art community off-guard especially critics who termed the coin impressionism as a criticism of the paint which looked like the artists fired it onto the canvas with a pistol ..."
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Claude Berri, 2002.
An analysis of the life and works of French actor and director, Claude Berri.
1,127 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper explores the film career of Claude Berri. It explains that the one things that stands out in Berri?s films is how the sadness of human suffering and prejudice is captured, not only with sadness, but with a sense of reality. Berri shows characters dealing with situations in an honest way and does not focus only on the suffering. It explains that the characters react to their situations in humorous ways. This is one key aspect of Berri?s films; the ability to combine drama with comedy, and to add the comedy in a way that does not lessen the very real drama.
From the Paper
"Claude Berri was born in Paris, France in 1934. He was born to Jewish parents and experienced the years of war during his childhood in Europe. It is this experience that is said to have influenced his movie career, with Berri becoming known as a director that captured the real anxieties of people (Buss). His own experiences in his childhood appear to have given him an understanding of human suffering that allowed him to capture it profoundly. Another theme of Berri?s was prejudice, with many of his films dealing with the subject. This interest is also likely to come from his childhood and his experience as a Jew during the war years and after."
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Claude Monet, 2002.
A biography of the artist Claude Monet.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
A biography of the impressionistic painter, Claude Monet.
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