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Dramatism & Writing, 1997.
Analyzes theory, techniques, applicability & effectiveness of Kenneth Burke's approach using questions & symbolism to improve analytical ability & clarity of writing.
3,375 words (approx. 13.5 pages), 18 sources, $ 119.95
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From the Paper
" This paper is a study of the theoretical evidence supporting the notion of developing questions as a means of increasing a writer's analytical ability and facility for writing clearly. Specific questions that follow a carefully composed framework allow both the writer and the reader the opportunity to study what is being said and how it is being expressed. Questioning encourages both to identify the problem being addressed, develop valid hypotheses regarding a relevant response, collect and analyze data in support of those proposals, synthesize responses, and formulate valid conclusions. In some respects, this type of analysis is an attempt to use scientific methodology to achieve a literary goal. Such an approach involves asking a series of questions prompted by five key concepts. For the journalist, these concepts are most often phrased as who, what, where, when.."
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Beckett's Dramatic Technique, 2005.
This paper explores the extent to which meaning is linked to dramatic innovation in Samuel Beckett's plays.
3,401 words (approx. 13.6 pages), 18 sources, MLA, $ 96.95
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Abstract
The paper provides a thorough investigation of the presentation of Beckett's philosophical themes within the dramatic genre in order to determine whether meaning is indissolubly connected to innovation in dramatic technique. The paper shows how meaning is not indissolubly linked; Beckett allows his plays meaning outside of the dramatic arena. The paper does note, however, that Beckett's unconventional dramatisation of his philosophy contributes greatly to the plays.
From the Paper
"In his essay, 'Beckett Out of His Mind: The Theatre of the Absurd', William Haney asserts that '[b]y dispensing with narrative sequence, character development, and psychology in the conventional sense, Beckett portrays the process by which awareness moves from the qualia of a historically mediated experience to a state beyond linguistic and cultural boundaries'. This statement has two key implications: firstly that that Beckett's plays do have an intrinsic meaning, and secondly that this meaning lies beyond linguistic boundaries and is thus inseparably linked to Beckett's unconventional dramatic technique. This perspective on meaning itself, however, is problematised when placed into Beckett's cultural context. Indeed, that 'Beckett actually encouraged critics to adopt a philosophical perspective on his work' seems to indicate that this is a useful approach."
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Dramatic Dialogue Between Edison and Einstein, 2006.
A three part review of a dramatic dialogue between Edison and Einstein.
1,350 words (approx. 5.4 pages), 8 sources, $ 53.95
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Abstract
This natural science paper is comprised of three parts. The first part of the paper sets up the basic premise of a dramatic dialogue between Edison and Einstein. The second part is a dramatic dialogue between Edison and Einstein. The final part of the paper is an annotated bibliography.
From the Paper
"Thomas Edison (1847-1931) was one of the most prolific and important inventors in the United States during the late 19th and early 20th Century. As a scientist Edison was more interested in designing products that would be useful for the average person. This means that Edison is a believer in technology and does not put a lot of stock in theory. As an inventor Edison is also a business man. "
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Dramatization of the Outsider, 2008.
An analysis of the language and symbolism used to dramatize the outsider in "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod.
3,168 words (approx. 12.7 pages), 7 sources, MLA, $ 91.95
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Abstract
This paper analyzes the definition of the outsider as discussed in two plays - "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod. It explores how and why the various characters in the plays have constructed the outsider, while simultaneously fortifying their own position as outsider. The paper also analyzes the symbolism and language in both plays and discusses how this adds to the theme discussed.
Table of Contents:
Introduction
Dramatization of the Outsider
Outsider Constructing the Outsiders
Consequences of Dramatization by Characters
Symbolism in the Two Plays
Conclusion: The Nature of Experience
From the Paper
"In both plays, language is the main route to understanding the presumed outsider. At the same time, language is the main avoidance strategy. Elias, for example, serves a practical end for Sander in that Sander "gets to cut out of Spanish and English class and hang out at immigration. Everyone thinks he's some kind of hero" (MacLeod 38). When Martha is speaking quite rapidly to Elias and he requests that she slow down, she does understand but ignores him. Martha even repeatedly mispronounces Elias' name. Elias points out to both Callie and Sander that the most formidable barrier to comprehending his reality is language. "If you want to know my story, then you can learn my language" (MacLeod 42)."
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"All for Love" and "Of Dramatic Poesy: An Essay", 2002.
A review of Dryden's "All for Love" as an embodiment of the critical concepts of his "Of Dramatic Poesy: An Essay" and a discussion of how they are an imitation of William Shakespeare's "Anthony and Cleopatra".
1,150 words (approx. 4.6 pages), 7 sources, $ 44.95
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Abstract
This essay will examine Dryden's "All for Love" (1677) and his "Of Dramatic Poesy: An Essay" (1668). It will be argued that the former play may be seen as the embodiment of Dryden's critical reflections on the issues noted in the above passage. In "All for Love", as will be seen, Dryden attempts to assimilate the legacy of the Elizabethan stage - in this case, Shakespeare's "Anthony and Cleopatra" - into an age dominated by French critical theories. However, as will be seen, Dryden often contradicts his own earlier critical thinking, particularly with respect to the proper language of the theater. This suggests that a true analysis of Dryden's critical thinking must incorporate his dramatic practice into his critical theory.
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Literary and Dramatic Studies, 2005.
A character analysis of sixteen fictional literary characters and dramatic figures.
1,350 words (approx. 5.4 pages), 7 sources, $ 53.95
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Abstract
In this paper, the character analysis of these sixteen dramatic and literary figures present a fictional account of how they would be seated and how they would interact at a dinner party. It looks at how the dinner is presented and how these fictional characters would most likely behave under the circumstances.
From the Paper
"The aim of this literary study will be examine a fictional account of a formal dinner party with sixteen famous literary and dramatic figures. By examining these characters within the dinner party environment, one can realize how they compare and contrast each other in their dialogue and behaviors. In essence, the hero of the party would be Holden from the novel Catcher in the Rye, since he has such an in depth perspective on life and how people interact with one another during the night's festivities. The formal dinner will have a sixteen person seating arrangement that will suit the similar behaviors and mannerisms associated with each character."
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Human Conscience and Dramatic Theatre, 2002.
A look at the evolution of human conscience and the history of dramatic theatre through a review of three different tragic plays.
2,900 words (approx. 11.6 pages), 7 sources, $ 106.95
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Abstract
This essay examines three kinds of tragedy in the history of dramatic theatre. Greek, Shakespearean, and Modern tragedies are discussed here, and analyzed in relation to exemplary tragic plays. Antigone, Hamlet, and A Raisin in the Sun are considered in relation to the tragedy that describes their composition. The differences and similarities are discussed, and the social evolution of theatrical literature is explored in the conclusion.
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Arthur Miller and Dramatic Tension, 2005.
This paper discusses how Arthur Miller creates dramatic tension in act one of 'A View From The Bridge'.
2,218 words (approx. 8.9 pages), 1 source, MLA, $ 68.95
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Abstract
In this article the the writer studies how Arthur Miller treats the issue of tension in the play 'A View From The Bridge'. The writer notes that Arthur Miller takes an already claustrophobic setting in which the characters are struggling to suppress their ever mounting problems with each other and throws in a catalyst to explode the situation and force characters to confront their problems. The writer looks at the different characters and their functions in the play and discusses how Miller uses them to create dramatic tension in particular in act one of the drama.
From the Paper
"Using a choric figure to encourage the viewer to contemplate the morals of the play is just one of the many elements Arthur Miller has used to re-create Greek Tragedy. He also uses techniques such as the play being set in a small, claustrophobic area and the action happening in a short amount of time to create this effect. Arthur Miller has put his own mark on the play by using the un-educated, working class character of Eddie to be the tragic protagonist, as Greek tragedy has traditionally always traced the downfall of a person who was rich or had a high position in society, suggesting it was only these people who felt deep emotions and passions worth writing about."
"One of Arthur Miller's greatest achievements as a playwright and contributions to literature is the fact that he has used a simple central character from a rough area to be the tragic hero, consumed by his one fatal flaw: his incestuous love for his niece Catherine. He has succeeded in proving poor people too can have a destiny that cannot be escaped; previously only people of noble birth were considered worthy of having their problems dramatised on stage."
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Form and Dramatic Structure in August Wilson's Plays, 2006.
A discussion regarding the lack of dramatic form and structure in August Wilson's plays.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
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Abstract
According to this paper, August Wilson wrote his plays in a non-sequential manner that set about depicting the lives of African Americans over the course of the twentieth and twenty-first centuries by decade. Yet, the paper shows how as Wilson wrote the plays, the ideas for the work became vivid in his imagination instead of through a planned and organized presentational manner. Like his manner of writing the ten cycles of plays, his work was often composed through a series of multiple changes that he made while the plays were in production.
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Two Pairs of Dramatic Characters, 2007.
This paper compares and contrasts two sets of dramatic characters: Eliza and Higgins in George Bernard Shaw's "Pygmalion" and Biff and Happy in Arthur Miller's "Death of a Salesman."
2,248 words (approx. 9.0 pages), 5 sources, MLA, $ 69.95
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Abstract
This paper compares and contrasts the characters in two plays, "Pygmalion" and "Death of a Salesman." Through this comparison, the reader gleans insights into the character development in each play and the resolved and unresolved issues in each play. The paper gives a brief plot summary of each play and describes the traits of the major characters. Also cited are the unresolved conflicts. The author concludes that both Eliza and Higgins in George Bernard Shaw's "Pygmalion," and Biff and Willy in Arthur Miller's "Death of a Salesman" consistently reveal only half-truths about themselves to each other, and to other characters in the play
From the Paper
" If "Drama is the art of significant juxtaposition" (H.D.F.Kitto), that is to say that dramatic conflict springs from a dialectical opposition of ideas; e.g., a half-truth in debate with another half-truth, in analyzing two pairs of dramatic "opponent" characters, then, first Eliza and Higgins in George Bernard Shaw's Pygmalion and second, Biff and Willy in Arthur Miller's Death of a Salesman one may define the nature of the respective "half-truths" of these characters according to how their confrontations are dramatized and resolved (or not). I will explore the issue of whether the dialectic between either of these two pairs of characters, Higgins and Eliza and Willy and Biff, is ever resolved."
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Hotel Scenarios: Questions for Dramatic Scripts, 2008.
This paper discusses the use of dramatic scripts to train employees in the hospitality industry.
1,555 words (approx. 6.2 pages), 3 sources, APA, $ 51.95
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Abstract
Using the case study "Episode 8: 'We Don't Want any Troublemakers in Our Hotel'" as primary example, this paper sets forth eight questions that present many of the challenges that hotel employees face when confronted by unruly guests. The paper relates that the concept of the workplace as a theatrical stage can enable service employees to be creative in handling difficult situations. The author concludes that there are also situations when a more formal functional script should be implemented.
From the Paper
"The delivery of excellent and sincere customer service does not require unnecessary servility and acquiescence on the part of employees. While hospitality service employees must of course be especially attentive to the needs and demands of guests and customers, this attentiveness does not and should not be at the expense of basic human dignity because such servility actually encourages the behavior of guests such as Mr. Patel."
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"Integrity and Dramatic Life" by Anselm Berrigan, 2001.
The following paper is a critical analysis of the poems in Anselm Berrigan's "Integrity & Dramatic Life".
1,485 words (approx. 5.9 pages), 0 sources, $ 49.95
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Abstract
The following essay critically analyzes Anselm Berrigan's poems: "In the paintings of Will ", "My Poem", "Poem minus thing", "Ghost Town" and "A short history of autumn". This essay suggests that if we look at life's journeys from Berrigan's view and their path along the way, we may have a clearer understanding of where Anselm Berrigan is going with his poetry.
From the Paper
"The poems in Anselm Berrigan's "Integrity & Dramatic Life", express many aspects of individuality, isolation, cycles of life, mental anguish and frustration of society. Some of the poems tend to resemble rambling but in a sense relate to aspects of the subject as it is seen in the mind of ones inner thoughts. The "Ghost Town," for example shows ones outlook on the cycle of life and the process of labor. Anselm expresses a view of the cycle of labor in a practical sense but also uses outward ramifications to show some of his imaginary personality. "
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"Othello": A Dramatic Study in Venetian Alienation, 2005.
An examination of William Shakespeare's Venice as portrayed in his play "Othello".
903 words (approx. 3.6 pages), 4 sources, MLA, $ 32.95
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Abstract
This paper attempts to show how Shakespeare's representation of Venice in "Othello" shows a diverse city full of prejudice beneath its multifaceted surface-a city full of stereotypes about men of color, about women's desires, and about lower-class men like Iago and Rodrigo. It discusses how the danger, however, is not so much in diversity or multiculturalism in and of itself, but how this diversity, if improperly deployed, can be turned against people like Othello, and used by men like Iago, who strive to vent their hatred upon others rather than upon the society that excludes them because of their class.
From the Paper
"Maurice Hunt further suggests, however, that it is not only Othello who is alienated by Venetian society. "Iago's only bond with his wife Emilia is not intimate, or even affectionate, and it becomes the means that undoes him when he believes he must kill her to prevent her from revealing his knavery." (Hunt, 2003, p.2) Iago, while a Venetian by birth, is also a kind of "private, unofficial" alien in an "existential" sense that he feels denied a rightful position in society. (Hunt, 2003, p.2) The alien Iago forges a bond with official Venetian aliens like Rodrigo and Othello which "serves to underscore an unarticulated affinity felt between two sets of men," but which causes Iago to also feel "painful self-disgust" over his lot in life and forms a "compound impulse to stereotype" the Moor as an alien "devil" and to make him "wish to abuse each victim physically and mentally. (Hunt, 2003, p.2) "
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Dramatic Oppression, 2000.
An analysis of the theme of oppression in Fugard's 'Master Harold and the Boys,' Ibsen's 'A Doll's House' and Luiz Valdez's 'Los Vendidos'
3,045 words (approx. 12.2 pages), 3 sources, $ 89.95
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Abstract
This paper examines the three plays, "Master Harold and the Boys", "A Doll's House", and "Los Vendidos" and delineates how the communication of the theme of human oppression is achieved in each of the plays.
From the Paper
"The authors exemplify the human spirit?s ability to transcend domination and injustice caused by racial and sexist bigotry. They personify this theme in their stage characters in order to show how their characters overcome the societal constraints of male chauvinism, of racism, and of class bigotry. "
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Shakespeare's Dramatic Art, 1991.
A look at the development of playwright's craft through the early, balanced, overflowing and final Periods. Includes style, structure and themes.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
"This study will examine the development of the dramatic art of Shakespeare, through the Early, Balanced, Overflowing, and Final periods.
The Early Period is marked by a lack of balance between the overall dramatic impact of the plays and the power of individual speeches, the latter generally being stronger in contrast. In addition, the plays of the Early Period demonstrate strong plots but weaker characterizations and a lack of psychological subtlety. It is clear in these plays of the Early Period, in contrast with later plays, that Shakespeare was playing and experimenting, exercising dramatic muscles that would be more fully developed in later plays and allow the playwright to create more balanced and flowing plays.
The plays of the Early Period include I, II, III, Henry IV,..."
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