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Religion and Romance in English Drama, 2005.
This paper studies the concepts of religion and romance found in various examples of English Drama.
2,250 words (approx. 9.0 pages), 5 sources, $ 89.95
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Abstract
In this paper, the writer discusses the aspects of religion and romance that appear in various works of English drama. Among other examples, the writer points out that 'All for Love' presents the complex and dangerous relationship that existed between the Egyptian queen Cleopatra and the Roman leader Antony. The writer also looks at the concept of morals and seduction in the play "The Country Wife" by William Wycherley.
From the Paper
""The Country Wife" by William Wycherley exudes with the idea of the Rake Hero, as a man that is clearly against the highly moral strictness of the day, and seems bent on demoralizing everyone that he meets. Mr. Pinchwife, (the central character in the play) is a Rake Hero in many aspects, as he is constantly trying to stop his wife from behaving morally, but instead, this actually puts ideas into her about seduction, as he is very clever in his cunning. Margery, in essence, ends up cheating on him with another man, and they become fully immersed in immoral behavior in the play."
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Early English Drama, 2004.
This paper studies three early English dramas in relation to morality, church and religion.
1,582 words (approx. 6.3 pages), 3 sources, APA, $ 55.95
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Abstract
In this article the writer analyzes three early English dramas 'Noah's Flood', 'The Second Shepherd's Play' and 'Everyman'. The writer discusses these dramas according to their commonalities in relation to morality, Church, and religion.
From the Paper
"The values in art of any era often reflect the most pressing concerns and staunchest values of the culture in which that art is produced. The case is no different in three literary works of early English drama, 'Noah's Flood', 'The Second Shepherd's Play' and 'Everyman'. Each of these works shares commonalities with respect to the values that are exhibited as positive in each of them. All of these plays demonstrate that only a life lived in accordance with Church doctrine and God's commandments will ... "
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English Drama, 2004.
This paper discusses the plays of John Ford, Thomas Heywood and John Webster.
904 words (approx. 3.6 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper explains how the plays of John Ford ("'Tis Pity She's A Whore"), Thomas Heywood ("A Woman Killed With Kindness") and John Webster ("The Duchess of Malfi") show that the evolution of English drama evolved in a similar pattern to the religious and social injunctions of society.
From the Paper
"The religious and social injunctions during the eras when "Tis Pity She's A Whore," "A Woman Killed By Kindness" and "The Duchess of Malfi" were ones that greatly restricted female expression and clearly and rigidly defined roles for them deemed appropriate by the Church and social institutions. During Elizabethan England, patriarchy reached its pinnacle. Men maintained enormous control over women due to religious and social injunctions that permitted such control."
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Religion in English Drama, 2005.
This paper examines English plays by Wilde, Eliot, and Bolt.
900 words (approx. 3.6 pages), 4 sources, $ 35.95
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Abstract
This paper compares the manner in which these English plays by Wilde, Eliot, and Bolt express the religious issue of obedience to Christian teachings through plot and language. The author points out that Robert Bolt's play "A Man for All Seasons" dramatizes the sixteenth-century confrontation between King Henry VIII and Sir Thomas More. The paper relates that Wilde and Eliot apply different thematic approaches with Eliot using conflict and dialogue to explore, through poetic drama, universal issues such as the burden of temptation, the need for humility and the role of motivation in human actions.
From the Paper
"Robert Bolt's memorable play, "A Man for All Seasons", dramatizes the sixteenth-century confrontation between King Henry VIII and Sir Thomas More. Through setting, plot and characterization, Bolt (1990) explores the influence and consequences of religious belief and romantic emotion. Compelled by the expectations and demands of Henry VIII, Thomas More must choose between conscience and expediency, and his ultimate decision exacts a terrible, personal price. In describing two aspects of religious belief that strongly influenced More's fateful decision to follow his conscience instead of cravenly heeding the demands of his king, it is evident that More felt compelled by his deep religious faith and regard for the divine authority of the Roman Catholic Church to defy Henry."
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Religion and Romance in English Drama, 2005.
Examines romance within literature, focusing on "Hamlet" by William Shakespeare.
1,800 words (approx. 7.2 pages), 5 sources, $ 71.95
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Abstract
This paper answers a series of questions concerning literature. The focus of the paper is on "Hamlet", although there is a definition of romance using Oscar Wilde's "The Importance of Being Earnest." Both the play, "Hamlet", and Mel Gibson's film of the same name are discussed in detail. There is an essay of whether Hamlet is truly insane.
From the Paper
"Romance is the concept of emotional infatuation with an individual, and attempting to act in a manner that represents the depth of these feelings to that person. To romance someone is to attempt to convey to them how you feel and why these feelings are significant to you. In Oscar Wilde's The Importance of Being Earnest, the characters are driven by the need to romance their prospective partners. However, the scenario in which the romance is set does not allow for these feelings to be expressed in a truthful manner. As both suitors are attempting to convince their intended partners that they are "Earnest," they have the difficult task of showing that their true feelings while also continuing to carry on a subterfuge (Wilde, 1982; 80)."
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Drama, 2002.
Explores the purpose of drama and how drama has changed over time through several works.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper compares "Oedipus Rex", the various plays of Shakespeare, and "Cat on a Hot Tin Roof", thereby demonstrating the purpose of drama and how drama has changed over time.
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Yuan Dramas, 2006.
A look at why drama flourished during the Yuan dynasty (1279-1368).
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
The Yuan dynasty (1279-1368) was a period when cultural innovation was occurring at a very high rate in China(Lewis 34). One of the cultural areas that went through a particularly significant period of growth during this period was drama. The question that this essay attempts to answer is why did drama in the Yuan period flourish? It is argued that drama flourished in the Yuan period for four primary reasons. These reasons are; the commercialization of entertainment and the arts during this period, the use of vernacular language, the vulgarity and humor of many of these dramas and the fact that the dramas often used stock stories and characters that were known by a wide range of people.
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Greek Drama and the Modern Production, 2002.
A paper which examines the Aeschylean, Sophoclean and Euripidean styles of Greek Drama and how the relate to modern drama productions.
884 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper examines and analyzes three distinct styles of Greek drama, focusing on the Sophoclean style by giving several examples in drama history such as "Oedipus" and the modern movie, "A Few Good Men". By comparing these styles to what a modern audience expects of a film or play, the paper shows that the Sophoclean style is the most suitable for a modern production.
From the Paper
"This shows the main aspect that makes the Sophoclean approach the most suitable style for a modern audience, the character focus. The Sophoclean styles focuses on the main character as the driving force of the play. This is the same approach taken by modern films and plays, where the plot of the play is based on the struggle of the main character. This usually involves a likeable character being presented with some problem and ultimately either overcoming this problem or learning from it. Importantly, the audience forms a relationship with the main character, with this involving the audience in the action. The film Titanic is a good model example of this. As history shows, the main event the movie is based on is the sinking of the ship and the drowning of hundreds of people. Yet, the film does not focus on this to engage the audience and drive the plot. Instead, the plot focuses on the story of Rose and Jack."
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The Exploration of Realist Drama, 2002.
A look at realist drama through an examination of plays, playwrights, and concepts.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This essay examines the principle elements of realist drama. The realist drama, often used in films and in plays, is best explained as the best and the worst of humanity combined into a whole. This paper addresses the realist drama with an emphasis on selected playwrights as well as the social reception of the realism movement.
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Drama, 2004.
This paper discusses the history of drama and the reasons for its survival.
2,055 words (approx. 8.2 pages), 3 sources, MLA, $ 64.95
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Abstract
This paper explains that the best dramas contain compelling characters, situations that strike a chord with the viewers, and offer solutions that apply to the ?drama? of the viewers? hectic lives. The author points out that drama has survived for so long, not only because it is an important form of entertainment, but also because it makes the audience feel something. The paper relates that, throughout history, dramas have been engaging, entertaining, and imminently popular; they show people at their very best and at their very worst.
From the Paper
"Drama gradually went out of style in the ancient world, but interest was renewed in medieval times, when church performances grew and were enhanced into outdoor plays. Secular plays were performed during this time, and the dramatic form of comedy regained popularity, too. Interest in all forms of drama continued to surge during the Renaissance, and scholars began to study the many forms of drama, and develop new types. The old dramas of Greece and Rome that had contained a chorus along with the actors were studied and reformed into a new form of entertainment ? opera. Drama continued to spread, and its' popularity paved the way for some of the world's most famous playwrights, including Shakespeare. Queen Elizabeth loved drama, and Shakespeare's work was extremely popular in her court."
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Drama Therapy, 2004.
An analysis of the use of drama as a tool for therapy.
1,539 words (approx. 6.2 pages), 6 sources, MLA, $ 50.95
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Abstract
This paper examines the innovative method of psychotherapy, drama therapy. The paper presents a definition of drama therapy, a description of the techniques used, requirements for professionals in this field, types of disorders drama therapy is designed to treat,and some reactions and opinions of this process. Lastly, the paper provides a personal reflection, with a touch of humor, on how this approach may be applied to the author's counseling practice.
From the Paper
"Drama therapists can find, for instance, fictional works with a theme similar to the patient's real-life circumstances. By acting out these fictional roles rather than real life situations (which may be very painful), individuals may safely work through some difficult issues.
According to Theories of Psychotherapy and Counseling, therapists sometimes take on the role of actor to assist the client work through an obstacle. For example, the therapist may wish to project the image of a large authority figure to provoke a response from the (timid) client. (Scharf, 2004, p.566) In this situation, the therapist goes beyond the traditional role- playing method of therapy by helping the client become more aware of emotions, develop interpersonal skills, and deal with a variety of psychological problems. (Scharf, 2004, p. 567) Additionally, it is believed that transference and countertransference issues between patient and client can develop more quickly using this method, particularly on an individual basis. (Scharf, 2004, p.566)"
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Women in Television Drama, 2000.
This paper analyzes research investigating the portrayal of women in daytime and prime-time television drama from the early 1970s to the 1990s.
5,415 words (approx. 21.7 pages), 22 sources, APA, $ 133.95
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Abstract
This paper reports that research findings indicate, especially in the 1970s, that women were under-represented and constrained to the narrow mold of housewives and mothers, both in daytime and prime-time television drama. The author points out that the women's movement has had a noticeable effect on the depiction of women; however, there are still traits of under-representation of woman, even in the 1990s and 2000s. The paper relates that researchers disagree as to whether the daytime portrayal of women is relatively more positive in daytime drama than in prime-time drama; however, the researchers do concur that, in both these time periods, women are portrayed as being incompetent in keeping the patriarchal system from interfering with their lives. The paper includes many quotations several of which are embedded in the text.
Table of Contents:
Introduction
The Early 1970's
A Turning Point: Cagney and Lacey
Discussion
Conclusion
From the Paper
"With the overt manifestations of women's movement, questioning conventional cultural perceptions of femininity in various spheres such as labor, family, sexuality and economy, prime-time network television began its quest to respond to these new discourses. In the late 1970s, prime-time television "was generating portrayals of women that drew-in various ways and to varying degrees-on the new feminist consciousness, particularly that of the U.S. liberal women's movement." "Cagney and Lacey" provided a sharp contrast to the conventional images of women on television and met the multidimensional character imposed by the woman movement's discourses."
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Drama, 2006.
The drama as a literary form and as a performance art using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer.
1,400 words (approx. 5.6 pages), 0 sources, $ 46.95
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Abstract
Using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer, this paper shows how the underlying impetus for drama has from the first been the depiction of conflict. The paper reveals how dramas developed from a religious festival and then became a celebration in itself. Drama, as a literary form and a performance art, involves human beings acting out their inner emotions in a public way and interacting with one another over emotions, ideas, and situations.
From the Paper
"All of these elements are presented in the epic poem, while in a drama, many of these elements would only be mentioned or would be left as knowledge the audience already has because they know the story. Drama is more selective, more concise, and more focused on the dramatic situation than on the sweep of a large-scale story. The dramatic situation in this one scene has shifts and turns even in the short time covered. Priam takes a ransom with him consisting of twelve robes, twelve cloaks, twelve blankets, twelve capes and shirts, ten bars of gold, two tripods, four cauldrons, and a Thracian cup. Priam arrives and immediately grasps Achilleus by the knees, telling of his grief and of the need for Achilleus to be compassionate and to return the body of Hektor. For his part, Achilleus speaks of his won victory by reminding Priam of all that the latter has lost, but he also shows that he is fully aware that the gods have guided Priam to this place and that he must return Hektor to his father. The tension of the opening is never fully dissipated even as Achilleus shows his hospitality and makes certain promises to Priam about holding off the fighting for twelve days while the Trojans bury the son of their ruler. However, just as it appears that the situation is concluded, the god Hermes comes to Priam and warns him to leave now because if the Greeks find him asleep in the morning, they may decide he is worth more as a ransom and will not allow him to leave as Achilleus has promised."
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Classroom Drama, 2004.
A review of literature on the topic of using drama as a didactic tool in the classroom.
1,319 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
This paper discusses several articles that deal with the use of drama in the classroom. The paper examines how drama instruction, such as role-play, miming, puppetry, improvisation and readers theatre, in the early elementary classroom can improve learning. The paper highlights the positive experiences that children gain from incorporating drama in their every-day lessons.
From the Paper
"Barbara Ryan Larkin (2001) shares her classroom experience with drama among elementary school students. Her young students would ask to act out stories they read in class, and once Larkin began studying the theories behind drama in education, she came to realize the beneficial effects that taking time to do so would have with student development. Rather than leaving drama for a separate area of study, Larkin found that "drama is presented as a meaningful context for children to read, write, speak, and listen. Struggling students especially seem to be motivated by this experience." (Larkin 2001) Reader's theater is one way of approaching drama in education. It is an interpretive activity where students practice and perform with each other, using methods like repeated readings and improvisation to enhance comprehension and to build on knowledge. Larkin's students responded very excitedly to reader's theater, immediately embracing the opportunity to take on characters, learn scripts, block scenes, and perform with and in front of one another. The teacher read a story to students, helped them learn the vocabulary, reviewed the entire text of the script as a class, then let students develop parts in groups. "
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Modern Drama and Psychological Forces, 2004.
An exploration of the contention that modern drama activates psychological forces using specific reference to Henrik Ibsen, Anton Chekhov and Samuel Beckett.
1,769 words (approx. 7.1 pages), 5 sources, MLA, $ 57.95
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Abstract
This paper examines how modern drama works closely with the concept of the repression of fear and aggression and how Freudian theory had a direct impact on dramatists after the 1920s. It looks at how Beckett?s drama portrays the human condition through the depreciation of psychological forces and how, conversely, Chekhov allows his characters a sense of realisation through negative capability whereby the characters are respectively voiced without emphasis on any one viewpoint. It also shows how like Ibsen he allows the characters the freedom to speak almost randomly, in what Freud would term the technique of free association used to cure patients by articulating their repressed fears and aggressions.
From the Paper
"Freud formed a theory of the id and the ego which attempted to explain the unconscious psychological forces of an individual, and can be illustrated through Beckett?s Waiting for Godot (1952). Vladimir and Estragon are embodiments of a mind and body duality. By reversing Vladimir?s epithet ?Didi? it is possible to form Id-Id, where, by psychological definition id represents the desire for physical contact and body warmth, characteristic of babies. Estragon, or ?Gogo? can be reversed to (e)go-(e)go, the ego, which forms the conscious and socially aware psyche developed in adulthood. The mind is purely conscious, and can detach itself from the more base instincts of the body, an extended reality, which is controlled by specific laws."
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