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Father-Daughter Relationships in Shakespearean Plays, 2002.
The paper analyzes the use of father-daughter relationships in the plays of William Shakespeare, and focuses on the influence the daughter often possesses over her father.
1,164 words (approx. 4.7 pages), 4 sources, MLA, $ 40.95
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Abstract
The paper looks at the importance of the father-daughter relationship to the playwright and the Sixteenth Century society he wrote for. The paper highlights the Shakespearean play "King Lear" as containing the perfect example of such a relationship, in the way King Lear loved Cordelia, his third daughter. The paper also examines other heroines of Shakespeare who have also been shown in roles as daughters, where they either help their fathers or become a source of genuine comfort for them.
From the Paper
"The relationship between a father and his daughter is one of the most beautiful bonds that Nature has created and is unique in the sense that it provides both the concerned parties a kind of comfort that is missing from father-son relationship. Why this happens is probably not known. But the answer to this question is certainly grounded in psychology, which makes one authority figure deeply care about a younger dependent of opposite sex. While it was in recent times only that we came to learn and appreciate the significance of this bond, Shakespeare was a genius to have felt, detected and illustrated it in 16th century when he used his plays to highlight the beauty and worth of this important connection."
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Shakespeare, Fathers and Daughters, 2006.
A look at the father/daughter relationships of William Shakespeare's "Othello", "King Lear" and "The Tempest".
1,895 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper examines how William Shakespeare's plays "Othello", "King Lear" and "The Tempest" all have critical elements of familial conflict. It looks at how in "Othello" and "The Tempest", the daughters' relationships with their fathers are initially perceived as reliant and dependent; however, each daughter eventually detaches from her father to form a new attachment with another man. It discusses how "King Lear" is different from the other two because it involves multiple daughters who are not stereotypical Shakespearean era females; that is, each daughter is independent of their father from the inception of the play.
From the Paper
"The second scene of Shakespeare's The Tempest showcases the dependence of Miranda upon her father, Prospero. Miranda calls him "my dearest father" (1.2.1) and several variants of "sir" (1.2.42, 55, 78, 88, 106, 175). In this first exchange between the two, the audience begins to understand the depth of Miranda's devotion to her father. Prospero tells the story of how he and Miranda were driven from Milan twelve years prior to the start of the play. Since then, they have lived on a deserted island and Prospero has been Miranda's only company. Her dependence is out of necessity - she had no one else to utilize as a companion during her time on the island; her closeness with her father seems completely natural. "
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Father-Daughter Relationships, 2005.
Examines the father/daughter relationships in plays by William Shakespeare's, focusing on "King Lear".
1,257 words (approx. 5.0 pages), 3 sources, $ 42.95
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Abstract
Most, if not all, of Shakespeare's plays carry a theme where the relationship of the main father and daughter has an important role in the climax and outcome of the stories. By examining the relationship between King Lear and Cordelia in Shakespeare's "King Lear", this paper presents the opinion that the play has the most significant father and daughter relationship out of all Shakespeare's works. The paper also examines "The Tempest" and "Othello".
From the Paper
"In King Lear, Cordelia, the youngest daughter of Lear, refused to go overboard in her statement of love towards her father. When asked for her testimony, she simply replied, "Unhappy that I am, I cannot heave my heart into my mouth. I love your Majesty according to my bond, no more no less." Lear became enraged and casted her off saying, "Here I disclaim all my paternal care, propinquity and property of blood, and as a stranger to my heart and me hold this from thee for ever." Some think that Cordelia was prideful, or even a fool in her response, but I believe she was simply being honest and true."
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Shakespeare's Fathers and Daughters, 2006.
This paper discusses Shakespeare's portrayal of the relationship between fathers and daughters.
1,969 words (approx. 7.9 pages), 8 sources, MLA, $ 62.95
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Abstract
In this essay, the writer discusses Shakespeare's work, while examining the way in which he portrays the relationship between fathers and daughters. The writer looks at the plays "King Lear" and "The Tempest," in which the daughters pursue a certain course in life due to their fathers' patriarchal actions. Further, the writer discusses the play "The Tempest," in which the character Miranda follows, although somewhat rebelliously, the eventually advantageous path set out by her father. The writer also looks at "Romeo and Juliet" in which the bonds between Juliet and her father appear to be much more loyalty bound than love oriented and patriarchy constraints are to the extreme. Using references from literature discussing Shakespeare's writings, the writer presents this view of the roles of fathers and daughters in Shakespeare's work.
From the Paper
""Romeo and Juliet" is naturally one of the first Shakespeare plays that comes to mind when considering the role of fathers and daughters, because of the work's popularity through the years with its many modern renditions. However the bonds between Juliet and her father appear to be much more loyalty and dutiful bound than love oriented, and patriarchy constraints are to the extreme. Although Cordelia does not actually say the exact words her father, Lear, wants to hear, it is because of love not fear. Likewise, Miranda and Prospero have a very loving father-daughter relationship from the very beginning of "The Tempest." Although "Romeo and Juliet" does definitely show how a daughter's actions are set in place by her father's behavior, "King Lear" and "The Tempest" are even more interesting due to the additional conflicting relationships that exist due to this strong love between father and child."
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Women in Shakespearean Plays, 2002.
Looks at the role of women in "As You Like It", "All's Well Ends Well", and "Twelfth Night" by William Shakespeare.
1,129 words (approx. 4.5 pages), 3 sources, $ 39.95
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Abstract
Women had no status in Elizabethan society; their main function was as fertile breeders, and their role in society was simply not viewed as important. This paper shows how the unimportance and taking for granted of women is clearly reflected in Shakespeare?s plays. Although their roles are not viewed as contributing to society, the dramatic function of women in Shakespeare plays is anything but not contributory. The paper shows that the female lead's role is crucial to the restoration of order that occurs in the play. As Shakespearean comedies are cyclical, the ultimate goal of a comedy is to travel from disorder to resolution. This paper examines three plays, "As You Like It", "All's Well Ends Well", and "Twelfth Night".
From the Paper
"Similarly, Viola in Twelfth Night, goes through a loss of identity by disguising herself as Cesario in order to find work with Duke Orsino. She disguises herself as a man because society believed females to be incapable of handling work. When Viola becomes Cesario, she instantly becomes one of Orsino?s favourite workers and is rewarded with the position as his page. The positioning of Viola as Orsino?s page asserts Viola?s working capabilities, and thus shows the audience that women can do a job as well, perhaps even better, than men."
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Magic in Three Shakespearean Plays, 2008.
An analysis of the theme of magic in William Shakespeare's "The Tempest", a "A Midsummer Night's Dream", and "Hamlet".
1,657 words (approx. 6.6 pages), 3 sources, MLA, $ 53.95
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Abstract
In a number of his plays, William Shakespeare uses magic as a driving force moving the action of the play forward. This paper discusses how this is certainly true in two of his famous comedies, "The Tempest" and "A Midsummer Night's Dream" and how, it is also true, in a somewhat different way in his greatest tragedy, "Hamlet".
From the Paper
"A Midsummer Night's Dream (MSN in following citations) is also a play filled with magic. This play involves essentially three sets of characters: the Athenian workmen, the young lovers (Hermia, Helena, Lysander, and Demetrius), and the fairies. The fairies are, of course, magical beings, and their interaction with one another and with the various humans drives the play. Interestingly, for all their more-than-natural powers, the fairies are prey to a most human emotion, jealousy. Titania has quitted her marriage bed because Oberon has become too fond of a young boy he sought as a page of honor. (MSN, II, i, 118-21) Stung by Titania's jealousy, Oberon plots a mischievous revenge. "
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Love Relationships in Shakespearean Plays, 2004.
An examination of three of William Shakespeare's love relationships in his work.
1,552 words (approx. 6.2 pages), 1 source, MLA, $ 50.95
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Abstract
This paper examines how, in the writings of Shakespeare, there are many great loves and how some of the greatest are also the greatest examples of love for a purpose. It looks at how the love between a man and a women is often the avenue by which intrigue transpires into change by examining and comparing three of his plays. The love between Ferdinand and Miranda in "The Tempest" acts as the starting point from which the other two are compared. The second couple is Queen Margaret and the Duke of Suffolk in "Henry VI", and the third Desdemona and Othello in "Othello". It shows how it is partly through these three couples that Shakespeare proves his literary prowess, as he uses love as a tool to increase the dramatic depth of the work and how, in the character development of these six individuals, is the demonstration of love as an avenue for intrigue and intrigue as an avenue for love.
From the Paper
"Miranda?s first sight, of Ferdinand sets in stone her love and admiration for him, as does his of her. Prospero hopes that through the trickery of the storm and the union of these two young people he will be able to regain his rightful place as the Duke of Milan. Ferdinand is so equally bewitched by Miranda that he is blinded of even the grief he should now be feeling for his father and his shipmates. He asks the Goddess if Miranda is real: ?Most sure, the goddess / On whom these airs attend! Vouchsafe my prayer May know if you remain upon this island;/And that you will some good instruction give/ How I may bear me here: my prime request,/ Which I do last pronounce, is, O you wonder!/ If you be maid or no?? (Tempest Act 1 Scene II) He wishes even with his last wish, and when he should be wishing for the safety of his father, to know if Miranda is truly a maid or if she is simply a spirit come to trick him."
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Shakespearean Plays Compared, 2002.
A comparison of "Romeo and Juliet" to "Othello" by William Shakespeare.
900 words (approx. 3.6 pages), 3 sources, $ 35.95
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Abstract
This paper will compare and contrast the Shakespeare plays "Othello" and "Romeo and Juliet". By understanding these two tragedies, we can see how Shakespeare threads a tale of deceit in his characters that ultimately ends in their deaths. By understanding the similarities, we can see how, on the same note, they are very similar in their storylines.
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Gender Identity in Shakespearean Plays, 2004.
Examines William Shakespeare's depiction of the main female characters in "The Taming of the Shrew" and "Henry V".
2,288 words (approx. 9.2 pages), 4 sources, MLA, $ 70.95
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Abstract
This paper looks at how both main characters in Shakespeare's "The Taming of the Shrew" and "Henry V" have either challenged or embraced traditional gender ideologies of the 15th century. Katherine, the main character in the "Taming of the Shrew", evidently challenges traditional gender ideologies, as she is deemed "shrewish". She ultimately exudes behavior unlike any other woman of that time, which leads us to believe that she is rejecting her traditional role as a female in this male-dominated society. The paper shows that, conversely, Katherine from "Henry V" embraces the traditional gender ideologies of Shakespearean time. The thesis in this paper is backed up by in-text citations.
From the Paper
"Her actions deem her to be independent, as she feels that she does not need to marry to be happy. This is illustrated when Petruchio feels that he must break her will in order to tame her, in other words, to make her more feminine. The fact that Petruchio has such a hard time doing this illustrates just how strong willed Katherine is in her pursuit to be independent. By being overbearingly masculine, Petruchio finally wins over Katherine as she becomes ?obedient to his honest will? (5.2.74). It is at this point where Katherine?s pro-feminine views seem to disappear as she states: ?I am ashamed that women are so simple/To offer ware where they should kneel for peace,/Or seek for rule, supremacy and sway,/When they are bound to serve, love and obey [?]? (5.2.161-164). Katherine is essentially ?selling out?, as she denounces her femininity along with her gender ..."
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Father-Daughter Relationships, 2007.
This paper explores father-daughter relationships and how they affect the daughter as she becomes an adult.
2,061 words (approx. 8.2 pages), 5 sources, MLA, $ 65.95
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Abstract
The paper explains that the bond that a daughter has with her father is very important because of the understanding of men and relationships that she gets from this particular relationship. The paper examines the potential consequences of divorce. The paper discusses how forcing children to stay in the same house with the parent they are not closest to after the divorce can often cause unhappiness and rebellion. The paper also looks at the effects of a father dying and relates that this does not not seem to be as severe and lasting as the effect of a father leaving the marriage.
From the Paper
"How a parent and child interact when the child is young can have serious consequences for the child later in life as he or she grows into an adult and potentially has children of his or her own. Nowhere is this more obvious than in the relationship that a father has with his daughter. Daughters often look up to their fathers and when they are older they look for men like their fathers to marry. If their father is a good man, this is a good thing, but if their father is not a good person the daughter can end up as an adult in a bad or abusive relationship with a man because she feels as though that is 'the way it should be' because it is 'the way that her father treated her and her mother.'"
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Father-Daughter Bonds in "The Tempest" and "Othello", 2005.
A study of William Shakespeare's characters Desdemona and Brabantio from "Othello" and Miranda and Prospero from "The Tempest".
1,977 words (approx. 7.9 pages), 2 sources, MLA, $ 62.95
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Abstract
This paper explores Shakespeare's plays "The Tempest" and "Othello" and focuses on the father-daughter relationships of Desdemona and Brabantio and Miranda and Prospero. Direct quotes support the comparisons and contrasts of the characters' actions, emotions, and motives towards each other, which include anger, love, possessiveness, and manipulation.
From the Paper
"Prospero wants his daughter to marry Ferdinand, because he is of her status and is intelligent. Not only that, Ferdinand is looking for a wife to be Queen of Naples, and the marriage would mean Prospero could finally move back to civilization and out of isolation, and he could reclaim his title as Duke. So not only does Prospero see Miranda as his daughter and companion for the twelve years in isolation, but he sees her as a key part in his plan to get his dukedom restored. However, he wishes well for his daughter in every way possible, and is happy that love has blossomed between her and Ferdinand. "Fair encounter of two most rare affections. Heavens rain grace on that which breeds between 'em!" (Tempest, Act 3 Scene 1) "
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Father-daughter Incest, 1986.
Examines the history, mythology, psychology, biblical aspects, short- & long-term destructive impact on female victims & family stability.
2,025 words (approx. 8.1 pages), 5 sources, $ 71.95
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From the Paper
" Incest is defined as sexual relations between blood kin in an immediate family.. Though it often takes the form of brother-sister sexual relations, the issue of father-daughter incest is the topic of this report. There is a great diversity of professional clinical opinion about the cause of incest, why incest is prohibited in so many societies, and what the effects are on the victim of incest.--in this case, the daughter.
Freud suggests in Totem and Taboo that the roots of opposition to incestuous love choices are not to be found in the psychology of the individual, but in the evolutionary history of the human species.. Other researchers have expanded this view to suggest that the incest taboo is biologically related to the survival of the human species. These researchers and theorists (...)"
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Father-Daughter Incest, 1992.
A look at the psychological causes, short and long term effects, patriarchal theory and treatment strategies focusing on family therapy.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"Father-daughter incest is known to cause a number of problems in the lives of its victims. For example, women who were sexually abused by their fathers tend to experience depression, low self-esteem, difficulty in expressing emotions, and sexual dysfunctions. There are several theories which seek to explain the causes of father-daughter incest. Some theories focus on Sigmund Freud's conception of the Oedipal fantasy. Other theories are concerned with the patriarchal power of the father within the family. Some research has suggested that the victims of father-daughter incest are themselves responsible for transmitting the problem from one generation to the next. Perhaps the most reasonable theory of all is that which takes into account the roles of all three primary figures: the father, the daughter and the mother. According to this theory, each of..."
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Traumas of Father-Daughter Incest, 1994.
A discussion of the short and long-term effects, the impact on identity, denial and memory recovery, disclosure, celebrity survivors and love for abusers.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"As a writer and former child-abuse victim, Laura Davis states, "All sexual abuse is damaging, and the trauma does not end when the abuse stops. If you were abused as a child, you are probably experiencing long-term effects that interfere with your day-to-day functioning" (Bass & Davis, 1990, p. 252). This research will examine the trauma of child sexual abuse, specifically incest between fathers and their daughters. The incest victim goes through a similar pattern of dealing with victimization, and often even the long.term effects experienced are similar. Some of the more common feelings and emotions of incest victims are shame, guilt, anger, confusion, and denial.
Most studies group incest with all sexual-abuse victims so statistics on incest are hard to find; however, the number of incestuous sexual-abuse cases is either rapidly rising or being..."
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Plays within Plays, 2004.
A discussion of the concept of a play-within-the-play in "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest".
1,728 words (approx. 6.9 pages), 5 sources, MLA, $ 55.95
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Abstract
This paper discusses the plays "The Spanish Tragedy" by Thomas Kyd and Shakespeare's "The Tempest". The paper explains that these two plays present a demonstration of the use of the play-within-the-play device as a representation of human themes and cultural messages. The paper contends that while the play-within-the-play contributes to the denouement of plot, it also draws attention to the relative power of theater in society.
From the Paper
"Themes of the human condition repeat themselves almost continually through the art of drama and through the realm of the real. Themes of human circumstances, moral and amoral influence the cultural representation of right and wrong, but strangely change very little over time. Things that are "wrong" in Shakespeare and Kyd's England similar to those which are "wrong" today. Betrayal and revenge flow together as a stream through the human soul and repeatedly show their influence upon art and humanity. Messages of revenge, a constant fascination of the Elizabethan period (1558-1603) and that of the England that followed her reign, often follow the form of the play-within-the-play dramatic technique and this is true of both the works discussed here."
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