| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "FEMALE BONDING MARRIAGE GREEK TRAGEDY": |
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Female Bonding with Marriage in Greek Tragedy, 2002.
This paper takes a look at female-female bonds in the Greek tragedy and how those bonds contribute to the demise of marriage.
1,825 words (approx. 7.3 pages), 5 sources, $ 58.95
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Abstract
This paper examines wives? relationships with other women, be they mothers, daughters, or confidantes, as a destructive force in the minds of ancient Greek men.
From the Paper
"There are two main types of women that can change the course of an ancient Greek play by their effects on the tragic heroine: mother and confidante. In the Homeric Hymn to Demeter, we see the first of these types. Demeter, a mother distraught over her daughter?s abduction and rape, is only pacified by the breakup of Persephone?s marriage for four months out of the year. In this case, the cost of preserving the mother-daughter bond is the sacrifice of the daughter?s marriage for a third of every year. The maternal bond and the marriage bond seem to be incompatible; here, the two are unable to coexist spatially or temporally. It is Demeter who, by her passive-aggressive registration of disapproval, manages to become every son-in-law?s nightmare by turning his newlywed wife against him. "
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Greek Tragedy and "Oedipus Rex", 2002.
Examines the history of Greek tragedy and describes "Oedipus Rex" as the greatest of all Greek tragedies.
2,015 words (approx. 8.1 pages), 4 sources, $ 63.95
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Abstract
This paper examines the historical evolution and maturation of tragedy in ancient Greece, and the characteristics of a tragic hero. The author focuses on one of the most famous Greek tragedies, Oedipus Rex, and greatly details the story of Oedipus and his tragic flaws. The paper also discusses all elements in an ancient Greek production, such as the prologue, chorus, and exodus.
From the Paper
"Oedipus Rex is a story of one man?s pursuit for truth. Although Oedipus falls victim to obstacles he is unable to overcome, he encounters these obstacles along his journey to find the truth. In the view of Sophocles, the tragic hero must accept the responsibility for his actions, as does Oedipus in the final scene, regardless of his original motives and inability to control or understand the forces in which rule his life. The plot, Oedipus? search for truth, and the chorus are all contributing factors that make Oedipus Rex the greatest in the history of all Greek tragedies."
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Greek Tragedy and Japanese Noh Drama, 2002.
A compare and contrast analysis of ancient Greek tragedy and Japanese Noh Drama.
2,835 words (approx. 11.3 pages), 7 sources, MLA, $ 84.95
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Abstract
This paper discusses the similarities and differences between Greek tragedy and Japanese Noh Drama. It examines how although they are separated by nearly two millennia, by thousands of miles and by cultural differences, both were theatrical traditions involving masked performers, frequent use of music and dancing, on-stage choruses and historic-mythological themes and stories drawn from traditions. It looks at how later centuries' understanding of them, depends heavily on Aristotle's "Poetics" and Zeami's essays on Noh drama and how the two writers' approaches indicate the principal difference in the two traditions.
From the Paper
"Greek drama originated in the choral hymns sung to the god Dionysus. Mimed episodes were enacted to accompany the dithyrambs of the seventh century and, as Aristotle has it, a "long series of changes" ended only on Tragedy's "attaining to its natural form" (Aristotle 670). The alternation of choral song and dance with enacted scenes predominated until Aeschylus introduced the second actor and "made the dialogue, or spoken portion, take the leading part in the play" (Aristotle 670). Sophocles introduced the third actor and scenery. And tragedy acquired its magnitude by expanding its scope and increasing the dignity of its presentation. The playwrights proceeded by discarding the trochaic meter, more appropriate to dancing, for the iambic which was more like natural speech."
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The Greek Tragedy, 2002.
This paper provides a thorough analysis of Greek tragedy, with emphasis on Aeschylus, Euripides, and Sophocles.
2,715 words (approx. 10.9 pages), 8 sources, $ 81.95
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Abstract
This paper provides an in-depth look at the history of ancient Greek tragedy. The author discusses the works of Aeschylus, Sophocles, and Euripides, and looks at how tragic drama evolved. The paper also examines stage customs, mythological roots of performance customs, and human ties with gods.
From the Paper
"The Greek tragedy represents the details of a very short period of history that ranges from about 480 BC, at the time when Aeschylus's early plays were performed, till the period when the last plays of Sophocles and Euripides were being performed at the end of the fifth century. The tragedies written by Sophocles and Euripides are the plays written in the fifty years from 480 BC, the time when the war with Persia came to an end, to 430 BC, the start of the Peloponnesian War with Sparta which later destroyed Athens as an independent city-state. It is quite interesting to note that the majority of mature plays of Sophocles and Euripides were written against a background of continuous war. There is no real evidence as to from where the tragedy writing originated, however it is widely believed that the development of tragic dialogue may have been influenced by dramatic presentations of classic and other forms of poetry but its harmonic origins are less well known."
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Depictions of Marriage in Greek Myth, 2005.
A discussion of the depictions of marriage in the "Theogony", "The Homeric Hymn to Demeter", and the "Odyssey".
2,137 words (approx. 8.5 pages), 2 sources, MLA, $ 66.95
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Abstract
This paper first discusses real-life, Ancient Greek marriage rituals and Greek attitudes towards marriage in order to demonstrate how many of the aspects of marriage in Greek myth paralleled aspects of marriage in real life. The paper then discusses three different Greek works and compares each one's depiction of marriage.
From the Paper
"Indeed, many of the things we see in Greek myths happened in real life as well. For example, the Greek girls usually married quite young, around the age of 14, which was meant to ensure that the girl was a virgin and pure in mind and body. ?Marriage to a family member was an acceptable alternative and occasionally encouraged in order to consolidate family wealth? - if we look at many of the marriages between gods (taking only this example), we will notice that many of them were affiliated. Remember, for example, that almost all of the Olympian Gods were in some way related, most of them being brothers and sisters, and that many of them were married, like Zeus and Hera, for example."
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Marriage in Greek Mythology, 2006.
A discussion on the topic of marriage in Homer's works.
1,257 words (approx. 5.0 pages), 0 sources, $ 42.95
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Abstract
This paper uses Homer's "The Odyssey" and "The Iliad" in order to discuss the topic of marriage. The author of the paper uses examples from the texts in order to qualify observations made. The paper explores the relationships between Penelope and Odysseus; Andromache and Hektor.
From the Paper
"Of the many virtues valued in the time of The Odyssey, however, fidelity and trust are emphasized as Homer focuses on these as the core of a superior relationship (a marriage) as well as a superior person. The various struggles and temptations throughout the journey of Odysseus to return to his home and his faithful wife are validated by the faithful wife in Ithaka, awaiting his return. As Penelope is clearly meant to be a paragon of marital fidelity, there is no question as to whether or not Penelope was loyal to her husband Odysseus during the twenty years of his being gone. Once the Trojan War ended and Odysseus was not amongst any of the returning Achaean warriors, the inhospitable and greedy suitors began to pursue her at will and employed her cunning in various attempts to dissuade them off in hope of Odysseus' return. By occasionally showing signs of favor to the suitors, she encouraged them to do more to win her favor and worked to draw out the time."
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Phaedra: Greek Tragedy of Jean Rancine, 2002.
An examination of the character of Phaedra in the famous Greek play.
925 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This paper looks at the Greek poem Phaedra and the challenging role of the anti heroine Phaedra as she battles with her inner emotions of an illicit affair. The paper looks at Phaedra herself and asks whether she is wholly evil or rather just a pawn of the Gods.
From the Paper
"The Greek hero is a much loved and favoured topic of many an author be they classicist, romantic or modern. Many a Greek hero has been idolized by these writers, for example Homer had his Achilles and Odysseus, and Virgil had his Aeneas. However, there is another aspect of the Greek hero or rather in the following case the heroine."
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'Medea', a Greek Tragedy of Betrayal and Revenge, 2001.
Summary and critique of the play "Medea", written by Euripides and, the version, translated by Michael Townsend.
1,155 words (approx. 4.6 pages), 0 sources, $ 39.95
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Abstract
This paper summarizes and critiques the play "Medea" by Euripides and translated by Michael Townsend, emphasizing Euripides? style of writing and the new ideas he introduced such as his views on denial, revenge and the tragedy taking place. The paper also offers a psychological analysis of the characters of the play.
From the Paper
?The chorus in Medea displays qualities of both a commentator and a spectator. At times, the chorus sides with Medea and hopes to give her advice and support, while at other times it quietly looks on, shaking its collective head and watching as the damage is done. When Medea first faces the chorus, her calm and reflective tone, especially after her previous eruptions of rage and despair, reveals her unsettling ability to gather herself together in the midst of a crisis and pursue her plans with an almost inhuman determination.?
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Greek Tragedy and Noh Drama, 2001.
Compares the two theatrical traditions. Background of each, including Aristotle's theories on drama and influence of Zeami on the Noh repetoire.
2,250 words (approx. 9.0 pages), 7 sources, $ 79.95
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From the Paper
"Greek tragedy and Japanese Noh drama offer interesting points of comparison. Although they are separated by nearly two millennia, by thousands of miles, and by cultural differences too numerous to mention both were theatrical traditions involving masked performers, the frequent use of music and dancing, on-stage choruses, and historic-mythological themes and stories drawn from traditions with which the audiences possessed some familiarity. Both theatrical traditions had important spokesmen and the perpetuation of the traditions, as well as later centuries' understanding of them, depended in large part on Aristotle's Poetics and Zeami's essays on Noh drama. But the two writer's approaches indicate the principal difference in the two traditions as well. Aristotle, as a thinker rather than a playwright or actor, contributed to the transformation of Greek..."
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Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
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The Greek Tragedies of Euripides, 2002.
The paper discusses the contribution made to the archives of Classical Greek literature by the author Euripides, focusing on one of his best known works, "Medea".
1,429 words (approx. 5.7 pages), 5 sources, MLA, $ 47.95
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The paper traces Euripides' rise to fame from a little known playwright, to a master of Greek tragedy and the influence his work has had in western literature. The paper examines the literary motifs and dramatic rhetoric of his works. The paper then analyzes the contradictions found in his play "Medea" and focuses on five specific traits that can be traced throughout the text of the play.
From the Paper
"The two main characters, Medea, a sorceress, and Jason, her lover, are often viewed by classical scholars as the most purely human of all Greek tragic figures without the trappings of influence via the gods. As is the case with most Greek tragedies, Medea offers to the reader an eternal caution against the excesses of emotion and a very stern warning against bitter vengeance, for as human beings, the characters in Medea, and for that matter Euripides himself, "are susceptible to a lethal mixture of error, ignorance and violent arrogance" (Martin, 1996, p. 134)."
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Greek and Roman Marriage, 2002.
A comparison of marriage practices between Greek and Roman cultures.
1,150 words (approx. 4.6 pages), 1 source, $ 44.95
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Abstract
This paper compares and contrasts the Roman and Greek ideals of marriage. The essay analyzes the Roman virtues of marriage and compares it with Greek virtues of matrimony (with respect to the women of the archaic and classical periods). The paper uses "Women in the Classical World" as a reference book for the essay.
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The Legalization of Gay Marriage in the United States The Legalization of Gay Marriage in the United States, 2006.
A discussion regarding the controversial issue of same sex marriage in the USA.
1,125 words (approx. 4.5 pages), 0 sources, $ 44.95
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Abstract
This paper discusses the long debated issue of gay marriage in the United States. This paper reports how proponents of the issue contend that same sex marriage is not about gay rights but about human rights. It further discusses how these individuals believe that gays in modern society have long been subjected to inequalities and a lack of support from the social order. The opponents of the gay marriage issue refer to a stereotypical framework for gays in general that suggests that gays are evil and dangerous to children.
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Conventions of Tragedy in "Oedipus Rex", 2002.
Examines the components of Greek tragedy upon which Sophocles' "Oedipus Rex" are based.
2,283 words (approx. 9.1 pages), 5 sources, MLA, $ 70.95
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Abstract
By 500 B.C., Greek tragedy had reached a high point of popularity and was celebrated in religious festivals honoring Dionysus, god of wine and fertility. The paper shows that, taking it for granted that their audiences were familiar with the characters and themes, writers during this time based their dramatizations on myth and ritual. It discusses how, in addition to being familiar with the stories acted out on stage, the audience was aware of the workings of a Greek tragedy: how it progresses, what constitutes a tragic hero, what kinds of conflicts characters face, what moral statement or observation is being made. The paper shows that these four components provide the foundation for "Oedipus Rex" by Sophocles and its enduring success as one of the greatest tragedies of all time.
From the Paper
"As does the plot, the characterization of the main character Oedipus revolves around situation more than interaction with other characters. Oedipus is the epitome of tragic heroes, doomed by the excess of some good quality within himself and willing to take responsibility for his ensuing actions (Richards 742). This quality in Oedipus, his hamartia, or tragic flaw, is an unquenchable desire for truth no matter what the cost, a desire that stems from his pride of intellect. Initially, Oedipus, still basking in the glory of having solved the riddle of the Sphinx, exhibits great selfconfidence in his wisdom, oblivious to the fact that his own identity remains concealed from himself. It is this ignorance of the adage "Know thyself," combined with Oedipus' quest for truth, that constitutes tragic character. In terms of Greek tragedy, Oedipus' suffering from hybris, an arrogance resulting from excess (pride, in Oedipus' case), leads to hamartia, the aforementioned tragic flaw that brings about his downfall (Brown 96). The chorus recognizes that "the tyrant is a child of Pride/Who drinks from his great sickening cup/Recklessness and vanity/Until from his high crest headlong/He plummets to the dust of hope" (Sophocles 57)."
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Marriage in Three Cultures, 2004.
Marriage in Ancient Greek, Kikuyu and Igbo society.
675 words (approx. 2.7 pages), 3 sources, MLA, $ 23.95
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Abstract
This paper discusses how, unlike in Ancient Greek and Kikuyu society, women in Igbo society have created their own alliances that, in significant ways, undermine the formal power of men.
From the Paper
"Fairy tales, Jane Austen novels, made-for-TV-movies, toothpaste commercials end with weddings and smiling brides - women being feted for their youth and their beauty. But while the brides in popular culture images seem happy enough, such happiness is in most cultures unlikely to last past the wedding day itself, for marriage has been in most historical periods and for most cultures an institution that has restricted and even abrogated the rights of women. We see how marriage has curtailed women's rights and straightened women's lives if we look at marriage and..."
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