| Papers [1-15] of 21 :: [Page 1 of 2] | | Go to page : 1 2 —> | Search results on "IDENTITY VIOLA": |
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The Identity of Viola, 2002.
An analysis of the character of Viola in William Shakespeare's "Twelfth Night."
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper looks at the character Viola in Shakespeare's play "Twelfth Night." This paper will illustrate the character of Viola and use examples to prove how her behavior makes her the most prominent character in the play.
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Viola in "Twelfth Night", 2006.
An examination of the character of Viola in William Shakespeare's "Twelfth Night".
1,050 words (approx. 4.2 pages), 0 sources, $ 36.95
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Abstract
This paper studies Viola, the protagonist in William Shakespeare's comedy "Twelfth Night". The paper examines Viola's disguise as Cesario, focusing on the themes of self indulgence, disguise, self deception and identity. The paper also looks at how Shakespeare uses the comedic vehicles of disguise and mistaken identity to make Viola an even more intricate character.
From the Paper
"Viola is a young woman born into aristocracy whose ship is wrecked in a storm, causing her to wash up on the shore of Illyria. Believing that her brother, Sebastian, is dead, Viola disguises herself as a young man who she names "Cesario" and becomes a page to Duke Orsino. Viola falls in love with Orsino, while Olivia, the woman Orsino is courting, falls in love with Cesario. Hence, Viola finds that her clever disguise has trapped her, as she is unable to tell Orsino that she loves him, and she is also unable to tell Olivia why she, as Cesario, does not and cannot love her. Viola's predicament is the central conflict in the play."
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Role of the Viola Da Gamba as a Solo Instrument, 2006.
How the Viola Da Gamba contributed to music in the sixteenth century and its continued impact on music today.
1,912 words (approx. 7.6 pages), 13 sources, APA, $ 61.95
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Abstract
This paper describes the popularity of the Viola Da Gamba as a solo musical instrument in the sixteenth century, its common role in the choral and ensemble music during the renaissance period of the sixteenth century, and its impact on various cultures of the sixteenth century as well as its contribution to music today.
I. Introduction
Topic statement
II. Terms, Structure, and Origins
III. Viola Da Gamba as a Solo Instrument
IV. Decline of the Viola Da Gamba
V. Conclusion
VI. Bibliography
From the Paper
"The viola da gamba, a member of the viol family, first appeared in Europe during the late fifteenth century. Its popularity soared during the Renaissance and Baroque periods, and it became one of the one most popular instruments of the time. Primarily heard in ensemble or concert music, the instrument was a favorite of the courts of England, as well as throughout the rest of Europe. However, while the instrument was a beloved choice when blended with other instruments at the time, perhaps the most vital role of the viola da gamba was as a solo instrument in the sixteenth century."
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Viola and Orsino, 2005.
An analysis of the relationship between Viola and Orsino in William Shakespeare's "Twelfth Night".
925 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper examines how several relationships develop and change throughout "Twelfth Night" and how the bond between Viola and Orsino is extremely important to the plot. It looks at how during the play their association takes many forms from being strangers, acquaintances and friends, to allies, enemies, and finally lovers. It also shows how the triangle established among these two and Olivia establishes the foundation for the plot and dramatic tension in the play.
From the Paper
"Orsino and Viola's relationship is fundamental to the unfolding of events in Twelfth Night. Orsino's sending Viola to Olivia as his emissary creates the love triangle which is central to the play's plot. The deepening of their feelings for each other establishes both dramatic and comedic tension as the play progresses. This tension heightens when Olivia falls in love with Viola, resulting in Orsino and Viola's becoming simultaneous allies and enemies. Orsino's sending Viola to Olivia ultimately results in Sebastian's marriage to Olivia and thereby the thwarting of Antonio's love for Sebastian. It is upon hearing of this marriage that Malvolio realizes the folly of his hope to marry Olivia. "
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Nam June Paik and Bill Viola, 1999.
Discusses the lives and careers of these leading video artists.
1,125 words (approx. 4.5 pages), 9 sources, $ 39.95
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Abstract
Two of the leading video artists who helped develop the form are Nam June Paik and Bill Viola. Nam June Paik is generally credited with starting the video art movement:
From the Paper
"Two of the leading video artists who helped develop the form are Nam June Paik and Bill Viola. Nam June Paik is generally credited with starting the video art movement:
A unique achievement is that of Nam June Paik, the Korean-American artist and musician who was in at the origin of Video Art and who, more than twenty-five years later, continues to dominate the scene with his varied and elaborate video sculptures, environments and installations, while he remains true to his Fluxus-inspired critical position.
Bill Viola has been an important figure in the movement and has produced a number of important and challenging works using video as a medium."
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Gender in "Twelfth Night", 2007.
This paper explores the issue of gender from the perspective of the character of Viola in Shakespeare's "Twelfth Night".
1,657 words (approx. 6.6 pages), 2 sources, MLA, $ 53.95
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Abstract
The paper discusses Viola's presentation of gender in "Twelfth Night", which implicitly challenges the strict binary gender system that prescribes different and opposite behaviors for the two genders. The paper shows how the character of Viola stands in stark contradiction to long-standing prejudices about the weaknesses and frailty of women. The paper also points out, however, Viola remains a victim of the prejudices of her society, in that from her own perspective, she continues to see women as frail.
From the Paper
"In Twelfth Night, Viola and Sebastian are twins, but they are separated in a storm at sea. Viola adopts male garb, and the name Cesario, as a survival strategy - to enable herself to get a job working for the Duke Orsino. Thus, Violet is not explicitly making a statement about gender when she begins passing as a male - rather, she is simply making a statement about wanting to survive. However, the necessity for her to adopt this strategy does of course arise from the strict sex-based segregation of the times. Despite the fact that Viola does not intend to buck the binary-gender system in any way, she certainly seems to enjoy "being a man," and moreover, the fact that she adopts a male persona inevitably leads to gender-based complications. For example, the Countess Olivia falls in love with her, while "Cesario" falls in love with Duke Orsino, and "Cesario" is challenged to a duel by the jealous Sir Andrew. Viola's gender switch thus lays the foundation for much of the plot. However, despite being a plot device, it also makes it possible for Viola to present an alternative representation of gender."
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'Twelfth Night' by William Shakespeare, 2005.
A study of the roles of Viola and Maria in William Shakespeare's 'Twelfth Night'.
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper reviews the play 'Twelfth Night' by William Shakespeare with a special focus on the relationship between the characters Cesario, or Viola in disguise, and Maria, Lady Olivia's lady-in-waiting.
From the Paper
"William Shakespeare's middle-period comedy, 'Twelfth Night', is one of several plays he wrote that deal with mistaken identity, gender, and facade. In the play, young Viola, a girl who has high social status by birth, is involved in a shipwreck and must survive in a new and strange world with only her wits and her wiles. Viola disguises herself as a boy, Cesario, and finds employment and shelter with a wealthy nobleman, Orsino. Finding herself falling for Orsino, Viola also finds that her new employer is smitten by a fellow member of the aristocracy, Lady Olivia, who in turn falls for "Cesario," who she does not realize is young Viola. One of the interesting relationships in this play is that found between Viola and Olivia's young lady-in-waiting, Maria."
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"From Selma to Sorrow", 2005.
An introduction and discussion of Mary Stanton's book about Viola Liuzzo, a white civil rights worker and mother murdered in Selma, Alabama.
1,031 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper introduces, discusses, and analyzes the book "From Selma to Sorrow: The Life and Death of Viola Liuzzo" by Mary Stanton. Specifically, the paper discusses the author's approach to writing this book and how just about all of the the major issues that American faced in the 1960s are reflected in it.
From the Paper
"Author Stanton takes present time and the past and weaves them together to form the backdrop of this book. The sad thing is, sometimes the past and the present seem to blend together and get hazy. It seems that is the South, a lot of the prejudice and hatred is still there, it just does not make the headlines anymore. For example, the author writes about the marker on the road where Liuzzo was murdered. She says a Montgomery social worker tells her, "'Their third try I believe [to erect a marker]. The markers keep getting knocked over. The first one was smashed up with a sledge hammer'" (Stanton 21). The social worker is not speaking in 1965, but in 1994. The author shows that time stands still in areas of the South, and that some hatreds take a long time to die. As another interviewee in the book notes, "'The South is a peculiar place'" (Stanton 22)."
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"The Twelfth Night"., 2002.
An analysis of the concepts of gender and gender roles in Shakespeare's "Twelfth Night".
1,650 words (approx. 6.6 pages), 1 source, $ 62.95
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Abstract
"The Twelfth Night" is an example of how a play can function both as theatrical performance, and as literature. The Twelfth Night is a play based on gender impersonation and openly mocks the assumptions about feminine and masculine behaviour or expectation. This paper focuses on Viola, and Olivia, as they are so clearly designed to complement and contradict (even through the names, which are different arrangements of the same letters.) As Viola impersonates the young man with whom Olivia has fallen in love, the differences in how Viola manages to speak as a man are as varied as Olivia's relations for speaking as a woman in relation to men.
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Cross-Dressing in Shakespeare's Plays, 2004.
An examination of how the issue of cross-dressing is addressed in two of Shakespeare's plays, "Twelfth Night" and "As You Like It".
1,687 words (approx. 6.7 pages), 2 sources, MLA, $ 54.95
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Abstract
This paper examines how cross-dressing is an important element that renders serious repercussions in Shakespeare?s plays. Two plays that emphasize cross-dressing and its repercussions are "Twelfth Night" and "As You Like It". The writer points out that, while the characters of Viola and Rosalind have very different reasons to explain their cross-dressing, each circumstance, while causing complications, also works in their behalf. It explains how their ability to fool those around them generates interest and adds an element of complexity to each play, namely, that each woman is able to accomplish something she would not have been able to do as a woman. Rosalind teaches Orlando the ways of love, and Viola makes her way into Orsino?s house and heart.
From the Paper
"In As You Like It, Rosalind is forced to assume to role of a man as a result of fleeing the Duke?s Court and seeking refuge in the forest of Arden. Her logic stems from the fact that ?beauty provoketh thieves sooner than gold? (I.iii.107). She also believes that because she is ?more common than tall? (I.iii.113), she could easily pass for a man. Rosalind also realizes that she must do more than dress for the occasion--she must also act the past. She declares that she will leave her fear in her heart and ?have a swashing and a martial outside,/As many other mannish cowards have? (I.iii.117-8). Rosalind is forced to dress as a man but she also assumes the role with confidence and excitement."
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The Theme of Gender in "Twelfth Night", 2005.
An analysis of the theme of gender in William Shakespeare's "Twelfth Night".
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
The paper discusses the issue of biological love which plays a weak part in determining how lovers find one another, and how learned behaviors in regards to social norms in males and females deceive proponents of biological instinct. The paper describes how Olivia is quickly fooled by Viola, and the intricate disguise used to veil the sexes is proof of how biology played little in the deception of this play.
From the Paper
"The theme of romantic relationships through a biological and gender-based analysis will be pursued in this study of Twelfth Night by William Shakespeare. By analyzing the various characters that use disguise to shield their true gender identity, it is clear that biology sometimes plays a strong part in how certain characters behave toward one another. However, the gender roles that many of the characters reverse in this play, reveal a strong insinuation that gender is learned and may only be a superficial construct through fashion and social norms. In essence, biology and gender both taken on various forms in this play, but it is clear that gender roles take a greater precedence in Twelfth Night by William Shakespeare. The character Viola is a girl who has been shipwrecked, but has survived to tell the tale through Shakespeare's plot structure."
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"Brandenburg Concerto" #6 (B-flat), 2005.
This paper discusses Bach's "Brandenburg Concerto" #6 (B-flat) on a Sony disk performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov, conductor.
1,030 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
This paper explains that Bach simply entitled this music the "Six Concertos for several Instruments"; but, Philipp Spitta, 160 years after they were composed, named them the "Brandenburg Concertos", after Christian Ludwig, the margrave of Brandenburg, the most prominent patron of music in Berlin and Prussia. The author points out that the "Sixth Brandenburg Concerto" is distinctive because it features no violins and is scored for two violas, a cello and continuo (which is a bass part usually performed by a harpsichord), which gives it a far darker tone than the other five concerti. The paper states that this version performed by the "Classic Music Studio" Orchestra of St. Petersburg, Alexander Titov conducting, has a muffled sound and is too "Slavic" an interpretation to be appropriate for the Baroque Bach.
From the Paper
"While each concerto features a different set of instruments, all put together represent what music historians consider the synthesis of Baroque concerto styles. This was, of course, long before the concerto was created as a solo instrument playing its own melody, accompanied by an orchestra (Haydn, and of course, Mozart, perfected that style). Here they are considered as concerti grossi, in which a small body of "solo" instruments, called the concertino, contrasts with a larger orchestral group called the ripieno."
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The Arpeggione, 2006.
A discussion regarding Johann George Staufer and the arpeggione.
2,365 words (approx. 9.5 pages), 10 sources, APA, $ 72.95
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Abstract
This paper takes a look at an instrument called the arpeggione. The arpeggione is a string instrument developed by Johann George Staufer. This paper dissects the creation of the arpeggione and discusses why its specific qualities made it into a unique entrant into the viola family. The paper also examines music that has been specifically written for the arpeggione, and how it structurally differs from that of traditional music.
From the Paper
"The lack of success with opera is a story that reflects on why the arpeggione sonata was written in the first place. Schubert entered into the opera scene mainly at the behest of his close friend. Schubert places a heavy emphasis on his friendships within this period and as a result, would write many of his pieces to express his devotion to friends and colleagues. Since he was a close friend Staufer, the maker of the instrument, probably requested that the sonata be written specifically for the arpeggione. There was no direct evidence that Schubert received payment or even a commission request for this piece. Therefore many contemporary critics term him the "composer of Friendship". Therefore as author Harmon Milner explains it, to understand Schubert's actual modus operandi, one must start by looking at his closest friends and colleagues, because they form the "epicenter of his motivation"."
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"Twelfth Night", 2002.
A review of William Shakespeare's love story "Twelfth Night".
1,892 words (approx. 7.6 pages), 1 source, MLA, $ 60.95
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Abstract
This paper examines how William Shakespeare's play "Twelfth Night" can be seen as comedic social commentary on love and marriage amidst the backdrop of a renaissance ducal court, such as those that predominated in northern Italy. It discusses how the play, about a young woman who disguises herself as her brother in order to gain favor with the court results in confusion and how by using Viola as a plot device, Shakespeare calls into question traditional conceptualizations of romance, as well as gender relations and the significance of titles. It shows how Shakespeare has a lot of fun playing with this mixed-identity, gender-bending premise. It outline the plot of the play and provides an analysis of the main characters.
From the Paper
"Malvolio is self-involved; full of "self-love," as Olivia noted in Act I; he believes himself to be irresistible to a young woman like Olivia, despite the fact that he is an old servant. Maria, Olivia?s servant, decides to play a trick on him by forging a mock-love letter from Olivia. Before he reads the letter, he entertains a fantasy about being married to Olivia, and getting to strut around Sir Toby and Sir Andrew, due to his imagined rise in station. Malvolio's thinking out loud gets him in trouble; the party decide that Malvolio is being a perfect "turkeycock," which is a good image to describe Malvolio's pride. Maria and Feste, the canny court fool of Olivia, continue to torment Malvolio through the play, as the old servant is somewhat of a running joke who is unable to match wits with Feste."
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Shakespeare's "Henry IV" an "Twelfth Night"., 2002.
This paper explores Shakespeare's notion of romantic love, as illustrated by two of his plays.
1,220 words (approx. 4.9 pages), 0 sources, MLA, $ 41.95
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Abstract
The paper shows how Shakespeare links romantic love with power, greed and politics. It starts with an analysis of ?Twelfth Night?, discussing how the entire plot focuses on the love interests of the characters. It looks at Shakespeare?s suggestion that love - only if politically feasible ? is permitted. It looks at the character of Viola and the power issues raised by the fact that she is disguised as a man. The economic compatibility in the final twist of the plot is explored, as are Sebastian?s unromantic motivations for marriage. The paper concludes by looking briefly at the theme of love motivated by politics in ?Henry V?.
From the Paper
"Ah love. It appears to be a rather simple emotion ? at first glance. You find someone you are attracted to physically, then the attraction grows into affection, and the affection grows into love. The two of you marry, and live happily ever after. Right? It would seem that dear Shakespeare couldn?t quite grasp the simpler aspects of love, and marriage, for most of his plays dealing with love are littered with unromantic things like politics, and economic gain. One obvious play is ?Twelfth Night?, and one less obvious play is ?Henry V?; however both show Shakespeare?s tendency to link romantic love with less romantic power, politics and greed."
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