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Thomas Eakins and Mary Cassatt, 2001.
This paper discusses the lives of Thomas Eakins and Mary Cassatt along with summaries of some of their works.
2,476 words (approx. 9.9 pages), 4 sources, $ 75.95
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Abstract
A paper discussing Thomas Eakins and Mary Cassatt, along with some brief descriptions of selected works. Short biographies are given of both artists. The author mentions the style of each artists.
From the Paper
"From the late 1860s to the late 1880s a French art movement flourished. Derived from Monet?s painting Impression, this worldwide movement was called Impressionism. Impressionists painted mainly of modern-day subjects in the open air. They used a lot of bright colored paints (little drawing) and aimed to capture the effects of light. Two great American artists of this time were Thomas Eakins and Mary Cassatt. Thomas Eakins was born on July 25, 1844 in Philadelphia. His father was a writer from which he inherited a lot of talent. He also learned to love the outdoors from his father and his childhood. He was very outgoing and did exceptionally well in school. Eakins especially loved science and math, which he enjoyed using later in his career."
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Mary Cassatt, 2005.
Examines the life history and paintings of this 19th Century American artist.
1,024 words (approx. 4.1 pages), 3 sources, MLA, $ 36.95
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Abstract
This paper begins by presenting the life history of Mary Cassatt, born in Pennsylvania and educated in Europe and the United States. It explores the beginnings of her painting career and the techniques which she employed in her work. The paper then focuses on Cassat's "Little Girl In A Blue Arm Chair" and provides a description of the painting.
From the Paper
"Mary Cassatt influenced Impressionism. She also had an important role in sponsoring and in financial promotion of Impressionist art. She sometimes bought paintings of her friends when they were short of cash and with her connections to rich American families, she encouraged them to buy Impressionist art. Some of the collection is at the New York Metropolitan Museum."
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Edgar Degas and Mary Cassatt, 1994.
An evaluation of the Impressionist works and personalities in a cultural context with gender biases, styles and influences.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
"Mary Cassatt is one of the less well-known of the Impressionist painters. Edgar Degas, her mentor, was one of the most important of the artists who participated in the Impressionist movement and who exhibited his paintings at Impressionist exhibitions. In many ways both were very different from other artists identifying themselves with this movement. Degas was one of the most helpful to other painters, including Cassatt, whom he also painted. The careers of these two painters are each somewhat out of the ordinary for the time and reflect different experiences, in part with differences based on gender.
There were four women classified as Impressionists--Berthe Morisot, Marie Bracquemond, Eva Gonzales, and Mary Cassatt. These four were very different artists, each of whom related to the artistic and political debates of her time in her own..."
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"Mary Shelley's Frankenstein" ( Kenneth Branagh ) and "Frankenstein" by Mary Shelley, 1995.
This paper compares the film director Kenneth Branagh's and book author Mary Shelley's depictions of "Mary Shelley's Frankenstein" and "Frankenstein" respectively: Characters, relationships, plot, focus, images, pacing and style
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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From the Paper
"The recent motion picture version of Mary Shelley's novel Frankenstein hews closely to the plot of the novel while failing to capture its essential purpose. The full title of the movie is Mary Shelley's Frankenstein, but the possessive does not mean that this version can be considered mary Shelley's vision. Janet Maslin of the New York Times notes this when she writes that the film will not strike anyone as chiefly Mary Shelley's invention. Its principal architect is Kenneth Branagh. . . [who] takes on the godlike, idealistic young scientist's role while also directing this "Frankenstein" as an overheated romantic fable .
An examination of the book and the film shows where the attitudes ... "
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Velazquez and Cassatt, 2008.
A comparison of two portraits; Diego Rodriguez de Silva y Velazquez's "Juan de Pareja" and Mary Cassatt's "Lady at the Tea Table".
741 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
The paper describes and analyzes two portraits from different eras and movements; Diego Rodriguez de Silva y Velazquez's "Juan de Pareja" from 1650 and Mary Cassatt's "Lady at the Tea Table" from 1885. The paper identifies how these artists have utilized the same factors of artificial symmetry and contrast and gaze of the subject in order to reach different goals.
From the Paper
"The first painting to be studied is Velazquez's Juan de Pareja. The first thing that is striking upon viewing this portrait is its two-dimensional composition. The figure, Pareja, is composed in the space asymmetrically. The man is aligned to the left side of the portrait, his head and body filling the space to the left of center. Yet, his chest/torso, cloak, and arm fill the right side of the space rather well. While Velazquez does not exhibit symmetry in his two-dimensional composition by doing this, he achieves what this writer feels is a rather nice effect. The proudly displayed chest and body of Pareja give a sense of regality and pride to the portrait."
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Artists of the Impressionist Period, 2006.
This paper presents thumbnail sketches of six Impressionist artists: Claude Monet, Eduardo Manet, Pierre-Augusta Renoir, Edgar Degas, Mary Cassatt and Camille Pissarro.
835 words (approx. 3.3 pages), 8 sources, APA, $ 29.95
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Abstract
This paper explains that Claude Monet was the leader of Impressionism; his "Impression: Sunrise" painted in 1872 gave the term Impressionist to this group of painters who followed the style of Eduardo Manet. The author points out that Mary Cassatt, the only American and woman of the movement, painted scenes of people engaged in ordinary daily activities. The paper relates that the last true Impressionist Camille Pissarro inspired Post-Impressionist painters such as Matisse and Cezanne.
Table of Contents
Introduction to the Impressionist Period
Claude Monet: The Movement's Pioneer
Eduardo Manet: The Movement's Inspiration
Pierre-Augusta Renoir: Using the Movement to Move to His Own Style
Edgar Degas: Representing Movement and the Working Class
Mary Cassatt: The American and the Woman of the Movement
Conclusion: Camille Pissarro: The Last Official Impressionist
From the Paper
"Photography was invented in the 19th century. The Impressionist artists wished to bring a new element to art. They wished to show the artist's inner life. They believed that simply showing what existed 'in life' was not enough to justify the further existence of art. The Impressionist movement began in France, the heart of the art world of a late 19th and early 20th century Europe. "Impressionist painting comprises the work produced between about 1867 and 1886 by a group of artists who shared a set of related approaches and techniques. Characteristics of Impressionism were an attempt to accurately and objectively record visual reality in terms of transient effects of light and color." "
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Mary Espoused to The Father, The Son & The Holy Spirit, 2007.
An in-depth examination of the relationship of Mary to the Father, the Son and the Holy Spirit.
12,150 words (approx. 48.6 pages), 8 sources, APA, $ 234.95
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Abstract
This paper provides a historical and theological investigation as to the role of Mary within the Church, specifically as to whether Mary should be considered espoused to God, the Father, or to Jesus the Son, or the spouse of the Holy Spirit. This work explores the development of the role of Mary from the viewpoint of the Church Fathers and how that development has taken place. This work also looks at the biblical and doctrinal basis relating to Mary's espousal and further explores the writings of St. Louis Marie De Montfort and St. Maximilan Kolbe in understanding the role of Mary as the spouse of the Holy Spirit.
Contents:
Abstract
Introduction
Statement of Thesis
Chapter 1: Spiritual and Doctrinal Foundations
Chapter 2: Mary, Espoused to God the Father?
Chapter 3: Mary, Espoused to Jesus Christ?
Chapter 4: Mary, Espoused to the Holy Spirit?
Chapter 5: Writings of St. Louis Marie De Montfort & St. Maximilan Kolbe
Chapter 6: Synthesis & Conclusion
From the Paper
"Votes were taken with the result being 1114 voting in favor of integration of the marian schema into the Church Constitution and 1074 in favor of a separate schema for Mary. It is stated that this division was reported by news media to be a split as to whether the authenticity of Mary as Mediatrix was to be adopted into the church however, in reality the only division among the Cardinals was as to whether a separate schema should be given to Mary.
Mary is held up as an example of what is termed a "total faith response to God". (McBride, 2003) Chapter VIII of Lumen Gentium states that the Old Testament is to be "understood in the light of further and full revelation." (LG #55) According to mariologist James O'Connor: "in the light of the fullness of revelation we are not 'reading back into' the documents something which is not really there, but something which is truly there but only fully understood when read in the perspective of the completed work." (O'Connor, 1986)"
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Protestant Devotion to the Virgin Mary, 2007.
This extensive paper examines the role of the Virgin Mary in contemporary Protestant religious devotion.
23,721 words (approx. 94.9 pages), 17 sources, APA, $ 249.95
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Abstract
This extensive study investigates the role of the Virgin Mary in today's Protestant churches. The writer examines whether there currently exists an identifiable Protestant liturgical theology of Mary. The author further examines the most significant contemporary developments in Protestant Mariology. The author states that since this investigation seeks to uncover how everyday Protestants view Mary's role in their religion, the scope of research extends beyond scholarly texts. The author considers information from mass media resources like magazines, and less traditional media sources, such as websites to be a reflection of the popular view of Mary. According to the author, untraditional sources provide insight into how modern lay Protestants view Mary, if they honor her, or if they believe she should be honored. The paper further examines how church officials approach devotion to Mary, and if they desire pro-Marian changes in Protestantism. The potential controversy surrounding Mary in the Protestant church is also considered. The author hopes that information from a broad variety of practitioners will yield a suggestion about the modern state of Mary in the Protestant church and whether her role should change.
Outline:
Proposal
Introduction
Hypothesis
Literature Review
Conclusion
From the Paper
"Traditionally, at least in recent history, the Virgin Mary has not played a very large role in the various Protestant faiths. In fact, many modern Protestants only recall celebrating Mary during Christmas, and those celebrations were strictly limited to Mary's role in the birth of Christ rather than celebrating Mary's prophecies prior to Jesus' birth or the role that she played as Jesus' day-to-day parent. The Protestant attitude towards Mary contrasts starkly with Catholic and Orthodox attitudes, which celebrate Mary in several different ways. To Catholics, Mary was chosen to be the mother of God's son because she was an example of a devout and loving Jew, so that her spiritual greatness actually preceded the events that are traditionally associated with her. However, to Protestants, prior to the visit from the angel Gabriel, Mary led an unremarkable life, and her sole claim to significance in Christianity is the fact that she was chosen, more or less arbitrarily, by God to be the mother of his son. Furthermore, many Protestants not only refused to share in the Catholic and Orthodox reverence for the Virgin, but have actually reacted vehemently against it, associating respect and reverence for Mary with the some type of idolatry."
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Mary Wollstonecraft, 1994.
This paper discusses social and political works and ideas of the feminist Mary Wollstonecraft who is the mother of Mary Wollstonecraft Shelley the creator of "Frankenstein".
1,125 words (approx. 4.5 pages), 5 sources, $ 39.95
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From the Paper
"Mary Wollstonecraft was as famous as a writer as her daughter, Mary Wollstonecraft Shelley, would become, but today it is clear that the daughter is much the better known of the two largely because of her marriage to Percy Bysshe Shelley and because of her creation of the story embodied in her novel Frankenstein. Both mother and daughter were important proponents of the rights of women both in their writings and in the way they lived and served as role models for other women of their time. Much of their work as writers and political thinkers developed from and represented the spirit of the Romantic era in which they lived.
Mary Wollstonecraft's best-known work is her Vindication of the Rights of Woman (1792), a work in which she expounded in the ills facing women and on the need for justice for women."
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Mary's Isolation in "Long Day's Journey Into Night", 2007.
This paper discusses the issue of the isolation of the character Mary, in the play 'Long Day's Journey into Night' by Eugene O'Neill.
2,312 words (approx. 9.2 pages), 1 source, MLA, $ 71.95
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Abstract
In this article, the writer discusses that all the characters of the play 'Long Day's Journey into Night' are trapped by their family history and their inability to break out of the family cyclical arguments, however, no one is more trapped than Mary. The writer suggests that
it seems possible that Mary was always lonely. The writer discusses that as a child she may have structured her world around the idea of being a nun because of a guaranteed community, but even in a convent, Mary would have had to know how to connect with others. Further, the writer notes that at every turn she has made choices that isolate herself. Mary chose a stand-offish man for a husband, and has made choices throughout her adult life that have kept her lonely.
From the Paper
"One soon finds out that Mary has significant problems. When the play opens, she has very recently returned home from a sanatorium where she was treated for addiction to morphine. As the day goes on in the play, it becomes apparent that Mary has returned to taking morphine, and quite a lot of it. Mary has an excuse for her addiction: her husband was too cheap to pay for a good doctor after her second son was born, and that doctor got her addicted. Mary may have started with morphine to ease the pain of childbirth and its aftermath, but now it is apparent that she uses it as an escape from reality. Her need to escape is so great that she is in complete denial about her son Edmund's case of tuberculosis -- even though her father, whom she loved dearly, died of tuberculosis himself."
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Mary Higgins Clark?s Characters, 2006.
This paper explores the background and motivations of American novelist Mary Higgins Clark as well various characters from her numerous works of writing.
2,690 words (approx. 10.8 pages), 5 sources, APA, $ 80.95
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Abstract
The writer of this paper delves into both the life and works of author Mary Higgins Clark and centers mainly on the strength of her characters. While the author's characters frequently possess the ability to overcome insurmountable obstacles that happen too often in life, this paper details the events in Clark's personal life that often parallel to her characters. The death of her father completely altered Mary's family life. Mary gained the knowledge of how precious life was at the early age of ten. From her mother's example Mary learned how to be strong, even in the face of tragedy. This paper discusses both the plots and main characters from various novels including: My Pretty One Sleeps," "I'll Be Seeing You," "Where are the Children?" and "A Cry in the Night" which deals with a mother struggling to raise her children alone.
From the Paper
"Mary dips into the deep well of her experiences again with her novel, While My Pretty One Sleeps, as she grew up listening to her mother's stories about the fashion world. Her mother had been a bridal buyer for B. Altman's; and also mary had written a radio show called "Women Today" where she interviewed designers and fashion editors. This exposure showed her the inside story in the glamour world and also the agony within this industry. From these experiences and her inquisitive imagination, Mary concocted Ethel Lambston, a influential gossip writer who was about to "rock the fashion industry with an expose revealing the secrets of top fashion designers," but is murdered before she can get the story out and she is discovered missing by Neeve Kearney."
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The Virgin Mary, 2002.
A comparison of the portrayal of the Virgin Mary in paintings by Paul Gaugin and Guido Reni.
1,063 words (approx. 4.3 pages), 4 sources, MLA, $ 37.95
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Abstract
Gaugin's "Ia Orana Maria" and Reni's "The Immaculate Conception" are two very different representations of the Virgin Mary. The paper explains that by utilizing more classical composition techniques, smooth, curving lines and rich, strong colors, Reni portrays Mary as an idealized version of Baroque femininity in a heavenly setting. It shows, in contrast, how Gauguin adheres to the primitive tradition, illustrating Mary as a native woman, a naked Christ child set on her shoulders. His use of asymmetrical composition in a cluttered, unplanned scene provides a feeling of energy and naturalism, a striking contrast to the serenity of Reni's work. The paper shows therefore that in illustrating the Virgin Mary in their works, each painter adheres to the very different sensibilities of their time periods.
From the Paper
"Paul Gaugin's "Ia Orana Maria," translated as "Hail Mary," treats a similar subject matter, in that it illustrates the Virgin Mary with adoring attendants. However, this is not the Mary of the Immaculate Conception, but with Christ who is perched upon her shoulders. Painted in the post-impressionist genre known as Arcadia, which exemplifies scenes of blissful simplicity and retreat from the complex, this work was completed in 1891 and hangs in the Metropolitan Museum in New York. It is not a large work, only 44 inches by about 36 inches. In keeping with its primitive tradition, and in stark contrast to "The Immaculate Conception," the composition is highly asymmetrical, with the central Mary figure set off to the right of the picture. The poses are unstudied, casual and almost accidental, with Mary and the Christ child looking at the viewer, and the two prayerful, adoring native women gazing at them. This casual approach may be an attempt of Gauguin to emphasize the "naturalness" of the scene, despite the obviously supernatural halos."
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Mary Astell, 2001.
This paper discusses claims by author Ruth Perry that Mary Astell was one of the first "feminist theorists".
4,000 words (approx. 16.0 pages), 6 sources, $ 108.95
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Abstract
Author Ruth Perry claimed that writer Mary Astell was one of the first feminist theorist. The purpose of this essay is to evaluate these bold claims made by Perry. It focuses on Astell?s essay on the subject of marriage.
From the paper:
"Mary Astell was born during the 17th century and died in the 18th century. It was during the early part of the 1700s when her most influential books and political and religious treatises were published. Astell wrote long before Elizabeth Cady Stanton, even long before Mary Wollstonecraft penned her influential tracts on women?s rights, even before these women were born. Yet the author Ruth Perry has named Mary Astell as one of the first "feminist theorists" and stated that Astell?s ?first three books were feminist books"."
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Mary Queen of Scots, 2001.
This paper is a brief overview of the life of Mary Stuart, Queen of Scots.
750 words (approx. 3.0 pages), 5 sources, MLA, $ 26.95
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Abstract
In this essay the author discusses the romantic and tragic life of Mary Stuart. The paper looks at Mary's brief reign as Queen of England, her staunch support of Catholicism, and her death during Elizabeth I's rule.
From the Paper
"Mary had everything to her advantage when she was born on the 8th of December, 1542. She was the daughter of the Queen Regent of Scotland, Mary of Guise. She had been married, when a mere child, to the dauphin, the son and heir of the King of France. The pope, who pretended that no one could rightfully wear the crown of England without his gracious permission, was strongly opposed to Elizabeth, who had not asked for the said gracious permission. And as Mary, Queen of Scots, would have inherited the English crown in right of her birth, supposing the English parliament not to have altered the succession, the pope himself, and most of the discontented who were followers of his, maintained that Mary was the rightful queen of England."
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Mary Shelley?s "Frankenstein or The Modern Prometheu", 2002.
This paper discusses Mary Shelley?s use of the Greek legend of Prometheus, the god that defied Zeus and brought fire to humans, in her book ?Frankenstein or The Modern Prometheus?.
1,120 words (approx. 4.5 pages), 9 sources, MLA, $ 38.95
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Abstract
This paper discusses that Mary Shelley?s reading of Prometheus in ?Frankenstein? is most accurate to the true meaning of the legend and constitutes a critique of the excessive individualism championed by the Romantic Movement.The author points out that the subtitle of ?The Modern Prometheus? refers to the character, Victor Frankenstein. The author believes that, in the character of Victor Frankenstein and in the very act of his creation, Mary Shelley joins together two seemingly opposite aspects of human study and science and poetry, reason and imagination.
From the Paper
"At the end of the novel, Walton halfheartedly heeds Victor?s reluctant message to ?seek happiness in tranquility, and avoid ambition, even if it be only the apparently innocent one of distinguishing yourself in science and discoveries?(1031). When the creature escapes, Walton does not chase him, but instead continues on his return to England, and more importantly, his family. If there is the slightest semblance of a happy ending, Walton?s return to England is probably it, although the fact that he returns a failure cannot escape our final interpretation of the novel?s denouement. The story of "Frankenstein or The Modern Prometheus", layered with multiple philosophical questions regarding the nature of Man, is a romantic irony of social failure, brought on by a rampant egocentricity in a male-dominated drive for knowledge and discovery."
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