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Oliver Kellogg, 2001.
This paper provides a biography of Oliver Kellogg, and his book, "Foundations of Potential Theory".
1,235 words (approx. 4.9 pages), 4 sources, MLA, $ 42.95
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Abstract
This paper looks at the life of Oliver Dimon Kellogg, who spent much of his time researching and advancing potential theory in the world of mathematics. The author discusses his contributions to math and physics, still used today.
From the Paper
"When the country no longer required his services, Kellogg was sent to Harvard University. Here he explored a few new mathematical venues before returning to his groundbreaking work in Potential theory. The 1920s were in many ways a decade of inspiration for artists, writers, mathematicians, scientists, and other thinkers across the globe. The war had dampened many spirits, but others saw its finale as a chance for new hope -- for a future without war. Others saw it as a future that was considerably grimmer, yet still full of the possibilities that only the realization of one?s own finite nature can bring."
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"Oliver Twist", 2005.
An analysis of the use of imagery in "Oliver Twist" by Charles Dickens.
840 words (approx. 3.4 pages), 1 source, MLA, $ 29.95
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Abstract
This paper examines how in the novel "Oliver Twist", Oliver lives a predominantly sad life of loss and despair and how Dickens uses imagery and setting to create a tone of hopelessness.
From the Paper
"Dickens uses imagery to support a tone of hopelessness. Dickens employs the phrase "despised by all, pitied by none" (28) to suggest the hardships that Oliver was born into, and the hardships that would carry on for a great portion of his life. His father died before Oliver was born, and his mother died while giving birth to him. He was born into the poverty of a horrifying orphanage where he would spend the first nine years of his life. He was lucky enough to survive the harsh conditions of the orphanage where the overseers would keep the money from the government and starve the children. Oliver had learned, in a non-respectable way, "that self-preservation is the first law of nature" (53). He became dependent on thievery as a way of survival. "
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"Oliver Twist", 2005.
An analysis of Charles Dickens's "Oliver Twist".
842 words (approx. 3.4 pages), 1 source, MLA, $ 29.95
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Abstract
This paper reviews the classic novel of "Oliver Twist" written by Charles Dickens. The paper presents a tone of hopelessness that shows how Oliver handled many hardships. The paper elaborates on Dickens's use of imagery and setting to convey the harsh day-to-day life that Oliver had to endure.
From the Paper
"For the next eight to ten months, Oliver was the victim of a systematic course of treachery and deception" (28). This passage from Charles Dickens's Oliver Twist resembles the horrible environment that Oliver was born into. Nobody cared for Oliver; the workers at the orphanage probably did not even know his name. Oliver lives a predominantly sad life of loss and despair. Dickens uses imagery and setting to create a tone of hopelessness."
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Charles Dicken's "Oliver Twist", 2003.
An analysis of how Charles Dickens presents the theme of good and evil in "Oliver Twist".
2,221 words (approx. 8.9 pages), 0 sources, $ 69.95
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Abstract
This paper reviews Charles Dicken's "Oliver Twist" with a focus on chapter 20, taking into account his use of environment, personality, social class and faith. It looks at how Dickens presents a heavily clich?d novel in which good and evil are divided completely, but also in which good (Oliver) defeats evil (Fagin and Sykes, who both die). It demonstrates how this is the basic tenet of Christianity ? that good will always overcome evil ? no matter what the odds are and how, Dickens is showing that Christianity is the way to overcome evil.
From the Paper
"The last two of these foreshadowed events relate to Chapter 20, and the deliverance of Oliver to Sikes, and the subsequent break-in. Housebreaking was very serious in Victorian times, and burglars were usually executed for their crimes. Therefore, Oliver?s introduction to housebreaking was a pivotal moment for him ? it was the place in the novel where he finally met a good person ? his saviour from Fagin and Sikes ? in direst hour of need."
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Film: Oliver Stone's "JFK" (1991), 2007.
An analysis of the facts presented in the film "JFK", by filmmaker Oliver Stone, regarding the autopsy of President John F. Kennedy after his assassination.
1,005 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper explains that, in the political docudrama "JFK", Oliver Stone asserts that Lee Harvey Oswald did not act alone, that the F.B.I. had a vested interest in hiding important information from the public and that the C.I.A. had an active role in the assassination in hopes of fueling the military industrial complex of the United States. The paper further explains that, in the film, Stone attempts to make viewers conscience of the possible tampering of evidence and lack of investigation into the murder of the president. The author stresses that Oliver Stone does not want his viewers to accept all of the events portrayed in the film. Rather, Stone directed this film to act as a "counter-myth" in reaction to the "myth" he believes the Warren Commission Report fed the public. The paper stresses that Stone's accusation that the Archives somehow lost the brain, which it did not, affects the viewer's understanding of what actually happened.
From the Paper
"Perhaps the most shocking claim that Oliver Stone makes in his film in relation to the autopsy is that John F. Kennedy's brain has been lost by the National Archives. This particular claim arose in 1972 when pathologist Cyril Wecht was allowed to examine the Kennedy autopsy records at the National Archives. Wecht tried to open the footlocker where the stainless steel container and microscopic tissue slides were held, only to notice that they were gone. Wecht then blames the Archives for losing an important piece of physical evidence due to negligence and carelessness."
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Oliver Cromwell, 2007.
An analysis of Oliver Cromwell's vision of the English Republic.
2,172 words (approx. 8.7 pages), 5 sources, MLA, $ 67.95
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Abstract
This paper critically explores and analyzes the origins, defining features, and practical implications of Oliver Cromwell's vision of the English Republic. The thesis is argued that Cromwell's vision was defined not so much by ideology, belief or philosophy as by a conviction that compromise and moderation were central to the government of England during the particularly divisive seventeenth century. The paper contends that, only through an understanding of Oliver Cromwell's vision of moderation as key to the resolution of civil strife, can we be begin to understand his achievement in navigating the ship of state during this highly disruptive period.
Outline:
Introduction
A House Divided
The Divisive Seventeenth Century
Squaring the Circle: Resolving Cromwell's Contradictory Vision
From the Paper
" Critics argue that it was Cromwell's youth growing up within an England in which the commercial classes and local squires were growing in power that contributed to his vision of an English Republic: "To all this new idea of government by squires and merchants Cromwell was born; in all this he grew up; all this was native to him when he appeared, almost thirty, in the first of the new rebellious Parliaments" (Belloc 13). Indeed, Cromwell's behaviour during the Long Parliament gives us critical insights into how at this early stage in his political career - long before he rose to near absolute power - Oliver Cromwell perceived the English Republic."
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'Oliver Twist', 2006.
A review of death as a theme in Charles Dickens' 'Oliver Twist'.
1,117 words (approx. 4.5 pages), 8 sources, MLA, $ 38.95
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Abstract
This paper reviews and discusses the idea of death in the classic, 'Oliver Twist', by Charles Dickens. According to the paper, 'Oliver Twist' contains dominant themes of social evils, exploitation of the poor and various characters' deaths, near-deaths or circumstances having to do with death.
From the Paper
"Oliver is (again figuratively) 'scared to death', at that key moment in the novel that that turns out also to define his fate (the extra gruel request scene) when he is selected by the other boys at the workhouse for that most terrifying, unpleasant task. Then, moments after he asks, Oliver becomes equally scared that his still not-quite-to-be-believed question has now caused (so-to-speak) 'all hell to break loose' inside the workhouse, among the comfortably well-off, incredulous, poorhouse administrators. These well-fed individuals in fact cannot fathom, at all, how any boy so "lucky" as to be boarded and fed at their workhouse could possibly be so ungrateful as to request more than his daily starvation-level ration of gruel. "
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Crime in "Oliver Twist", 2004.
A discussion on whether Charles Dickens romanticises crime in "Oliver Twist" by encouraging too much sympathy for the criminal characters.
2,695 words (approx. 10.8 pages), 11 sources, APA, $ 80.95
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Abstract
This paper attempts to dispel the claim that Dickens romanticises crime in "Oliver Twist". It looks at how he gives an account of the miserable reality of the way the underworld operated in London at the time and the sheer ruthlessness and inhumanity portrayed by criminals. It also discusses how Dickens also holds a mirror up to society to show the squalid poverty experienced by people in the workhouses and the corruption of people in positions of power such as Mr Bumble and Mr Fang, the magistrate.
From the Paper
"In a preface to Oliver Twist, written in 1841, Dickens makes direct response to Thackeray's criticism of Nancy's character. ?It is useless to discuss whether the conduct and character of the girl seems natural or unnatural, probable or improbable, right or wrong. It is true. Every man who has watched these melancholy shades of life knows it to be so. Suggested to my mind long ago - long before I dealt in fiction - by what I often saw and read of, in actual life around me, I have, for years, tracked it through many profligate and noisome ways, and found it still the same. From the first introduction of that poor wretch, to her laying her bloody head upon the robber's breast, there is not one word exaggerated or over-wrought. It is emphatically God's truth.... It involves the best and the worst shades of common nature... it is a contradiction, an anomaly, an apparent impossibility, but it is a truth.' "
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Mary Oliver?s Poems, 2004.
This paper analyzes Mary Oliver?s poems, ?Seven White Butterflies" and "West Wind 2?, and includes the entire poems as the sources.
1,230 words (approx. 4.9 pages), 2 sources, MLA, $ 41.95
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Abstract
This paper explains that Mary Oliver, a Pulitzer Prize-winning poet, like most Romantic poets, creates a boundary between nature and man and attempts to explain through examples. The author points out that, in her poems, ?Seven White Butterflies? and ?West Wind 2?, the poet demonstrates that humans need to learn from nature a life free from struggle for materialism or dejection. The paper relates that, in ?Seven White Butterflies?, the butterflies represent nature as always being free from threats because nature enables them with the wisdom to extricate themselves from captivity or death.
From the Paper
"As far as rhythm in "West Wind 2" is concerned, Oliver seems to adopt a style that is free from any formal rhythm. This is what makes "West Wind 2" even more interesting because in four stanzas she manages to first establish trust as evidence in these words "Without fanfare, without embarrassment, without/any doubt, I talk directly to your soul. Listen to me" and then delves straight to the issue of cautioning the youth. There is no formal rhyme or rhythm to the terms used yet one gets the distinct image of a boat rower's dilemma rowing downstream. And the last line, in one smooth stanza, she presents and, at the same time, advises the youth what to do. This gives the finality of the obvious and the reason why she wants to caution one in the first place. Unlike in the poem "Seven White Butterflies", she does stick to syntax but no rhythm is established."
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Oliver North, 2005.
This paper discusses Oliver North, specifically his involvement in the Iran-Contra Crisis of the 1980s.
1,365 words (approx. 5.5 pages), 5 sources, MLA, $ 45.95
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This paper explains that Oliver North, notorious participant in the Iran-Contra Crisis of the 1980s, represents a low time in American history and a shows how even the strongest and most secure governments can fall to scandal, mistrust and misuse of their power and influence. The author points out that North's years as a Marine in the 1970s helped form his conservative outlook and dedication to duty that served him so well in his governmental career. The paper relates that, even through the Iran-Contra affairs were scandalous, North did not seem to see his part in them as wrong, called the contras "freedom fighters" and thought funding them was a "neat idea".
From the Paper
"Oliver North was born on October 7, 1943 in San Antonio, Texas. He was raised in Philmont, New York, and after he graduated from high school he attended the State University of New York at Brockport, and then the U.S. Naval Academy, where he graduated in 1968. After he graduated from the Naval Academy, he served as a U.S. Marine for twenty-two years. During this time he fought in the Vietnam War, and was awarded the Silver Star, the Bronze Star for valor, and two Purple Hearts for wounds in combat. He rose to the rank of Lieutenant Cornel during his time with the Marines. He actually only spent a short time in Vietnam during his career. Later, he was an instructor in basic training at Quantico Marine Base from 1969 to 1973. Then in the late 1970s he was posted at the Naval War College in Newport, R.I.."
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Oliver Stone: Revered, Reviled and Out of Control, 1997.
This paper provides a comparative analysis of Oliver Stone's work through the eyes of genre theory.
1,035 words (approx. 4.1 pages), 4 sources, $ 36.95
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Abstract
This paper explores the validity of genre theory in cinema by comparing and contrasting the works of renowned director, Oliver Stone. The author looks in particular at two of his films, "JFK" and "Natural Born Killers". It attempts to prove the significance of genre theory in cinema as a basis for the study and indexation of film.
From the Paper
"The genre theory is both constraining to film producers and beneficial to audiences. Audiences will go into films advertised as being of a certain genre with a pre-concluded set of expectations from the film. The director focused on in this essay works predominantly in one Genre. 7 of his 10 films published before 1994 were Historical Dramas, with the remaining 3 being horror and Fictional Drama. The two films to be analyzed will be JFK, 1991, a Docudrama Based on the 1963 assassination of U.S. president John F. Kennedy, and Natural Born Killers, 1994, a controversial look at two white trash serial killers/mass murderers who become Tabloid-TV darlings thanks to a sensational press."
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Oliver Stone, 2002.
A biography of the life and work of the film director Oliver Stone.
1,900 words (approx. 7.6 pages), 5 sources, $ 71.95
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Abstract
This paper follows the history of American film director Oliver Stone. The director has seamlessly traversed genres, created his own blend of break-neck stylistic urgency, and elevated his actors to new heights of personal expression. This paper presents his films with their meanings as well as an analysis of the director himself.
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Oliver Stone, 2001.
A look at the career and work of film director Oliver Stone.
840 words (approx. 3.4 pages), 3 sources, $ 29.95
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Abstract
This paper presents an autobiography of the famous film director, Oliver Stone. The author discusses Stone's career, famous works and examines the main themes of his films such as political events and social history.
From the Paper
"Oliver Stone is a director who rose to success against high odds through hard work and perseverance. He began as a screenwriter for the film industry and saw script after script either rejected or rewritten by other, more senior and established writers. His directorial debut was a low-budget horror film released in 1974 called ?The Hand?, but his first real success was as a writer. The movie ?Midnight Express? (1978) earned him an Academy Award for best screenplay adaptation. He next returned to directing with ?Seizure? (1981), followed by his third effort ?Salvador? in 1986 which was characterized by inventiveness and frugality which earned him the opportunity to make ?Platoon? (1986) based on his own screenplay. ?Platoon? redefined Vietnam War films and earned four Academy Awards including best director and best picture."
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Oliver Goldsmith Elegies, 2003.
An analysis of two grief poems by Oliver Goldsmith's "An Elegy on the Death of a Mad Dog" & "An Elegy on the Glory of Her Sex, Mrs. Mary Blaize".
1,470 words (approx. 5.9 pages), 5 sources, MLA, $ 48.95
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Abstract
This paper explores two rather unusual grief poems. The elegies are unusual in their mood (they are somewhat upbeat as opposed to the more subdued style usually found in such poems). The paper also shows how the elegies border on Romanticism and may be seen as very much tongue-in-cheek.
From the Paper
"Oliver Goldsmith is an Anglo-Irish playwright, novelist, poet, and essayist. He was born on November 10th, 1730, in Pallas, Ireland, the son of an Anglican curate. He received a general education at Trinity College, Dublin, and studied medicine at the universities of Edinburgh and Leiden. He subsequently wandered through Europe, supporting himself by playing the flute and by begging. Later, in England, he practiced medicine, taught, and eventually worked for various publishers, producing literary works to order."
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Oliver Stone and the Vietnam War, 2002.
A review of Oliver Stone's various depictions of the Vietnam War.
1,900 words (approx. 7.6 pages), 11 sources, $ 71.95
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Abstract
A paper that depicts Stone's representation of the Vietnam War in various movies.
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