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?Peter Pan? and ?Everyman?, 2005.
A comparative analysis of the themes of loss in J. M. Barrie's "Peter Pan" and the anonymous medieval morality play, "Everyman".
1,405 words (approx. 5.6 pages), 5 sources, MLA, $ 46.95
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Abstract
This paper examines how both the narratives of "Peter Pan" and "Everyman" revolve around themes of loss and how the losses in both J.M. Barrie's famous children's tale and the medieval morality allegory are both physical and psychological in their nature. It looks at how the "Everyman" of the medieval loses his physical life and sense of emotional and social security in his friends, family, and his worldly goods. In comparison, it shows how, in Barrie's "Peter Pan," the title character experiences, first, the loss of his shadow, which is temporary, and then loses Wendy, the Lost Boys ,and the other Darling children.
From the Paper
"Neither of these tales is depressing, however, because along with loss, both heroes gain something back. But while "Everyman," is stripped bare of his old life and illusions, which are replaced with a truer understanding of the divine, Peter's refusal to grow merely results in him recapturing his youth by associating with the next generation of Darling children. Peter refuses to lose his old illusions, refuses to grow up and lose his old life and childhood appearance, and thus refuses to validate the conventional adult journey of life, learning, and life's termination, as reflected in "Everyman.""
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The Legacy of "Peter Pan", 2007.
This paper discusses the attraction of the "Peter Pan" story in today's cruel and violent world.
1,320 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
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Abstract
The paper reviews the dynamics of the "Peter Pan" story in terms of how it has survived and evolved. The paper explains its themes that embrace the fantasy sanctuary where time stops and children never have to grow up to live in the violent world of "mature" adults. The paper maintains that the more cruel the adult world becomes, the more germane "Peter Pan" is to those who want to dream of a idyllic world where children are safe and will always be children. The paper looks at the movie "Finding Neverland", which features popular actor Johnny Depp playing the role of "Peter Pan" author, Sir. J.M. Barrie. The paper concludes that this is a book that has had an undying appeal through the decades.
Outline:
Introduction
Thesis
Why Has Peter Pan Stayed Popular
Finding Neverland
Conclusion
From the Paper
"The recent savage slaughter in Virginia Tech's classrooms will be remembered, discussed and debated for years to come. No doubt some psychologist or psychiatrist and a smooth-talking media type or two will conclude that the killer was a "lost boy" who tried to reach out for help, gave all the signals, but somehow just didn't connect. Some creative shrink may even suggest that the shooter was like a Peter Pan character gone mad, a young man who didn't want to grow up and join the ranks of society, but didn't know where to run and hide. So, the story will continue, this tormented Peter Pan bluffed normalcy, played the grown-up game by going to college but secretly, stealthily, turned into a bloodthirsty version of Captain Hook, who, at the end of the play, made 32 innocent students "walk the plank" of his demonic ship of death."
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"Peter Pan" & "A Close Shave", 1999.
Compares 1953 & 1995 animated films' messages, styles, audience appeals, themes and characters.
2,025 words (approx. 8.1 pages), 6 sources, $ 71.95
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From the Paper
" This paper compares and contrasts two animated films. The first, Walt Disney Studios' Peter Pan, is one of a series of animated musicals created by the studio that defined the genre of feature-length cartoons. The film is typical of the mainstream, studio-produced animation that continues to be the benchmark for such productions. It stands in contrast to Rick Park's A Close Shave, a British-produced independent film done in the Claymation style. While the two share some structural similarities, they offer an intriguing example of the differences in sensibilities, aesthetic concerns, and marketing interests between mainstream and independent productions.
Released in 1953, Peter Pan was the ninth feature-length animation to come out of the Walt Disney Studios. It was based roughly on J. M. Barrie's play about a boy who refused to grow up.."
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Saint Peter and the Saint Peter's Basilica, 2008.
This paper discuses Saint Peter, his deeds and the architecture and symbolism of Saint Peter's Basilica.
2,230 words (approx. 8.9 pages), 4 sources, APA, $ 69.95
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Abstract
This paper explains that the Basilica of Saint Peter in Rome reflects the acts of Saint Peter, serves as a model for all the great Churches in Italy and provides a deep historical and religious framework for Christianity. The author points out that Saint Peter is one of the most significant icons of the New Testament. The paper notes that the first Basilica of Saint Peter, finalized in 324 and which was designed in the form of a cross, became worn through the ages and reconstruction was inevitable. The author explains that reconstruction of the new Saint Peter's Basilica, begun in 1503, involved Donato Bramante, who implemented a Greek style cross design, followed by Antonio da Sangallo, who added the Baroque features to the interior, Michelangelo, who contributed his awesome dome, and Bernini, who designed in 1667 the square directly outside the Basilica.
Table of Contents:
Saint Peter's Profile
The Deeds of Saint Peter
Saint Peter's Burial
History of Saint Peter's Basilica
Architecture of Saint Peter's Basilica
The Deeds of Saint Peter Reflected in Architecture
From the Paper
"Jesus christened Peter with the name, Cephas. In translation, Cephas means 'The Rock'. The inference of this name clearly describes the role that Saint Peter played as a primary leader during Jesus' life. As a disciple, Peter witnessed a great deal of miracles and promoted the salvation of Christianity through example. Along with apostles James and John, Saint Peter remained close to Jesus and advised him on many issues. Peter was present for many of Jesus' trials and miracles, documented as the main apostle at Jesus' transfiguration, the revival of Jairus's daughter from the dead and the Agony of the Garden of Gathsemane."
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All His First Teeth, 2002.
A discussion of Peter Pan's teeth form J.M. Barrie's two works "Peter Pan" and "The Little White Bird".
730 words (approx. 2.9 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper examines the preoccupation by J.M. Barrie of Peter Pan's teeth in his novel "Peter Pan" which is based on an earlier story about Peter Pan provided in the work "The Little White Bird" in which Peter is most painstakingly described as a very young child, just seven days old and lives among the fairies and birds in Kensington Gardens, in the center of London. It looks at how in "Peter Pan" there is a preoccupation with Peter?s teeth and how they are mentioned five times in the novel and how three of those bring up the fact that they are all his first teeth. It evaluates why it is relevant that he still has his first teeth and how there are three important elements to Peter?s teeth. It analyzes how that he does in fact have teeth now and not in Kensington Gardens, indicates a transitional period between the two works. Secondly, that he still has his first teeth indicates how young he still is. Thirdly, that he has not had any knocked out indicates what a brave and talented boy is Peter.
From the Paper
"In Kensington Gardens, Peter is just a baby. He cannot even fly, for he has lost his faith. (It is faith, according to Barrie, that gives a bird the power to fly. Once Peter realizes he is no longer a bird, he looses the ability to fly.) There is much more talk of death and transition in The Little White Bird, and Peter buries the children that sneak into the Gardens and die, guiding their souls as far as he can. Some have speculated that Peter himself dies, and it is this death that enables him to transcend his limitations and go to Neverland. Regardless of that detail, it is evident that between his time in Kensington Gardens and his time in Neverland, the boy who wouldn?t grow up did actually grow just a little: he got old enough to have his first teeth. That suggestion of change is enough to cast any number of shadows across the narrative of Peter Pan. "
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"Everyman" and "The Song of Roland", 2002.
A review and comparative analysis of the works "Everyman" and "The Song of Roland" by anonymous authors.
1,039 words (approx. 4.2 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper examines the two medieval works "Everyman," and "The Song of Roland," both written by anonymous authors. Specifically, it compares and contrasts the two texts, illustrating their commonalities and distinct differences. It discusses how no matter how both protagonists accepted their fate and faced death, both stories show that both men died and acquired salvation according to the Christian ideal. It looks at how the play "Everyman" shows this world and its life is only materialistic and temporary. "The Song of Roland" shows living a good life is not enough, one must truly believe in Christianity and repent for one's sins to find everlasting redemption and life. Only life after death is real and rewarding when one arises to heaven and experiences God's true love.
From the Paper
"Yet another theme in both stories is trust and loyalty. Roland's character embodies ironic trust, because it is his own stepfather who betrays him. Roland is loyal to a man who he cannot trust. Oliver, Roland's good friend, is loyal towards Roland until his death. In "Everyman," Good Deeds? loyalty surpasses those of everyone else. All the others who call themselves friends promise Everyman loyalty and faith yet their words mean nothing for they fail to keep their promises. This is where the two men diverge. They have much in common, but the two works diverge in their style and delivery, which sets each man apart with his own struggles and messages."
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"Everyman" and "The Song of Roland", 2002.
A comparative analysis of the two anonymous medieval plays, "Everyman" and "The Song of Roland".
902 words (approx. 3.6 pages), 2 sources, MLA, $ 32.95
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Abstract
This paper looks at how "Everyman" and "The Song of Roland" are both morality plays, which were written anonymously during the medieval times. It examines how both plays give a message of ethics and good faith to their audience mainly through their main characters Everyman and Roland and how each hero undergoes death, which is in accordance with Christian ideals. It emphasizes the differences between how both characters struggle and face death and how they eventually learn to accept their fate.
From the Paper
"Besides the struggle against death another common theme in both dramas is facing death. Everyman after being granted the permission from God seeks camaraderie. Everyman is certain and confidant that those who he consider friends will certainly offer their help once he tells them his problem. He calls for Fellowship, Goods, Beauty and Strength to council and accompany him on his way but sadly they betray him despite their strong promises and due to their true nature. Only two of his true friends namely, Good-Deeds and Knowledge agree to help Everyman through this tough situation. Everyone is overjoyed and learns to arbiter correctly what actually matters to the health of the soul facing death. Roland and his knights offer no resistance against the Saracens who are great in number."
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Everyman: Characteristics of Contrast, 2000.
An analysis of the concept of morality in the ancient play, "Everyman".
823 words (approx. 3.3 pages), 0 sources, $ 29.95
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Abstract
This essay is an exploration of the morality play, "Everyman". It focuses on how the author uses symbolism in characters to prove the theological beliefs of the time.
From the Paper
"Morality plays are those that teach us how to live through one artist?s interpretation. One of the most well-known and notable morality plays is Everyman. Written in the Middle Ages, this particular piece of literature uses symbolism and abstractions to relay it?s religious message. Perhaps the best example of these abstractions is the contrast between ?Goods? and ?Good Deeds?. This is done so that the reader or audience will perceive the emphasis on the fact that worldly pleasures and ?goods? are not on the path to God. In the following essay we will examine this topic more."
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"Everyman" vs. "Dr. Faustus", 1995.
A comparative analysis of the final scenes of "Everyman" and Christopher Marlowe's doctor "Dr. Faustus".
853 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper compares and contrasts the final scenes of "Everyman" and Christopher's Marlowe's "Dr. Faustus" by analyzing textual structure and contemporary religious innuendos. It looks at how the last scenes in both plays, though structurally similar, present final confrontations of two completely different personalities with the fate of their souls, while stressing how thin and fragile the line between heaven and hell is within the Christian belief.
From the Paper
"Dr. Faustus gives his last speech (the soliloquy in V, ii, 130-187) after the departures of Wagner, the three scholars, Mephistopheles, the Good Angel, and the Bad Angel. Everyman faces the hasty farewells of Beauty, Strength, Discretion, and Five-Wits. By the end of their moral introspection, Faustus is taken to Hell whereas Everyman descends into the grave. Following their exit, three scholars come onto the stage in Dr. Faustus while Knowledge and Angel appear in Everyman. These are the last characters to appear in the plays. The epilogue is constructed in Everyman by the Doctor (a theologian who concludes the play and explains its moral) and in Dr. Faustus by the Chorus."
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"Antigone" and "Everyman", 2002.
An analysis of character development in the two morality plays "Antigone" and "Everyman".
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
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Abstract
This paper will discuss the two plays"Antigone" and "Everyman" in the scope of morality plays, and also to reveal how the individual fares within the scope of the dramas. In both plays the cultural themes presented in the differing ages of these plays tell us the nature of the responsibility the characters feel to others in the play. By understanding how both of these attempt this, we can how they are both trying to convey a sense of history in the scope of their characters development.
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On ?Everyman?, 2002.
An analysis of medieval morality play ?Everyman?.
915 words (approx. 3.7 pages), 30 sources, MLA, $ 32.95
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Abstract
This paper examines the fifteenth century English play "Everyman" by Casey. It describes the theatrical guilds of the medieval England and their types of productions: miracle (faith and bible) and morality (life) plays. The paper discusses the play's theme of death and what happens to an individual?s soul.
From the Paper
"?Everyman? is one of the classic examples of a medieval morality play. Morality plays evolved in conjunction with the medieval mystery plays. Both were acted out by trade guilds and often traveled around the land, although morality plays were composed individually and not in cycles. (Knapp ?Everyman Lecture?) Unlike the miracle plays of the period, which usually depicted scenes from the Old or New Testament, medieval morality plays primarily focused upon illustrating the difficulties of ordinary men and women in making their lives complimentary with the morality of such Biblical characters, as depicted in the Bible."
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"Everyman", 2002.
An analysis of the morality play "Everyman", written anonymously around 1495.
1,724 words (approx. 6.9 pages), 2 sources, MLA, $ 55.95
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Abstract
This paper examines the concepts of morality, heavan, earth, god and death in this classic play. The paper shows how in the course of the play, all that Everyman has relied on in this world abandons him, for in the end, when faced with death and judgment, man is alone and can rely only on how well he has lived his life, an idea expressed allegorically in this story.
From the Paper
"Clearly, this play was written in a Christian community whose members needed to be reminded from time to time of the nature of their relationship with God, the requirements God placed upon them, and the futility of believing in the things of this world over the requirements of the next. The Messenger who begins the play makes it clear that the moral applies to all when he notes that the play "That of our lives and ending shows/ How transitory we be all day" (Everyman 2121). The moral is for those who "think sin in the beginning full sweet,/ Which in the end causeth the soul to weep" (Everyman 2121). The speech by the Messenger, reinforced subsequently by God and Death, tells the audience for the play precisely what to expect, points out the meaning of the play to come, and relates that meaning to the lives of those in the audience. The play has a didactic purpose, intending to teach a lesson by having the ideas acted out by people representing abstract concepts, and it is more important that the allegorical story communicate with each member of the audience than it is that there by any surprise in the way the plot unfolds. After all, the essential ideas underlying this story are not new in any sense. They are central Christian ideas, known to all members of that religion, but they are also ideas that the Church wants to emphasize again and again in order to overcome the appeal of sin."
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"Everyman", 2002.
An overview of this medieval morality play and the allegory used throughout the short text.
800 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
"Everyman" is a morality play, written in the 15th century, author unknown. It is said to be the best of the morality plays. The paper shows how "Everyman" uses allegory to tell how God sent Death to Everyman, to take him on a journey. Everyman journeys from birth to his time of death, thinking of companions along the way, and finding that they have all forsaken him by the end, except for his good deeds, which are the only companion he may take with him to his final accounting with God.
From the Paper
"Everyman tries to delay his journey, by asking Death many questions, but Death cannot be delayed. Everyman doesn't want to go and resorts to trying to bribe Death so that he may remain on earth. But money means nothing to Death. Death comes to Everyman as a messenger and a guide. He has a job to do, and he does it well. He takes Everyman on a journey in which Everyman's mortal life ends, and the final resting place of Everyman's soul is determined. But Death does allow Everyman to seek companions to accompany him on his final journey."
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Lost Parents, 2002.
Discusses the reversal of the Peter Pan story in today's society, where the lost boys have become the "lost parents".
2,057 words (approx. 8.2 pages), 4 sources, MLA, $ 64.95
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Abstract
The paper argues that the story of today?s family is in many ways quite the opposite of Peter Pan. It is the grown-ups who have flown out the window and off to wonderful adventures, while the children wait to see if they?ll come home. The question has become not so much one of losing one?s children, but rather, if they will have left the windows open when one comes back. In more direct terms, the parents of today are often trying to live in a ?Neverland? of work and social involvement and the fear of losing ones children has increasingly changed to a nagging thought that one may instead be lost to them. The paper uses literature on the subject to support its argument, including ?There?s No Place Like Work,? by Arlie Russel Hochschild and Jerry Adler?s ?Building a Better Dad".
From the Paper
"There is more to the story of the Lost Parents, though, than just the history of their escape from the home. There is also the story of the children who are left behind. In the staged version of Peter Pan, the character of Captain Hook is generally played by the same actor as Wendy?s Mother. In a similar fashion, the Wizard of Oz draws parallels between the evil witch and the evil adults in Dorothy?s life. The children, in trying to escape from their families and all those controlling grown-ups, end up encountering those grown ups in far more horrid forms. They have gone from parents and neighbors to pirates and witches. In our parallel story of the lost parents, it seems that a similar phenomena may be occurring. While adults are escaping from their children and families, they are increasingly running in to the same problems returned in a more terrible way. Hochschild mentions this, pointing out today?s children are more likely to run into a host of problems such as drug use, teenage pregnancy, and to be victims of violent crime. One might also remind the reader of the increasing upswing in crimes committed by children. The child whose parents have escaped out the window becomes the pirates of their fantasies -- and this is played out in a host of ways. In many urban areas, gangs of children are widely feared. In a more corporate sense, children getting into trouble with pregnancy, drugs, and even simply at school create a financial drain on the economy, ?stealing? the resources their parents work to create."
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Peter the Great, 2002.
This paper discusses the achievements of Peter the Great (Peter I).
3,060 words (approx. 12.2 pages), 10 sources, MLA, $ 89.95
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Abstract
This paper discusses the life of Peter the Great especially his role in building the Russian navy. The author starts by describing the strength of the Swedish navy and how Peter I conquered them. The author believes that the building of the Russian military, especially the navy, was testament to the will of this one man, Peter I, who with his genius, foresight, courage and charisma dragged the Russian world into the Age of Enlightenment.
From the Paper
"In a concentrated effort no less fantastic than the U.S. response to Pearl Harbor in World War II, the Russians under Peter's dynamic leadership created a navy in every sense of the word. Not only did they build a fierce contingent of warships and galleys over the next several years; but also they developed the strategy and the strategists that would make best use of the new Russian naval instrument. By the 1720's, the Russians, not the Swedes, would have control of the Baltic. They would keep control of it for the better part of the next two centuries."
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