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"Queer Theory" and "The Picture of Dorian Gray", 2004.
An analysis of "Queer Theory" by Annamarie Jagose and "The Picture of Dorian Gray" by Oscar Wilde.
802 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper discusses Annamarie Jagose's book, "Queer Theory" in relation to Dorian Gray's character in "The Picture of Dorian Gray" by Oscar Wilde. The paper contends that Jagose and Wilde's discussion and portrayal of queerness reflects how this concept is associated to an almost utopian mind state, where the individual has no biases, prejudices and malicious intents in life. The paper assesses that according to these books, queerness is a state where equality and ambiguity is accepted and considered the norm.
From the Paper
"What makes the queer concept vital to the study of gays and lesbians, as well as issues of homosexuality and heterosexuality is that it provides a 'gray area' in which no distinctions between male and female and gay and lesbian are found. Queer appeals to the 20th century philosophers and social scientists simply because it offers an avenue through which gender and sex can be discussed without the political inequality often found between male and female genders and the similarly dichotomous relationship between gays and lesbians. As Jagose had asserted, the queer concept was able to transcend the "natural sexuality" framework-that is, "queer's transcendent disregard for dominant systems of gender"-that society had often used as reference in order to fully understand the identity of an individual."
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"The Picture of Dorian Gray", 2002.
Analysis of Oscar Wilde's novel "The Picture of Dorian Gray" and the concept of death in the novel.
2,415 words (approx. 9.7 pages), 7 sources, MLA, $ 73.95
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Abstract
In Oscar Wilde's novel "The Picture of Dorian Gray", concepts of mortality and death are tied to concepts of aesthetics. This paper shows how Dorian Gray fears death but also considers art as a way of overcoming death. He then makes himself into a work of art, while the true artwork, the painting of him produced by Basil Hallward, is subject to all the mortal disintegration which rightfully should be suffered by Dorian himself.
From the Paper
"Gray also embodies the New Hedonism expressed by Lord Henry, another challenge to aging and death. However, aging and death are part of the natural order and cannot be escaped in any way except through art. Dorian does see himself as a work of art, but he lives not for an aesthetic but for the love of self. In the end, age and death come to him because he has not lived a balanced life. Critics point out ways in which ideas of aesthetics are embodied in the novel along with moral issues concerning immortality and the ability to evade responsibility for one's actions."
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"The Picture of Dorian Gray", 2002.
A review of "The Picture of Dorian Gray"
900 words (approx. 3.6 pages), 1 source, $ 35.95
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Abstract
This paper discusses several aspects of the central theme of "The Picture of Dorian Gray". The portrait and the soul are identified as being synonymous, so that Dorian is affected not by an object, but by his own true image.
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"The Picture of Dorian Gray", 2002.
A review of Oscar Wilde's "The Picture of Dorian Gray", focusing on the good and bad influences on Dorian.
1,029 words (approx. 4.1 pages), 0 sources, $ 36.95
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Abstract
This paper analyzes the book "The Picture of Dorian Gray" by Oscar Wilde. The characters are described and their influences on each other are discussed. The paper portrays Lord Henry Wotten as Dorian's devil, his evil inner self, and Basil Hallward as Dorian's conscious, his guardian.
From the Paper
"Oscar Wilde's "The Picture of Dorian Gray" continues to mystify its audience. First published in 1890, it was originally criticized for being immoral. Wilde rewrote the novel and published it again the following year, this time with a pre-face announcing its theme of immorality. Set in late 19th century London, the novel centers around Dorian Gray and two of his "friends" - Basil Hallward and Lord Henry Wotten."
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Dorian Gray and Dr. Faustus, 2007.
This paper looks at the fall from grace of the title characters in the plays "The Picture of Dorian Gray" by Oscar Wilde and "Dr. Faustus" by Christopher Marlowe.
1,700 words (approx. 6.8 pages), 3 sources, MLA, $ 55.95
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Abstract
In this article, the writer looks at the characters Dorian Gray in "The Picture of Dorian Gray" and Dr. Faustus in the play of the same name. The writer notes that in both Marlowe's and Wilde's tales of men overreaching the natural order, evil is primarily construed as transcending the natural, specifically of desiring eternal life, rather than bowing to the natural processes of change that are inherent in nature. Further, the writer points out that God's law is synonymous with nature, and both Faustus and Dorian Gray go against nature and embrace artifice and art. The writer concludes that for all of their unnaturalness and evil, the protagonists remain the most 'naturally' compelling characters of their respective dramas, given the unrealistic and 'unnatural' one-dimensionality and weakness of those individuals who are unfortunate enough to encounter Dorian and Faustus.
From the Paper
"The seductiveness of both protagonists' ambitions for the reader, however, has provoked contradictory interpretations in the responses of critics and its more general audience. On one hand, both works seem to argue that obeying God's natural order and law regarding knowledge and morality is best. In short, do not seek to become a magician or seek to be young forever. But although Dorian Gray may read like an argument against art and artifice on one hand, it itself is a work of art. Furthermore, although "Dr. Faustus" argues against magic, the actors on the stage need to make use of 'magic' to portray the morality tale of the fall of the scholar from Wittenberg. This confuses the question of what is good or bad in both plays, especially since the 'good' characters like the old man who counsels Faustus to repent, or Basil and Sybil in Wilde's work, are the weakest characters."
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Victorian Sexology in "Dorian Gray" and "Dracula", 2004.
Explores the the historical and direct influence that Darwin and post-Darwinism had on the themes in "Dorian Gray" and "Dracula".
7,096 words (approx. 28.4 pages), 19 sources, MLA, $ 158.95
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Abstract
This paper begins by exploring the three distinct themes or influences from Darwin that shaped the course of the works, "Dorian Gray", by Oscar Wilde, and "Dracula", by Bram Stoker. First, the theme of ambivalence toward religion is discussed. Next, the paper discusses the theme concerning the overwhelming fear of monsters hidden within our own genetic code. The paper then examines the last theme of degeneration and entropy. In addition, the issue of racism and how it arose from this fear of degeneration is looked at, as well as how the sexual abuse of African women was justified because of these racist views. Furthermore, cannibalism as a form of sexual lust is discussed and related to the notion of devolution. Finally, the paper compares and contrasts how all of these themes are expressed in both novels.
From the Paper
"At the fin de siecle, a great confusion settled over the intellectual communities. Darwin's theories of natural selection had radically altered the scope of society and the popular imagination since the Origin of Species was released in 1858. By the end of the century, however, scientific criticism of the theory had combined with an increased popular paranoia regarding its logical (and less than logical) consequences. Specifically, the idea that we had evolved from the animals began to develop into a fear that we might retrace our steps and descend once more into bestiality. Fear of intrinsic degeneration and the beast within was heightened by its symbolic merger with a sort of imperial self-doubt, as the poets and prophets of the era increasingly foresaw coming changes to the British Empire and a waning of national power. The basic foundations of the British world were crumbling, though they still appeared outwardly bulwarked."
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Fate's Influence, 2002.
A review of Oscar Wilde's book, "The Picture of Dorian Gray", focusing on an analysis of the characters and their fateful influence on Dorian Gray.
1,341 words (approx. 5.4 pages), 2 sources, MLA, $ 45.95
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Abstract
This paper introduces, discusses, and analyzes the book "The Picture of Dorian Gray," by Oscar Wilde. Specifically, it compares and contrasts the characters of Henry (Lord Henry Wotton) and Basil Hallward, illustrating their influence and interaction with Dorian, and the role each plays in his eventual downfall.
From the Paper
"Dorian Gray, the main character of the book, is young and beautiful. He is a shallow man, who only wishes that he did not have to grow old; his wish comes true, but at a terrible cost. Dorian remains young, while the portrait Basil painted of him grows old and hideous. Throughout the book, he is influenced by the strong personalities around him, particularly Lord Henry Wotton. Under Henry's guidance, Dorian commits murder, and two people close to him commit suicide, but nothing deters him in his quest for excitement and perfection."
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Nurtured Characters, 2005.
A comparative analysis of the presentation of 'nurture' in Oscar Wilde's "The Picture of Dorian Gray" and Mary Shelley's "Frankenstein".
3,578 words (approx. 14.3 pages), 4 sources, MLA, $ 100.95
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Abstract
This paper examines how many ideas and issues regarding the implications and neglect of 'nurture' are explored in "The Picture of Dorian Gray" and "Frankenstein". It looks at how both novels contain characters that are 'nurtured' ie. the Creation and Dorian Gray and those that 'nurture' ie. Lord Henry Wotton and Victor Frankenstein.
From the Paper
"In Mary Shelley's Frankenstein the purpose and motivation from which the Creation's existence was brought about immediately brings into question the manner by which his 'nurture' may take place. Victor Frankenstein's attitudes towards the consequences of his work are conflicting and obsessive. He admits that he was pursuing "the creation of a human being" and further remarked, "No father could claim the gratitude of his child so completely as I". However, his reaction as he "beheld the accomplishment of (his) toils" is shown not to be that of someone who could not be deemed a responsible guardian, but to actually hold contempt toward "the wretch". The two opposing viewpoints exhibited by Victor are shown through the contrasting use of language and consequent outlook "gratitude" "toils"."
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Social Satires, 2002.
Compares Jane Austen's "Pride and Prejudice" with Oscar Wilde's "A Picture of Dorian Gray".
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper compares and contrasts Jane Austen's "Pride and Prejudice" with Oscar Wilde's "A Picture of Dorian Gray". It will analyze the two works social satires pertaining to a particular time. It will also contain a thesis statement and has two sources.
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Decadence in Literature, 2004.
A study of decadence as a cultural phenomenon in Oscar Wilde's "Picture of Dorian Gray" and Thomas Mann's "Death in Venice".
2,442 words (approx. 9.8 pages), 15 sources, APA, $ 74.95
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Abstract
This paper examines how Oscar Wilde's "Picture of Dorian Gray" and Thomas Mann's "Death in Venice" are literary works situated in the cultural phenomenon known as decadence. This cultural phenomenon began in the late nineteenth century and involved the production of a range of interrelated aesthetic, social and sexual personae. It looks at how the most prevalent of these in the work of Wilde and Mann are the beautiful boy, the dandy and the degenerate, because they represent the "Other". It also discusses how both novels also deal with the dichotomy of the Apollonian and Dionysian artistic impulses in literature, which serve to define the calm exterior/decaying interior that codifies decadence.
From the Paper
"Felski argues that Decadent literature offers "explicitly feminized male protagonists, who are identified with love of artifice, excess, and everything unnatural." This is certainly true in the case of Dorian Gray. She also mentions the "association of femininity with ornamentation and detail in Western culture." Both Dorian and Tadzio's clothing is described with much attention to the detail and adornments of the garments. Wilde's novel regards the protagonist's cultivation of sense experience, passion and sensation in the pursuit of beauty. Dorian studies exotic perfumes, collects musical instruments and precious stones, and once attended a masquerade ball wearing a costume covered with 560 pearls."
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Picture Archive Communication Systems (PACS), 2005.
This paper discusses extensively the effects of picture archiving communications systems (PACS) and computerization on radiology workflow and turnaround time.
7,225 words (approx. 28.9 pages), 22 sources, APA, $ 160.95
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Abstract
This paper explains that digital radiology applications of picture archiving communications systems (PACS) provide improved workflow and faster turnaround times by virtue of instant display of images thereby facilitating immediate diagnosis. The author points out that radiology information systems and picture archive communication systems provide a radical departure from the traditional current film and chemical imaging applications by meeting significant and unfulfilled needs for instant imaging and quick diagnosis both in the field and in the clinic. The paper relates that while these technologies were relatively expensive just a few years ago, their cost has dropped to the point where virtually all clinicians who feel their patients can benefit from them can afford to integrate them into their diagnostic regimen. Charts.
Table of Contents
Introduction
Review and Discussion
Background and Overview.
Benefits of Radiology Information Systems (RIS).
Benefits of Picture Archive Communication Systems (PACS).
Current and Future Trends.
Conclusion
From the Paper
"The authors report that observations of the radiologists in the clinical environment showed that they relied predominantly on interpretation of images from PACS to render their conclusions, with only occasional RIS terminal use and even less frequent HIS access. The principal explanation for this behavior most likely relates to the inconvenience of accessing such data: Three different computers are required to access three separate clinical systems (ie, PACS, RIS, HIS). The Internet was not used by attending radiologists to search for external medical evidence; instead, they relied on their training and experience to reach conclusions; however, residents frequently used the Internet and reference textbooks as a source of external information while they waited for the attending radiologist's review."
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Joseph Heller: "Picture This", 2002.
This paper reviews the novel "Picture This" by Joseph Heller, American novelist and dramatist.
640 words (approx. 2.6 pages), 4 sources, MLA, $ 22.95
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Abstract
The author describes "Picture This" as a work of fiction about Rembrandt's painting "Aristotle Contemplating the Bust of Homer", which was sold to the Metropolitan Museum of Art in 1961. The author considers the book to be more than a pure novel, as Heller takes the reader through history from Plato to Rembrandt and through the history of the painting itself. The review states that Heller in "Picture This" has written one-liners for comic effect that sometimes appear to be incoherent.
From the Paper
"However, scattered through the book, the writer has given a good deal of material about the canvas painting itself: the model who posed for Aristotle, the circumstances of its creation, the bust of Homer, the commission that directed to this picture and much more. Furthermore, its lineage, which is the list of people who consecutively owned it as it made its way from Amsterdam to Sicily to England to the Metropolitan, has also been discussed. However, the book overall is more or less directly about the painting."
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"Large Bad Picture": Positioning the Painting, 2005.
Examines the role of the painting in ekphrastic poetry, using Elizabeth Bishop's poem, "Large Bad Picture" as an example.
1,870 words (approx. 7.5 pages), 3 sources, MLA, $ 59.95
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Abstract
This paper examines the role of paintings in ekphrastic poetry (the rhetorical description of a work of art). It shows how Elizabeth Bishop makes her fictional painting 'real' through her poem, "Large Bad Picture". It presents a comparison between "Large Bad Picture" to W.H. Auden's "Musee des Beaux Arts." The paper also provides an examination of how Bishop divides her poem between setting the scene and then delivering the poem's argument.
From the Paper
"Having settled her reader comfortably, Bishop then takes the next two stanzas to describe in clear, precise language the subject of the painting. In one long sentence enjambed over two stanzas, she describes the sunset, the span of high blue cliffs and the small caves that dot their base. The final line of the third stanza returns the reader to the title describing the caves that riddle the cliffs as being "masked by perfect waves." (12). Her description of the waves as being "perfect" give the first hint of her contention that this is a bad picture. The reader begins to understand that this composition, while possibly well executed, is unrealistic, that the painter has seen perfection in natural phenomina that are inherently imperfect and organic."
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A Review of Tomoko Makabe's Book "Picture Brides", 2008.
A summary and review of "Picture Brides" by Tomoko Makabe, which chronicles the lives of five Canadian-Japanese women.
1,408 words (approx. 5.6 pages), 1 source, MLA, $ 46.95
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Abstract
This paper critically reviews "Picture Brides" by Tomoko Makabe, a Japanese woman living in Canada, who became fascinated by the fact that women would go overseas to marry men they did not know. The author of this paper feels that, while the book is interesting to read, a person aware of Japan's 19th and 20th century history, and the longer story of the Japanese in North America will find little that is so 'amazing' in the experience of the five women informing Makabe's work.
From the Paper
"Also, the phenomenon to which Makabe gave her attention involved a range of factors to which she seems not to have given ample thought led by the extreme gaps in Japanese social classes in the 19th and 20th centuries. Young women choosing to marry abroad, as ever, were often people with few or no alternative prospects. Makabe seems not to have considered a number of factors of the kind. For instance, a somewhat irritating aspect of Picture Brides is the author's repeated reference to how courageous the picture brides were, in a manner showing that the author has failed to imagine the turn of the 20th century and the courage that all men and women without prospects in Japan, or anywhere else, needed in order to simply survive. Makabe's informants had come to Canada as picture brides in the 1920s, by which time many Japanese women had undertaken the same sorts of journeys, going to join a settled and working man of whom their families were apt to know little or nothing. In addition to traditional family methods of locating spouses, brokers were often involved, a woman taking some risk as ever in terms of how her husband across the world turned out to be but she went abroad with the approval of her family having settled a daughter and sometimes expecting remittance funds.
As an Oral History volume, Picture Brides would be better if the author had managed a shorter introduction on herself and tried for a briefer introduction to 100 years of Japanese in Canada. More weight should have been placed on events in Japan in the later 19th and early 20th centuries that made becoming a picture bride of appeal. For instance, Makabe notes that the women were from village backgrounds and notes how a newly industrializing Japan had few waged opportunities for women that most could not work beyond the home. She seems not to see either that as elsewhere in Asia, marriage was a necessity for poorer families, and that embarking across the world as a picture bride could solve various family problems. Becoming a picture bride was probably more strategic or simply straightforward than courageous or heroic. One gains the impression that the author was fairly sheltered or had not reflected on social reality of the time in either Japan or Canada when beginning research with the assistance of the Multicultural History Society of Ontario."
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Edison and the Motion Picture Industry, 2002.
An overview of the history of the development of moving pictures and the role played by Thomas Alva Edison.
2,900 words (approx. 11.6 pages), 7 sources, $ 106.95
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Abstract
This paper examines the role of Thomas Alva Edison in respect to the motion picture industry. Edison is considered b many historians to be the only true innovator of motion pictures, but there are other inventors who worked at the time and also had varied degrees of success. This paper focuses on the development of the phonograph, the Kinetoscope and Kinetograph nd Edison's involvement with the creation of a motion picture studio.
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