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Plays of August Strindberg, 1976.
This paper compares the "dream" plays and the "reality" plays of August Strindberg.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"The purpose of this research is to compare the "dream" plays
and the "reality" plays of August Strindberg. The paper will be specifically concerned with "A Dream Play" and "The Ghost Sonata" ("dream" plays), and "The Father" and "Miss Julie" ("reality" plays).
The first important point to be developed in such research is that the dividing line between the two "types" of plays becomes less clear the more deeply one examines the plays themselves. Indeed the very application of the terms "dream" and "reality" must be questioned.
In writings on Strindberg and his dramatic work, the word "naturalistic" is as often used as "realistic" in describing such plays as "The Father" and "Miss Julie." And, in this regard, more critical energy is spent on separating such plays from the ... "
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August Strindberg and Dreams, 2002.
Examines the use of dreams in August Strindberg's plays, "A Dream Play" and "The Ghost Sonata".
1,198 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
The paper examines how August Strindberg makes use of the form of the dream in the plays "A Dream Play" and "The Ghost Sonata," with varied results. "A Dream Play" was written in 1901, and "The Ghost Sonata" in 1907. The paper shows how the structure of both plays is dreamlike and the characters experience the world as if in a dream. The subject matter of the plays, though, is life itself, with a strong religious and moral tone.
From the Paper
"Much of the dialogue also makes the action of the play seem dreamlike, for though the dialogue could be taken as metaphorical, it has the tone of something surrealistic when the daughter says that the "castle keeps on growing up out of the earth" (Strindberg, "A Dream Play" 199). The action as well has a surrealistic quality, as when the daughter of Indra goes on her dream journey to the opera house, where a mystical door opens to show the four learned representatives of different faculties busily arguing over their disciplines and the great problems of human knowledge. This leads to the great fire that consumes the castle, followed by a wall of questioning human faces as the roof turns into a giant chrysanthemum. Such transformations are of the sort that occur in a dream, carrying symbolic meaning on a deep level."
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Power Relations in "Miss Julie" by August Strindberg, 2008.
A summary and analysis of August Strindberg's short play "Miss Julie".
963 words (approx. 3.9 pages), 0 sources, MLA, $ 34.95
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Abstract
This essay examines how August Strindberg's play, "Miss Julie", treats the issue of power, focusing on three elements: psychological domination and submission; the relative social status of the two principals; and the issue of gender-bending. The paper demonstrates how all of these elements relate to each other, with a common theme of changes in power balances.
From the Paper
"An element of psychological domination and submission is introduced early in this play. Nowadays we might use terms such as dominatrix, or SM (sadomasochism), but these terms are not explicitly used in the play. However, it is quite clear that these kinds of psycho-sexual power games are in fact occurring, as the two principals vie with each other for power."
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Woman In Strindberg's Plays, 2002.
Background of the Swedish playwright.
1,125 words (approx. 4.5 pages), 6 sources, $ 39.95
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Abstract
Background of the Swedish playwright. Ambivalent feelings toward his mother. Role of women in "The Father," "Miss Julie," and "The Ghost Sonata." Husband-wife battleground of "The Father." Struggle between the sexes in "Miss Julie." Society's moral and social codes. Gender wars of "The Ghost Sonata." Harsh treatment of women in the plays.
From the Paper
"Introduction
According to Webster's New Collegiate Dictionary, a misogynist is defined as one who has or shows a hatred and distrust of women (1981). Such is the name that many have called Johan August Strindberg. Yet, as seen in his plays and writings, his feelings towards women are much more complex than simple hatred and distrust. In some cases, Strindberg demonstrates a genuine sympathy, if only because it fits in with his worldview at that moment. This paper will discuss the role that women played in the world of August Strindberg, specifically looking at the plays "The Father," "Miss Julie," and "The Ghost Sonata."
Background
Johan August Strindberg was born in Stockholm, Sweden in 1849 to a serving woman and a bankrupt gentlemen. Although he ..."
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Comparing Ibsen and Strindberg, 2002.
A comparison of dramatic strategies of Henrik Ibsen and August Strindberg, focusing on off-stage events and utterances in the plays - looking at Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie".
2,748 words (approx. 11.0 pages), 7 sources, MLA, $ 82.95
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Abstract
This paper shows how Ibsen and Strindberg both wrote plays taking place in one setting over a short period of time, often only a day or two in scope. The writer explains that to propel the plot there had to be action that took place off stage, outside the constructed set. Ibsen embedded offstage action into his texts more so than Strindberg did, but Strindberg succeeded elsewhere. Whereas both were successful in removing important action from the stage, Strindberg?s work was brought further into the realm of what will soon be defined as off the off stage than Ibsen?s, with the difference being Strindberg?s better use of a new form of player: the audience. The plays analyzed are Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie."
From the Paper
"Dealing first with the off stage world of Ibsen we can see many examples of the action he writes for the express purpose of invisibility to the audience. In ?A Doll?s House? the audience is given a very good chance to hear events offstage. The main stage area comprising of one room with four doors leading to other parts of the house. Throughout the play the characters move within this space, but constantly refer to actions taking place outside of it as well. Beginning in the opening scene, the audience is allowed only a glimpse of the outside world in the porter bringing the Christmas tree in for the maid (Ibsen, 3). This is one of the few visuals the audience has of the off stage world; most of our comprehension of the off stage happens as a result of utterances. ?Is that my little lark twittering out there?? (Ibsen, 4) Helmer calls from his room early in the first Act. This simple line, with the stage direction, immediately defines the space we see. As he is calling from his room, we immediately identify the space on the stage as belonging to Nora. This is further strengthened throughout the play as we see Nora take charge of this main stage space. When her life is interrupted, so is this space. Krogstad?s entrance through a door left ajar upsets her, removing control from her hands to his. Her first instinct is to take control where she can by taking her children to the room on the left and shutting the door after them (Ibsen, 26). Nora?s space, her life, is thus defined by the space around her off stage; her boundaries of power remain clear. She has power only as it relates to people invading her space: for one example she is able to bolt the door to Torvald?s room on her side of the door, giving a degree of privacy to her affairs (Ibsen, 55). Her space thus defined the actions offstage suddenly take on a greater importance: these are actions that Ibsen has defined as outside of Nora?s world."
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Ibsen and Strindberg, 1993.
Compares two naturalistic approaches: Henrik Ibsen's social consciousness vs. August Strindberg's cynical pessimism.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"Henrik Ibsen and August Strindberg are both associated with modern naturalism in the theater. In their naturalistic plays, Ibsen and Strindberg were similar in that they both included psychological, symbolic, and subjective elements in their depictions of reality. However, Ibsen and Strindberg were very different in the way they went about expressing naturalism. Ibsen was concerned with ideas of social consciousness, whereas Strindberg expressed a cynical, fatalistic, and individualistic perspective on life. This paper will show how these differences influenced the dramatic elements in the plays of Ibsen and Strindberg.
Naturalism in the theater, like realism, seeks to show life as it really is. This effort can be seen in the sets, dialogue, characterization, and plots of naturalistic plays. However ..."
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"To Damascus I", 2002.
An analysis of the biblical connections in the play "To Damascus I" by August Strindberg.
1,650 words (approx. 6.6 pages), 4 sources, $ 62.95
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Abstract
This paper will discuss the play "To Damascus I" by August Strindberg, and seek to understand the Scandinavian folklore and fairy tale elements that exist within the text. By understanding the motifs for the book in the realms of fate, the concept of good and evil in the Christian mythology of Christ, and feminine relationships with the women in the play, we can see some of the Biblical connections that also make themselves apparent in the work of Strindberg. By clearly making the connection between these two belief systems, the story of the 'stranger' can be brought into a conscious mode of thought.
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"Miss Julie", 2004.
A review of "Miss Julie" by August Strindberg.
805 words (approx. 3.2 pages), 0 sources, $ 28.95
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Abstract
This paper discusses how responsibility for one?s own death is a hard conclusion to come by, especially if that person had killed him/herself. It examines how, in "Miss Julie" by August Strindberg, the character Julie commits suicide and how there are a number of reasons for someone else to be the blamed for her death. It analyzes how, without any doubt, there are even more reasons for Julie?s mother and father to be blamed for her death, and it looks at the effect of her childhood and upbringing on her suicide.
From the Paper
"The major and minor characters in the story play a roll that may have caused her some distress but not enough to be considered the people responsible for the Miss Julie?s death. Jean, the valet, was a laborer?s son who became a gentleman through educating himself. He is a person that has turned his back on the others in his class due to the fact to his drive to become something he is not. He has both the slave's character of brutality and the master's lack of squeamishness. This causes him to see blood without fainting and take disaster by the horns. Having these qualities are causing him to, perhaps, give Julie the impression of him not caring about things in her life or him being able to tell her what she wants to hear even if they are not the right thing to do."
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?Miss Julie?, 2002.
A proposal for the theatrical production of August Strindberg's play "Miss Julie".
2,190 words (approx. 8.8 pages), 1 source, MLA, $ 68.95
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Abstract
This paper analyzes the Strindberg play, "Miss Julie" and describes how to present it in theatre production. The paper describes the character dialogue of the actors, the nineteenth century setting for the stage and props. It further illustrates the lighting effects, which allude to observing something that the characters want hidden from the audience.
From the Paper
"In August Strindberg's Miss Julie, the use of setting helps advance the theme and conveys meaning to the audience not only through the visible setting but also in terms of off-stage space. For the current production of the play, the basic description in the text will be followed, though the set need not be as naturalistic as originally intended. What is important is that the set suggest a large kitchen in an aristocratic home at the end of the nineteenth century. The script says that the roof and side walls of the kitchen are hidden by drapes and borders, so they need be little more than suggestions of walls and ceiling. To the rear, on the right, is an arched exit porch, and through this can be seen a fountain and trees, which can also be suggested rather than naturalistic in design. The important kitchen props are a large stove, a kitchen table, some chairs, an ice-box, a sink, and some shelves. Prominent in the side wall is a large speaking tube, which becomes an important symbol of the master of the house and so which should be given special emphasis through size and position."
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The Father, 2001.
Themes in August Strindberg's late 19th century play of marital discord. Role of chilldren in marriage.
2,250 words (approx. 9.0 pages), 1 source, $ 79.95
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From the Paper
"This study will discuss the themes of August Strindberg's play The Father from a philosophical point of view, focusing on the significance and meaning of those themes for both the original audience and today's audience. The narrow theme of the play is the doubt that men may have about their own role in the origins of their children--i.e., can a man ever be certain that he is the biological father of his child or children? In broader terms, however, the theme is the war which exists between the sexes, especially in a marriage and particularly in a marriage with children.
The theme of marital discord is certainly not a new one, although Strindberg makes it utterly fresh in this play with his unique characterization of the marital couple, the Captain and Laura. "
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Tragedy Can Often Make Someone Look Good, 2002.
A detailed examination of how tragedy can glorify an individual, through the discussion of August Strindberg's "Miss Julie" and Ibsen's "Ghosts" as examples to illustrate this point.
1,505 words (approx. 6.0 pages), 7 sources, MLA, $ 49.95
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Abstract
This paper examines the contention that characters of literary works often are put through physical and emotional torment in order to strengthen their character and emerge as heroes. In "Ghosts" the writer shows that the character of Mrs Alving is the hero after she suffers greatly from her husband's death and unfaithfulness and her son's illness. Despite all this she rises above her troubles. In the play "Miss Julie" the heroes are the rich daughter and a house servant and their love for each other which cannot be. This paper compares the way in which each of these literary works uses tragedy to strengthen their characters.
From the Paper
"Authors of literary works often use their writing to convey the character worth and strength of their protagonists. They may put them through grief and tragedy but in the end they come out on top and even in spite of the horrors they have suffered they look very moralistic and glorified. Two classic works, August Strindberg?s Miss Julie and Henrick Ibsen?s Ghosts are illustrative of this ability to glorify an individual through the use of tragedy."
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The Decrees of August, 2005.
An analysis of the effectiveness of the Decrees of August, 1789 in France.
4,104 words (approx. 16.4 pages), 17 sources, MLA, $ 110.95
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Abstract
This paper examines how, in August of 1789, the National Assembly, in response to peasant revolts, abolished the feudal system and created a declaration of rights. It looks at how the parish cahiers and the actions of the peasants suggest they were more concerned with subsistence than feudal issues, with anti-feudal riots being the result. It also looks at how the bourgeois class, in contrast, were more concerned with social mobility and the protection of property. It attempts to show how the decrees of August, 1789, while benefiting the peasants in some real ways, were essentially designed to promote the interests of the moneyed classes.
From the Paper
"Less concerned with subsistence, the Third Estate was able to voice its grievances in the cahiers much more effectively than the peasantry. While the leaders of the Third Estate shared many demands with the peasants, particularly taxation, the frequency and emphasis of other specific concerns stands in contrast to the parish lists. It is often noted that the bourgeoisie of the Eighteenth Century generally aspired to join the nobility. This desire was fostered largely by a lack of social mobility available to the Third Estate16 and was a frequent issue in the cahiers. The Third Estate of Carcassonne, for example, suggested that "the general or particular regulations which exclude members of the Third Estate from certain positions, offices, and ranks which have hitherto been bestowed on nobles either for life or hereditarily [should be abolished]."17 Another major concern of the Third Estate was the payment of the franc-fief, a tax on land passing from a nobleman to a commoner. This tax, argued the bourgeoisie, interfered with the sale of property."
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"Light in August", 2006.
This paper reviews the thought-provoking novel "Light in August" written by William Faulkner.
757 words (approx. 3.0 pages), 2 sources, APA, $ 26.95
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Abstract
This paper examines William Faulkner's novel "Light in August." The book mostly revolves around the main character Joe Christmas whose unusual last name is both significant and deliberate. This paper discusses the similarities and differences between Joe Christmas and Jesus Christ as well as how Christmas becomes a dichotomy of Jesus and the Anti-Christ by embodying characteristics of both good and evil in one person.
From the Paper
"The life of Joe Christmas, and certain facts about him, are directly related or connected to the life of Jesus Christ. Since the word "Christ" appears in his name, which he carries proudly through the novel, he becomes the "Christ" bearer. Another similarity is that Joe's initials are J.C., which are also the initials of Jesus. According to the Bible, Jesus was born to the Virgin Mary and was raised by her along with Joseph."
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Sculptor Auguste Rodin, 2008.
This paper describes the life and work of French artist Auguste Rodin, know especially for his sculpture.
2,635 words (approx. 10.5 pages), 7 sources, MLA, $ 79.95
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Abstract
This paper explains that Francois Auguste Rene Rodin, born in 1840, was first introduced to sculpture at the Petite Ecole but was not admitted to the prestigious Ecole des Beaux-Arts. The author points out that, unlike many of the famous artists, he didn't suffer from mental disorders, psychotic episodes or disturbing familial relationships. The paper relates that for most of the two decades after school, Rodin was a craftsman and ornamenter, producing decorative objects and architectural embellishments. The author states that, in 1864, Rodin submitted his first sculpture "The Man with the Broken Nose" to the Paris Salon, noting that it is this particular sculpture that Rodin's break from traditional classical sculpture begins to delineate. The author further explains that Rodin's unconventional approach emphasized texture and the emotional state of the subject;while classical sculptures were decorative, thematic and highly idealized the human form.
From the Paper
"Rodin's experience in Italy was so profound that he returned home to complete work on his first life size nude--"The Age of Bronze", inspired by Michelangelo's "Dying Slave". Rodin wanted to get his major work just right; Auguste Neyt explained the process, "I had to go through all kinds of poses every day in order to get the muscles right. Rodin did not want any of the muscles to be exaggerated, he wanted naturalness." In attempting to achieve the perfection he longed for, "he wanted to understand the fundamental difference between volume, plane and contour.""
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"Light in August", 2002.
This is a critical analysis of William Faulkner's "Light in August".
2,543 words (approx. 10.2 pages), 10 sources, MLA, $ 77.95
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Abstract
This paper provide a thorough review of Faulkner's novel. It focuses on the theme of crises and shows how these are prevalent along most of the story line. The writer shows how in "Light in August" the main characters move through their individual crises and accompanying changes in their circumstances with no alterations in their personalities. The crises of each character is discussed while analyzing their personalities and how these were effected by the changes.
From the Paper
This statement is especially curious when it is studied along side the main characters of Light of August, for though Faulkner has created in this novel a hero, a coward, someone tender and someone cruel, he forms their nature in them at birth or early childhood. He then allows them to pass through their lives more as a victim of their own nature than their circumstances. Tender Lena Grove, cruel Joe Christmas, cowardly Gail Hightower and heroic Byron Bunch are not ?capable of almost anything? but are subject to the innate disposition with which they are disposed in early life, and not even in a crisis are they allowed to change."
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