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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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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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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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Strindberg's "Miss Julie", 2002.
A look at theme and setting in Strindberg's "Miss Julie".
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
A report on Strindberg's character drama "Miss Julie," describing the themes of female inferiority and the natural correctness of class distinctions, and explaining the setting (the kitchen of a large country house) in terms of these themes.
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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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A Taxonomy of Power and Power-Compliance Gaining Strategies, 2001.
A discussion of the classification system defined by researchers French and Raven in 1959.
2,730 words (approx. 10.9 pages), 9 sources, MLA, $ 81.95
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Abstract
The paper discusses French and Raven's taxonomy of five power sources available for gaining compliance: Coercive power, reward-based power, legitimate power, expert power and referent power. The paper defines each kind of power, giving examples from laboratory studies, advertising, corporate theory and gender-based linguistic studies. The paper includes a discussion not only on the ways of obtaining power, but also on the forms of resistance to that power.
From the Paper
"Perhaps the most obvious definitionally and the crudest method in Raven's taxonomy would be that of coercive power. Simply put, coercive power is the capacity to dispense punishments to those who do not comply with requests or demands. Consider, for instance, one of the most famous experiments ever conducted dealing with the exercise of power. In the study conducted by Stanley Milgram, subjects were recruited from "a broad spectrum of socioeconomic and educational levels" to participate in a study of "memory." The subjects were then put into pairs, a teacher and a learner. The learner had to administer punishment through the use of electroshocks whenever the subject answered incorrectly. Of course, the learner was really a plant, a psychology student provided by Milgram. But the individual administering the punishment did not know that. So far as he or she knew, he or she had the ability to administer coercive power. Much to the shock and horror of the public when Milgram made his findings known, the 'teachers' did so to the point where the 'learners' protested that the shocks were becoming painful. This transpired as the level of electricity rose to 120 volts, then to 180 volts, to 300 where the subject demanded release, then to 330, when the learner became silent. (The actor playing the role of the experimenter told the subjects they had to go on, that there was no permanent tissue damage being done to the learners, and that he took 'full responsibility.') Sixty-five percent of Milgram's subjects conducted the experiment to the bitter end."
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The Significance of Relative Power Over Absolute Power, 2006.
An explanation as to why an emphasis on relative power in international relations is more important than absolute power.
1,313 words (approx. 5.3 pages), 7 sources, MLA, $ 44.95
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Abstract
This paper takes a look at relative power versus absolute power, from both realist and liberal perspectives. The paper uses Canada and China as examples. The paper concludes that it is better for the state to emphasize a realist perspective rather than a liberalist one.
From the Paper
"States have always been interacting with one another on a systemic level. According to realists, because states are self-interested, they worry about power of which there are two different kinds. Realists value relative power more than absolute power. Absolute power refers to a state's strive towards flourishing economically, and militarily. On the other hand, relative power refers to a state's emphasis on its relationship with other states around it, watching surrounding states and planning accordingly. However, unlike realists, liberals do not value power as highly and look to gains as being more important. Absolute gains follow a non-zero-sum mentality, which means that a state's gains are infinite. One state's gain does not have to be another state's loss as it could be in the case of relative gains. As a result, what is more important for a state to emphasize: a realist's view of power or the liberal view of gains?"
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From Imperialist Power to Super Power, 2002.
An examination of the history of the United States as an imperial power and consideration of the implications of its position now that America is the only country in the world able to lay claim to the term superpower.
1,536 words (approx. 6.1 pages), 5 sources, MLA, $ 50.95
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Abstract
This paper discusses the expansion of the American empire from its early days as a nation of farmers through being an imperial power with expanding territories to being the world's only superpower since the collapse of the Former Soviet Union. It evaluates whether it is a good thing for a state to be so powerful and looks at how long America can actually stay in this position in light of today's political world.
Outline
Introduction
Manifest Destiny
Land Acquisition through Conquest and Purchases
Implications of American Imperialism
America's History as an Imperialist Power
America as an Agricultural Country
The Need for Markets
Foreign Markets and American Imperialism
American Hegemony vs. other Imperial Powers
Comparison with the Soviet Union
Comparison with Britain
Negative Implications
America as the World's Only Superpower
America after the Collapse of the USSR
America as a Benign Hegemony
Collapse of Empire
Conclusion
From the Paper
"America began as a small cluster of colonies clinging to the eastern shore of the great continent of North America. As the country expanded westward, and also northward and southward, a spirit of "manifest destiny" gripped the land as pioneers, patriots and politicians sought to bring under American domination ever greater amounts of territory. Through land purchases such as the Louisiana Purchase, and through conquest, as in the case of the lands acquired as a result of the Mexican War and the Spanish American War, the country grew until it stretched from sea to sea, and from the Rio Grande River in the south, far north to the cold stretches of the Canadian wilderness."
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"State Power Is Male Power": Women And The Welfare State, 2002.
Argues that the welfare state, from a feminist perspective, is a feature of a patriarchal power structure.
1,650 words (approx. 6.6 pages), 5 sources, $ 62.95
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Abstract
Canada and the United States are in the midst of a period of economic expansion almost unprecedented in history. Integral to this expansion has been the tax and spending cuts of ideologically conservative governments. These governments have removed a great many lazy women and children from the welfare rolls and, through policies such as workfare, made them productive workers in our society. This paper will demonstrate, however, that this process may be seen as very logical when viewed from a feminist perspective. Underlying the conservative arguments about finances and budget is a subtextual debate about power in general and patriarchal power in particular. It will be argued that the welfare state is an integral feature of this patriarchal power structure. As such, the welfare state's focus on the weakest and the most disadvantaged in our society - whether in cutting benefits or controlling behaviour - reflects a continuing interest of patriarchal power structures in dominating the lives of women who are disproportionately represented in those dependent upon the welfare state.
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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 Power Shift in Nadine Gordimer's Novel "July's People", 2000.
A look at how a shift in power in South Africa takes the master status away from the white family, and how this is paralleled on a national and personal scale.
2,465 words (approx. 9.9 pages), 1 source, $ 75.95
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From the Paper
"The novel, July's People, by Nadine Gordimer tells the story of a family in South Africa who is forced to seek refuge in the jungle village of their trusted African servant, July. At the time, in both the city of Johannesburg and throughout the entire nation, blacks were starting a revolt in response to the harsh treatment brought down on them by the whites who controlled all aspects of their lives. As the fighting began to increase and spread the Smales, a white liberal family, decide that they need to abandon their home, fearing the possibility of being caught in the violent, chaotic fighting that was beginning to emerge. Trying to leave the country by plane or boat brought the risk of being caught and/or killed by black guerillas. Seeing no other option, the parents, Bam and Maureen, have July transport their family, in their bakkie, to his village. During the duration of their stay there, in Johannesburg and throughout South Africa, a shift in power takes place. Control is gradually shifted from the whites to the blacks. Meanwhile, in the village, a shift in power eventually takes the master status away from the Smales, and gives it to July. These two shifts in power happen extemely similarly, one on a national level, the other on a much smaller scale. The shift in power in Johannesburg parallels the shift between the Smales and July, very closely. "
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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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Blanche and Miss Julie, 2003.
A comparison of two characters of Tennessee Williams', Blanche and Strinberg's, Miss Julie.
690 words (approx. 2.8 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper compares the two fictional characters of Blanche in Tennessee Williams' play "A Streetcar name Desire" and Julie in August Strindberg's drama, "Miss Julie." It considers both women as products of their society who gave in to their weaknesses.
From the Paper
"Miss Julie" and "A Streetcar Named Desire", while written during two different times in history both relate the downward spiral of two women from degenerating aristocratic families both of whom were unable to interact with men in a healthy manner ..."
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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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One Of The Most Powerful States Loses Power, 2002.
A discussion about the California energy crisis.
2,400 words (approx. 9.6 pages), 7 sources, $ 89.95
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Abstract
This ten-page paper presents a detailed and in-depth discussion about the California energy crisis and its impact both currently and in the future. The author takes us on a historical tour to define how the crisis began and what problems it has caused since is arrival. In addition the future of residents and businesses will be discussed as the author outlines for recovery plans.
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