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"Prometheus Bound" ( Aeschylus ), "Frankenstein" ( Mary Shelley ) & "Robinson Crusoe" ( Daniel Defoe ), 1999.
Examines works on necessity of limits on human intelligence & power.
2,025 words (approx. 8.1 pages), 3 sources, $ 71.95
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From the Paper
" In three works that contemplate the question of the necessity of limits on human intelligence, the issue revolves around the notion of humanity exceeding its limits and, thereby, offending or challenging the gods. The question asked by Aeschylus in Prometheus Bound, by Mary Shelley in Frankenstein, and by Daniel Defoe in Robinson Crusoe is whether there is some inherent limit on human ability--a point beyond which humanity should not go. Does human technology, the various products of human intelligence, reach a point at which it is beyond the ability of mere mortals to control it? Though the question was phrased in very different ways, all three authors agreed that there was a limit to human intelligence and that such a limit was a necessity. Why it is a necessity was, however, answered quite differently by the three writers."
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"Prometheus Bound" by Aeschylus & "Philoctetes" by Sophocles, 1989.
Analyzes concepts & practice of friendship as Greek ideal portrayed between plays' characters, according to theories of Aristotle.
1,800 words (approx. 7.2 pages), 3 sources, $ 63.95
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From the Paper
" The notion of friendship has been with us throughout history. Almost from the time of birth to death people have friends. Friendship is such a natural and common occurrence that people rarely question it or ask what it is. Yet even the most unthinking person has vague notions about friendship. We classify friends into various categories that approach the ideal of friendship. A "true" or a "best" friend is valued more than someone who is "just a friend." Friends play an important role in most people's lives, yet we rarely know what a friend truly is.
One person who wasn't content to live the unexamined life was Aristotle, and one of the many ideas he wrote about was friendship. An examination of Aristotle's discussion of (...)"
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"Mary Shelley's Frankenstein" ( Kenneth Branagh ) and "Frankenstein" by Mary Shelley, 1995.
This paper compares the film director Kenneth Branagh's and book author Mary Shelley's depictions of "Mary Shelley's Frankenstein" and "Frankenstein" respectively: Characters, relationships, plot, focus, images, pacing and style
1,350 words (approx. 5.4 pages), 6 sources, $ 47.95
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"The recent motion picture version of Mary Shelley's novel Frankenstein hews closely to the plot of the novel while failing to capture its essential purpose. The full title of the movie is Mary Shelley's Frankenstein, but the possessive does not mean that this version can be considered mary Shelley's vision. Janet Maslin of the New York Times notes this when she writes that the film will not strike anyone as chiefly Mary Shelley's invention. Its principal architect is Kenneth Branagh. . . [who] takes on the godlike, idealistic young scientist's role while also directing this "Frankenstein" as an overheated romantic fable .
An examination of the book and the film shows where the attitudes ... "
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Political Metaphors in "Prometheus Bound", 2003.
Aeschylus's use of metaphors about politics and tyranny in "Prometheus Bound".
850 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper suggests how Aeschylus, author of "Prometheus Bound", uses metaphors to make a number of suggestions about the ideas of tyranny, freedom, and prophecy.
From the Paper
"A tragedy like Aeschylus? Prometheus Bound is ripe with metaphors that contribute to the significance of the work as one that has stood the test of time. Aristotle wrote in the Politics that man is, by nature, a political animal. If we accept this to be true, it is no surprise that Prometheus Bound continues to be a relevant tragedy in the 21st century as the most significant metaphor in the final scene, and truly, the entire work is the character of Prometheus himself. Prometheus is the representation of one who suffers unjustly under the harsh reign of a tyrant, yet still remains free (from a certain point of view)."
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"Frankenstein" by Mary Shelley, 2002.
The personality and the metamorphosis of the monster.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper discusses the personality and the metamorphosis of the monster in Mary Shelley's "Frankenstein", relating the creature to Jung's idea of the shadow, and the notions of the shadow in the conception of the Jungian analyst Robert Johnson. Unaccepted by society, the monster knew no better but to cause harm in order to get attention.
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"Frankenstein" ( Mary Shelley ), "Dracula" ( Bram Stoker ) and "The Cask Of Amontillado" ( Edgar Allan Poe ), 1999.
Analyzes the protagonists' psychological disorders: pathological narcissism ("Dr. Frankenstein"), repression of the libido ("Dracula") and repression of guilt ("Fortunato").
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"In Mary Shelley's Frankenstein, Victor Frankenstein is a man suffering from pathological narcissism. This narcissism is manifested specifically in Frankenstein's case in his grandiosity and the gratification he derives from his admiration for his own mental attributes. As with Narcissus, Frankenstein's self-obsession ends in disaster and death as the object he creates outside of himself as representation of his self-love ultimately brings about his own demise. Frankenstein is completely obsessed with the quest for power and knowledge, specifically power over nature, and, by extension, over death. His creation of the monster, in this context, is an expression of his desire to live beyond death, if indirectly in the monster. Ironically, that is what does occur--the monster outlives his narcissistic creator, although perhaps not for long, as the monster exits vowing to ..."
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"Prometheus Bound": Man, Myth and Message, 2003.
This explores the symbolism and plot characteristics of Aeschylus' play "Prometheus Bound."
1,700 words (approx. 6.8 pages), 0 sources, $ 55.95
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Abstract
This paper discusses the mythology and background to the Prometheus story. It explains that Prometheus, as portrayed by Aeschylus, was not only a God, but a symbol. Prometheus, through his plight to help man, suffered as a supreme artist, visionary and Christ-like symbol. The myth behind the play is exposed and discussed as well as the plot of the actual play.
From the Paper
"Understanding the rich mythological background of Prometheus Bound is vital to understanding the play in its entirety. Prometheus was a titan, a race of gods who reigned before Zeus and the Olympians. Prometheus, whose name means "Fore thinker," was blessed with the gift of prophecy by his mother Themis, the goddess of Earth and ultimate mother of all. He was a clever deity, a master craftsman and creator. He created man and taught them the many crafts that were necessary for survival. However man lacked a crucial gift: fire."
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"The Metamorphosis" ( Franz Kafka ) & "Frankenstein" ( Mary Shelley ), 1997.
Symbolic significance of psychic & physical disease in lives of protagonists in short story & novel.
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"The Issue of Disease in The Metamorphosis and Frankenstein
The Metamorphosis is the story of Gregor Samsa, a traveling salesman who one day wakes up to find himself transformed into a monstrous bug. He retains his ability to think and feel as a human being, although no one but himself is aware of this fact. He is hidden from public appearance, shunned by his family, and eventually dies alone in his room. Frankenstein, on the other hand, is the story of a young scholar with an unnatural interest in natural physiology. At seventeen, he goes off to school and there develops a compelling interest in the forces that create life. So compelling is this interest that he creates a life of his own. But once he has done so, he is afraid of what he has done and shuns his monstrous creation. Nonetheless, from then on he and the monster are connected in a relationship that.."
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"The Metamorphosis" ( Kafka ), "Frankenstein" ( Mary Shelley ) and "The Sorrows Of Young Werther" ( Goethe ), 1992.
Examines the theme of despair in three examples of romantic literature.
1,800 words (approx. 7.2 pages), 8 sources, $ 63.95
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From the Paper
"This study will examine the elements of despair in Kafka's The Metamorphosis, Mary Shelley's Frankenstein, and Goethe's The Sorrows of Young Werther. The study will consider these works as examples of romantic literature, and will argue that despite the obvious despair which permeates the works, there remains in them, even at their hearts, an affirmation of the love which the main characters appear primarily to be despairing of.
These three works are universally acclaimed as stories which cut to the quick of the human condition. As disparate in style and content as they may be, they are all examples of romantic literature, and, as such, they speak to the need for love in all human beings and to the despair which appears when that love is not to be had. The three stories are so memorable for so many people, through the years, in almost every culture and country in ..."
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"Prometheus Bound" and "Oedipus Rex", 2003.
An examination of how the Greek plays, "Prometheus Bound" and "Oedipus Rex" interpret the ideas of fate and free will.
1,095 words (approx. 4.4 pages), 2 sources, MLA, $ 38.95
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Abstract
This paper identifies the "Moment of Revelation" or the "Reversal and Recognition" in each of these plays and discusses what they imply about the relationship between fate and free will in the Greek mind. This paper provides a summary of the Greek plays, "Oedipus Rex" and "Prometheus Bound" to identify these specific moments, followed by a discussion of what they imply about the relationship between fate and free will in the Greek mind. A summary of the research is provided in the concluding paragraph.
From the Paper
"The debate over whether mankind is possessed of free will that allows for individual decisions in the "Great Scheme of Things," or the view that humanity is merely "puppets on a god-string" has been the source of much controversy over the millennia. The ancient Greeks explored some serious thoughts about the concept of humanity's free will in the face of what must be considered destiny, and the tragic moral dilemmas that resulted in their plays concerning mankind's encounters with a preordained divine wall provided them with both a source of entertainment as well as some perplexing moral questions that provide some insights into how people have come to view these issues today."
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"Prometheus Bound", 2001.
This paper summarizes the play "Prometheus Bound" and analyzes its characters.
2,790 words (approx. 11.2 pages), 1 source, MLA, $ 83.95
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Abstract
This paper is an analysis of "Prometheus Bound", expounding the knowledge of the characters in the ancient play. The author explores the symbolism and shows the relationship between the play and the author?s time period.
From the Paper
"Prometheus and Epimetheus, together, represent those qualities that are essential for all of us if we are to observe and judge our behavior. Living life creatively requires both of these perceptions- both looking ahead and looking back. They are ways of knowing the world and ourselves. Prometheus stands up to the wrath of Zeus and accepts his punishment. He controls his own destiny in the sense that, knowing the punishment to come, he does not refuse the task at hand. We too, control our own destinies in this way. Either we can see opportunity as a risk, and therefore refuse it, or we can welcome the challenge of growth, even though it will bring changes that involve decision ? making or commitment. Prometheus does what he thinks is in the interest of humankind, regardless of the cost in personal suffering. In our own lives, what is sometimes a fearful journey can disclose a discovery, if we are willing to tackle the situation or problem directly."
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"Prometheus Bound", 2005.
Examines the meaning of "bound" in this play.
904 words (approx. 3.6 pages), 6 sources, MLA, $ 31.95
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Abstract
This paper examines how one or more meanings of "bound" can be applied to the play "PROMETHEUS BOUND" by Aeschylus.
From the Paper
"The title of the play Prometheus Bound is a boldly provocative poetic gesture indicating that the action is laden with multiple resonances with multiple meanings for the word bound pointing toward converging and conflicting ideas about human experience. The purpose of this research is to examine ways in which the word bound which has several meanings resonates thematically in the action of Aeschylus's Prometheus Bound. The plan of the research will be to set forth multiple meanings of bound and then to discuss ways in which ..."
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Mary Shelley's "Frankenstein", 2002.
A study on the classic novel "Frankenstein" by Mary Shelley.
880 words (approx. 3.5 pages), 3 sources, APA, $ 31.95
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Abstract
This paper analyzes the famous gothic novel by Mary Shelley's ?Frankenstein?. It discussed the idea that Dr. Frankenstein tried to play God by creating his own "man" through unnatural means. The author writes that Dr. Frankenstein attempted to play God by trying to create life in a different way from natural birth. He stepped beyond the realm of what man should create and brought a monster into the world.
From the Paper
"Mary Shelley's Frankenstein is often considered one of the first science fiction novels although it is a Gothic novel. She wrote the book when she was only 18 and was very influenced by Milton's Paradise Lost and Rousseau's Emile. Mary Shelley's Frankenstein also has a subtitle called "The Modern Prometheus", which refers to the figure in Greek mythology who caused a great conflict between the Gods and man by stealing Zeus's fire. Legend says that he used the fire to bring life to the clay figures of mankind that he created."
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Mary Shelly's 'Frankenstein', 2007.
This paper analyzes the novel 'Frankenstein' by Mary Shelly.
2,760 words (approx. 11.0 pages), 7 sources, MLA, $ 82.95
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Abstract
This essay critically reviews Mary Shelley's 'Frankenstein' through a consideration of some of the historical elements pertaining to the novel's creation. The writer also considers the type of love relationships that occur throughout the novel. Some reflection is also given to the cultural, social and religious views of the era, including the way in which women were perceived within society. In addition, the writer discusses the current trends and prevailing attitudes that are portrayed throughout this classic tale of human desires and relationships. The writer concludes that it is evident that the two main characters, that of Victor and that of his creation, are two beings that are driven to extreme; revealing with incredible simplicity what can result from a neglect of psycho-social responsibility and the need for all beings to be accepted for who, and what, they fundamentally are.
Outline:
Introduction
The Man Who Played God
An Historical Perspective
The Theme of Relationships
Conclusion
From the Paper
"Victor was raised in a loving Swiss family, in which he enjoyed a particularly close relationship with Elizabeth, an adopted cousin, and his friend Henry Clerval, who consequently joined him at university. The knowledge of having created a hideous monster, however, caused Frankenstein to fall ill, and as his friend Henry seeked to nurse him back to health, the monster was left to wander around trying to find human friendship. After having encountered several rejections from humans, the monster became afraid of people and lived near a cottage where he observed the culture and the life of the surrounding society. It was, therefore, through this that he came to understand that not only was he was different, but that no one would ever accept him because of his apparent affliction, and this, thus, began the tragic events that eventually led him to committing murder as he seeked his revenge against the man that had given him life."
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Mary Shelley's "Frankenstein", 2005.
This paper compares the novel and film versions of Mary Shelley's "Frankenstein".
1,800 words (approx. 7.2 pages), 3 sources, $ 71.95
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Abstract
This paper explains that Hollywood film adaptations of novels, such as "Frankenstein" by Mary Shelley, are often quite different in plot, characterization and theme. The author points out that Mary Shelley's novel was written nearly two-hundred years ago. The paper relates that her approach was dictated by her perceptions of the prevailing moral, social, intellectual, and religious views of her early nineteenth century audience.
From the Paper
"As this comparison of Victor Frankenstein's transforming portrayals in fiction and film demonstrate, Hollywood film adaptations of novels such as "Frankenstein" by Mary Shelley are often quite different in plot, characterization and theme. Mary Shelley's novel was written nearly two-hundred years ago, and her approach was naturally dictated by her perceptions of the expectations of her early nineteenth century audience, for she was aware that she needed to appeal to the prevailing moral, social, intellectual and religious views of contemporary English society. "
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