| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "PROMETHEUS BOUND": |
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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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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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"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": 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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"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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"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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"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: Painting and Myth, 2002.
The representation of the mythical story in the painting "Prometheus Bound".
1,030 words (approx. 4.1 pages), 5 sources, MLA, $ 36.95
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Abstract
This paper discusses the work, from the Baroque Era, of Peter Paul Rubens, whose "Prometheus Bound" is seen as one of the finest examples of a myth being used to tell a contemporary story. The meaning of the myth is examined through an analysis of the painting's light, form, style and images.
From the Paper
"Myths are the stories that lend meaning to the unexplained. Why does season follow season? How did humanity come to be? What is the origin of fire? These are but some of the mysteries explained in countless tales, plays, and works of art. Medieval man sought meaning in the Bible. The cathedrals of Europe glistened with windows of stained glass, each jewel-like work telling a different instructional tale. In the Renaissance, Europe rediscovered the world of Greece and Rome, and the learned found new meanings in classical myth and legend. Kings and princes likened themselves to gods and heroes, and artists explored the interplay of fantasy and reality. Mythic stories were used as illustrations of the human condition. In brilliant color and bold form, painters captured the heart and soul of their world, the figures of myth and fantasy serving as representations of popular belief. This age of allegory reached its height in the Baroque Era, the era of Peter Paul Rubens, whose Prometheus Bound is one of the finest examples of a myth being used to tell a contemporary story. It is also an image of the entire Baroque world."
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Reason, Fate and Force, 2002.
An analysis of Aeschylus' "Prometheus Bound" focusing on the hierarchy of power.
1,550 words (approx. 6.2 pages), 2 sources, $ 50.95
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Abstract
This paper is a symbolic analysis of Aeschylus? Prometheus Bound. The author characterizes Prometheus as Reason, Zeus as Force, and Fate as Futility. The paper makes the further argument that there is a hierarchy of power among these three, and explores the nature of each character. It also focuses a good deal on the struggle between Force and Reason.
From the Paper
"In Aeschylus? Prometheus Bound, we see Prometheus as the embodiment of Reason, Zeus as the embodiment of Force, and Fate as the embodiment of futility. Prometheus, as Reason, has a greater will, or power, than Zeus has as Force. Zeus is subject to the guiding power of Fate. Moreover, while it may seem like a controversial statement, that same force, Fate, does not bind Prometheus. From this, it is possible to extrapolate a hierarchy of power. Force restricts aspects of the material world. Fate will direct or hinder Force. However, Reason has the power to triumph over both."
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Individual Conscience and Corporate Authority, 2001.
Analysis of theme of conflict between conscience & authority portrayed in Aeschylus' "PROMETHEUS BOUND" & Sophocles' "ANTIGONE."
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
T"his research examines the issue of individual conscience versus corporate authority as articulated in Aeschylus's Prometheus Bound and Sophocles's Antigone. The plan of the research will be to set forth the pattern of ideas in each work that appear relevant to the conflict between conscience and authority and then to discuss the means by which the plays achieve sentient and intellectual impact on account of their theme.
Prometheus Bound, as the title implies, portrays the god Prometheus's punishment by Zeus for stealing from the gods the "treasure" of "all-fashioning fire" and giving it to mankind. Personified characters Strength and Violence, with the help of the fire god Hephaestus, shackle Prometheus, to a rock on an ocean shore. Prometheus stays in place for the entire action of the play, and is visited in turn by a chorus, comprising daughters.."
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"Frankenstein" and the Myth of Prometheus, 2007.
An analytical comparison of Mary Shelley's novel, "Frankenstein" and the Greek myth of Prometheus.
2,479 words (approx. 9.9 pages), 4 sources, MLA, $ 75.95
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Abstract
This paper analyzes the connection between Mary Shelley's "Frankenstein" and the myth of Prometheus (due to her subtitle of the novel, "The Modern Prometheus"). It examines the text of "Frankenstein" and explores, in detail, the foundations for the myth of Prometheus, as written down in ancient Greece and subsequently passed on through the generations via the Greek oral tradition.
From the Paper
"Once again, we can sense the presence of Prometheus as he breathes life into the lifeless clay of the earth which lies before his feet. Incidentally, Victor describes his newly-risen Creature as having yellow skin, black hair and lips and pearly-white teeth, colors which are most closely associated with the earth, such as in yellow ocher clay used for modeling purposes by sculptors. In addition, this creation scenario is replete with regeneration, meaning that the Creature, composed of dead body parts from the graveyard, is much like the liver/heart of Prometheus which regenerates itself on a daily basis so that the eagle can feed on it as Prometheus lies bounded to the rock."
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Victor Frankenstein: The True ?Modern Prometheus?.
A comparison of Mary Shelley's character, Victor Frankenstein, with the Greek god, Prometheus.
755 words (approx. 3.0 pages), 2 sources, MLA, $ 26.95
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Abstract
This paper examines Mary Shelley's Gothic tale "Frankenstein, Or The Modern Prometheus", published in 1818, in which the main character, Victor Frankenstein, a young student steeped in the mysteries of science, describes his explorations into the unknown through his obsession to create life from the dead, which produces a monster of great size and strength bent on nothing but revenge. In particular, it looks at why Shelley included ?The Modern Prometheus? as part of her title for the novel and how it is clear that she was attempting to compare Victor Frankenstein with Prometheus, the Greek god, who breathed life into man and brought fire to earth after stealing it from Mount Olympus.
From the Paper
"Not surprisingly, the future husband of Mary Godwin, being the great English poet and rebel Percy Bysshe Shelley, wrote a very long lyrical poem in 1820 (two years after the publication of Frankenstein) called ?Prometheus Unbound? which explores Prometheus?s relationship with Earth, his mother, Asia, his wife and Jupiter (Zeus), the King of the Gods. In this poem, Prometheus is described as being bound to a rocky cliff by Jupiter for his misdeeds against the gods. And while chained and powerless, Prometheus is tortured by an eagle that eats his liver on a daily basis, but the liver always grows back which allows the cycle to go on for eternity. Perhaps, since Percy Shelley allegedly aided in the writing of Frankenstein, he may have been attempting to allegorize the ever-growing liver as a symbol of the Monster?s immortality, meaning that the Monster, like Prometheus?s liver, can never die and is eternally damned."
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"Prometheus Unbound", 2003.
An analysis of the concept of imagination in Percy Bysshe Shelley's "Prometheus Unbound".
1,528 words (approx. 6.1 pages), 1 source, MLA, $ 50.95
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Abstract
This paper discusses how one of the major themes in Percy Bysshe Shelley's "Prometheus Unbound" relates to the role of the imagination. Shelley distinguishes between reason and imagination and shows that imagination is the only way people can expand their thinking and overcome their situation to move forward. It explains how Shelley suggests that imagination is man's greatest source of power, while reason can limit a person and lead to making the wrong decisions. The major way this theme is expressed is through the events involving Prometheus's downfall, punishment, and his ability to release himself from that punishment.
From the Paper
"Before considering how the theme of imagination as man's greatest source of power is expressed, it is necessary to consider what Shelley means by imagination. Shelley is not referring to imagination in the modern sense of the word. Instead, Shelley is referring to the ability to think independently and to be able to expand thinking to consider things that are outside of the normal range. In this way, imagination becomes the opposite of rational thinking, since rational thinking is constrained and imagination is unconstrained. In this context, imagination is referring to unlimited thinking that is capable of thinking beyond any limitations."
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"Frankenstein" or the "Modern Prometheus", 2001.
A look at the book by Mary Wollstonecraft Shelley - "Frankenstein" or the "Modern Prometheus".
1,000 words (approx. 4.0 pages), 0 sources, $ 35.95
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This paper looks below the level of the plot exploited by movie version of the book to examine what Shelley herself would have felt was the true level of horror in the book, the investigation of what it means to be human and the terrible things that we might each do ? and in turn have done to us if we were somehow to lose that quality of ourselves that sets us off from all other living creatures as uniquely human.
From the paper:
"It is perhaps true that any movie based on an important book does a great disservice to it, for the media of literature and of film are so essentially different from each other that any translation between the two of them must be cause for substantial cross-cultural fumblings. But Mary Wollstonecraft Shelley's novel Frankenstein, or the Modern Prometheus (published in 1818, long before any author could imagine what the big screen might do to her work) has been especially ill-served by its various cinematic adaptations, which have transformed this novel about a prototypical "mad scientist" who creates a monster who eventually kills him from a serious investigation into the nature of the human soul into a horror flick. Indeed the name Frankenstein has become popularly attached not only the Shelley?s creature itself but to a whole genre of low-tech horror movies."
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"Bound" and "Bringing Up Baby", 2003.
Separate reviews of the films "Bringing Up Baby" and "Bound".
2,760 words (approx. 11.0 pages), 4 sources, APA, $ 95.95
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Abstract
This paper presents two film essays. The first reviews the 1938 classic screwball comedy, "Bringing Up Baby." It looks at director Howard Hawks' ability to draw hidden comedic talents and skills from his cast. The second paper is a personal reaction to the 1996 film "Bound" with respect to the Hays Motion Picture Code, looking at issues of extreme violence, profanity, nudity and sex.
From the Paper
"Bringing Up Baby was directed by Howard Hawks and released in ..."
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