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"The Public Enemy" ( William Wellman ) & "The Godfather"( Francis Ford Coppola ), 1994.
Examines gangster films directed in 1931 & in 1972, focusing on social & family values.
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
" Motion pictures, though often viewed as no more than fantasy and escapism, often reflect the society and time in which they are produced, and for all the melodrama and "fantasy" of the gangster film genre, this is one type of film that seems destined to be a reflection on the society which produces it. The Public Enemy (William Wellman, 1931) and The Godfather (Francis Coppola, 1972) are separated by 40 years of time. The two films have much in common, but they also reflect different views of their respective social settings and specifically of the nature of the experience of organized crime in America.
Both films involve underlying assumptions about the force of the American Dream and the way in which that dream has been distorted as a justification for crime by certain individuals. Both films reflect the view that some criminals are born and some.."
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William Wellman's "The Public Enemy", 2004.
An analysis of the message about criminal development in William Wellman's film, "The Public Enemy".
904 words (approx. 3.6 pages), 1 source, MLA, $ 31.95
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Abstract
This essay argues that William Wellman's 1931 film "The Public Enemy" is a film that traces the roots of crime and criminal development to social forces and environment.
From the Paper
"William Wellman's "The Public Enemy" was produced before censorship and is a graphic film of violence sex and bootlegging. Made in 1931, just after the end of the Roaring Twenties, "The Public Enemy" has two main themes. The first theme is that crime does not pay despite the lucrative ill-gotten spoils it provides to criminals. The second theme is that criminals are not born but develop due to environmental influences. The final message of the film that appears over the image of a phonograph is..."
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"The Godfather" and "The Godfather, Part II.", 2002.
Examining Francis Ford Coppola's two movies and how they compare to each other.
2,205 words (approx. 8.8 pages), 2 sources, MLA, $ 68.95
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Abstract
This paper compares and contrasts the themes and characters of two of the greatest films of the 1970s, Francis Ford Coppola's productions of Mario Puzo's mob movies, "The Godfather" and "The Godfather, Part II". The writer explains how the films tell the story of Vito Corleone and his son, Michael, and their rise to power as godfather of a powerful crime family. They provide a rich chronicle of the underside of the American dream. It shows how the first film was highly influential and critically well received. This is compared to its sequel, which is widely regarded as even better than the original in the ways that it builds on and enlarges the original story. Although both include many of the same characters, the second movie is more complex and multi-layered, and its themes are deeper. Together, they form a fascinating commentary on loyalty, honor, and family and the ways these qualities are intertwined with the American experience during the 20th century.
From the Paper
"The Godfather focuses on Vito Corleone (Marlon Brando) during his last, most powerful years as patriarch of an extraordinarily successful family business. The Corleone family runs an increasingly expansive collection of illegal operations, but Don Corleone has his own ethical standards that prevent him from moving into areas he considers to be sinful; he is especially against anything to do with drugs. The beginning of the end of his power comes when he is forced to surrender to what everyone around him believes is the inevitable wave of the future. By the end of the film, he has retired, turned the business over to his son, Michael, and died, a peaceful old grandfather, playing in his vineyards with his grandson."
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Poems by William Carlos Williams, 2005.
This paper discuss the poems "The Young Housewife" and "This Is Just to Say" by William Carlos Williams.
1,125 words (approx. 4.5 pages), 2 sources, $ 44.95
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Abstract
This paper analyzes the poems "The Young Housewife" and "This Is Just to Say" by William Carlos Williams, which reflect domestic desire and the problems of intimacy that lie hidden within American suburbia. The author points out that Williams shows an abstracted form of simile, allusion and symbolism to reflect the frustrations of couples trying to live with each other in divided homes. The paper contends that, by actively revealing his own lack of sexual fulfillment, Williams is able to convey these messages in these simply written, yet cryptic poems.
From the Paper
"This poetical analysis explores the theme of domestic desire within the two poems: "The Young Housewife" and "This Is Just to Say" by William Carlos Williams. By revealing William's poetry related to domestic desire through simile, allusions and symbolism, one can learn why these two poems reflect isolation and the romantic problems within 20th century American suburbia. In understanding William's poems through the theme of domestic desire, one can assume unfulfilled sexual and romantic energies that reside within his verse. The poem "The Young Housewife" reflects the barriers and sexuality of the suburbs in the way that Williams present both the woman and the doctor in the poem."
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William Blake and William Wordsworth, 2005.
A look at how the poetry of William Wordsworth and William Blake is effective in challenging the morality of society during their time.
1,643 words (approx. 6.6 pages), 5 sources, MLA, $ 53.95
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Abstract
This paper examines how William Blake and William Wordsworth are two authors who effectively incorporate the issues of their time into their poetry. It looks at how social problems and the dilemma of moral responsibility in society are integrated into poems such as Blake's "Holy Thursday" poems, "London," and "The Chimney Sweeper," as well as Wordsworth's "London" and "We are Seven." It also discusses how a popular theme for Blake and Wordsworth within their works is to take notice of the problems within society, questioning what is commonly accepted for their time period.
From the Paper
"Blake's "Holy Thursday" poems are very interesting because each one captures the same day in a different light. It helps the reader to get an idea of the condition of both the people and the Church. The first "Holy Thursday" poem seems to capture the positive light of the ceremony, noting the children with the "innocent faces clean." Blake captures the innocence of these children being led by their parish officers, describing the children as "thousands of little boys and girls raising their innocent hands." While Blake uses the idea of innocence, he also could be suggesting ignorance. In his time, many of the poor children had no choice but to follow the Church. Blake describes the children in a pure and innocent way, yet also unknowing, like a flock of sheep. "
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William Carlos Williams' "The Use of Force", 2006.
This paper interprets William Carlos Williams' short story "The Use of Force".
860 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in his short story, "The Use of Force", William Carlos Williams examines the justifiable application of physical force. The author points out that all of the doctor's respect appears to go to Mathilda, the "damned little brat", who had the spunk and courage to resist him all along. The paper concludes that even an apparently mild-mannered country doctor can enjoy the passionate feeling of having a strong opponent and admire the resistance.
From the Paper
"The narrator inquires about a sore throat and both parents explain that the child says "her throat don't hurt her." The slightly exasperated doctor wonders if they have actually looked and discovers that they have not. Mathilda will not cooperate, though, and the doctor tries to reason with her. Attempting lamely to help, the mother says, "Come on, do what he tells you to, he won't hurt you." The doctor is disgusted that the mother used the word "hurt" and he says "I ground my teeth in disgust" at the parents bungling attempts."
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William Carlos Williams' Poem "The Red Wheelbarrow", 2006.
The paper describes the way William Carlos Williams' poem "The Red Wheelbarrow" uses a simple battery of devices and basic vocabulary to convey a multitude of thoughts and images.
825 words (approx. 3.3 pages), 0 sources, $ 29.95
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Abstract
This paper explains that William Carlos William, in his poem "The Red Wheelbarrow", utilizes imagery, symbolism, simplistic structures and a free form style to illustrate the meaning of the poem in both a literal and metaphorical sense. The author points out that the meaning behind the picture created by this poem is left up to the reader to discover by looking for patterns in a deceptively simple sentence. The author underscores that, through these patterns, the readers rediscover the beauty in a simple wheelbarrow, a simple sentence and a simple poem. The paper concludes that the plain red wheelbarrow glistens by the end of the poem, in the calm following a storm, like the reader's glow of excitement after unraveling the mystery of the scene.
From the Paper
"The structure of the poem is perhaps the most interesting characteristic of it. The simple vernacular is underscored by the structure. Because the sentence is broken into four stanzas, the reader is forced to go line by line, scrutinizing each syllable, looking for meaning. Each word was carefully chosen and packs a punch, as was the author's intention. There are relatively few words, which causes the reader to notice the author's word choice more than if the poem were longer. Additionally, the pauses between each stanza allow the reader to reevaluate the mental image they are creating, as explained previously."
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William Carlos Williams' Short Stories, 2001.
A look at the antinomic forces in the short stories of William Carlos Williams.
1,200 words (approx. 4.8 pages), 7 sources, $ 41.95
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From the Paper
"Critics have characterized William Carlos Williams? short stories as ?terribly real?, exhibiting both ?bitterness and compassion.? Kenneth Rexroth gets closer to the matter, categorizing the stories as ?the completely realized real.? The stories depict a antinomic reality, he suggests, consisting of a combative coexistence between what is immediately apprehensible and a force lying ?behind the colored faces of phenomena.?:
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Advancements in Childbirth during the Time of William Carlos Williams, 2000.
A look at the improvements in childbirth practices in America at the turn of the 20th century.
1,590 words (approx. 6.4 pages), 4 sources, $ 52.95
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Abstract
From the paper:
Childbirth, the natural process of how we are born, has evolved along with technological advancements to prolong lives, reduce pain, and decrease mortality rates through advancements in technology. William Carlos Williams, born in 1883 in Rutherford, New Jersey, dealt with issues of childbirth through the course of his life as a pediatrician. After becoming a pediatrician in 1910, he practiced medicine there for most of his life, and wrote poems and stories about his life as a country doctor. During the course of his life, society began paying close attention to childbirth as medicine and technology advanced.
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William Carlos Williams, 1994.
A brief biography of the poet/doctor and analysis of three of his poems "To A Poor Old Woman," "The Term" and "The Snow Begins".
1,350 words (approx. 5.4 pages), 3 sources, $ 47.95
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From the Paper
"William Carlos Williams, born in 1883 and died in 1963, was a major poet of his generation and one of the leading poets in the movement departing from traditional English practice, but Williams took his own road and tried to impart to his poetry a new substance and a violent new orientation. He began as early as 1912 by asking, "what was the measurable factor in language that can replace metrics as the basis for poetic composition?" For Williams, this question involved the whole essence of poetry:
Since he believed that experience does not objectively exist until it is embodied in language, the nature of that language--its ability to convey actuality without distorting it through the crippling biases of "literary" means--is all-important (Unger 403).
Williams had several concerns that were constant: 1) he wanted to..."
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Enemy at the Gates, 2004.
An analysis of the book, "Enemy at the Gates", by William Craig.
1,658 words (approx. 6.6 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper begins by providing a brief biography of the author, William Craig. It then explains that the book is a series of in-depth interviews with the hundreds of survivors of the Battle of Stalingrad, both Russian and German. It shows how this book has woven their unbelievable experiences into the fabric of unidentified documents. The paper analyzes the book then presents pros and cons of the writing style.
From the Paper
"The author of Enemy at the Gates, William Craig was a native of Concord, Massachusetts. He has written Enemy at the Gates as the result of five years of research, during which he journeyed extensively on three continents and studied their documents and interviewed hundreds of survivors of Stalingrad. William Craig has the skills to write which majority historians in this class don?t. He has kept the story of Enemy at the Gates flowing and does not let any loose ends or gaps."
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Francis Ford Coppola's "Godfather" Saga, 2002.
This paper reviews the three films in director Francis Ford Coppola's ?Godfather? saga: ?The Godfather? (1972), ?The Godfather, Part II? (1974) and ?The Godfather, Part III? (1990).
1,425 words (approx. 5.7 pages), 3 sources, MLA, $ 47.95
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Abstract
This paper explains that the three films in Coppola's Godfather saga, which is set in the world of the American Mafia throughout most of the Twentieth Century, explore the similarities between family and business interests as fundamental aspects of human behavior. The paper states that ?The Godfather? (1972) tells the story of the end of Don Vito Corleone's reign as head of the family in the late 1940s. The author points out that ?The Godfather, Part II? (1974) continues this story with his son Michael's transfer of the family business to Lake Tahoe and Las Vegas in the 1950s, and is intercut with the early years of Don Vito, from his childhood in Sicily to his rise to power in New York City. The paper continues that ?The Godfather, Part III? (1990) presents the aging Michael and his struggle to legitimize the family's business while powerful forces, including his nephew Vincent Mancini, try to pull him back into crime.
From the Paper
"The story begins, therefore, at a point where the broader implications of the family business are clear. But it also shows the awareness, at least of Don Corleone, that being in this business is a necessity but is not, in itself, desirable. He plans for his youngest son Michael--a college-educated war hero--to escape from it. Michael (Al Pacino) himself tells Kay Adams (Diane Keaton), after being quite frank about the nature of the family business, that all this is his family--not him. He understands his father's desire to protect him from it. The brutality of the business is fully revealed in the 'war' sequence that follows the request for accommodation in establishing a heroin importing operation which is favored by some members of the family but rejected by Don Vito."
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"Love Thy Enemy", 2008.
An analysis of the biblical admonition "love thy enemy".
2,203 words (approx. 8.8 pages), 9 sources, MLA, $ 68.95
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Abstract
This paper discusses how the biblical admonition "love thy enemy" seems a simple prescription but entails a number of ramifications and contradictions that may create confusion and that also need examination. It examines how in some ways, the phrasing echoes the rule "love thy neighbor," although the statement to love one's enemy seems on the surface to be a contradiction, asking one to love that person who is problematic. It also examines how some analysts also contend that this phrase leads to some misunderstanding, while others see the phrase as a statement of one of the core principles of Christianity.
Outline:
Introduction
Socio-Historical Background
Literary Context
Word Study and Passage Analysis
From the Paper
"Jeanette Rodriguez cites this phrase as a Christian ethical command and points out that it is meant to be taken seriously to bring about change "not by dehumanizing or destroying the oppressor, but by transforming the oppressor and the structures of oppression through an ethical praxis of love" (Rodriguez 317), and the very fact that it is raised in such a way, with the seeming contradiction to love one's enemy, emphasizes both the difficulty and the importance of following this prescription. The call to "love thy neighbor" is easier to accommodate even if just as difficult to do."
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Romanticism in William Blake and Tennessee Williams, 2008.
This paper compares similar themes of romanticism in William Blake's epic poem 'The Marriage of Heaven and Hell' to Tennessee Williams' southern drama "A Streetcar Named Desire".
1,950 words (approx. 7.8 pages), 7 sources, MLA, $ 62.95
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Abstract
This paper explains that the multifaceted romantic movement is ripe with variety and reach with decidedly similar "romantic" characteristics and qualities interwoven throughout otherwise vastly different texts. The author points out that, despite their distinctive literary identities, countries of origin and time frames, William Blake and Tennessee Williams share a place in the artistically and timelessly transcendent Romantic epoch. The paper relates that one of the themes of the romantic movement in William Blake's 1793 poem 'The Marriage of Heaven and Hell', which was written against the tumultuous historical backdrop of the American and French Revolution, is the duality of human nature. The author stresses that the Tennessee Williams' 1947 drama "A Streetcar Named Desire", like "Marriage", has the themes of personal confliction and social confinement.
From the Paper
"In addition to an emotional catharsis, Blanche aims for a physical and spiritual purification as well. She bathes excessively in a hot tub despite the sultry July temperature, refusing to be seen without her powder and perfume and "fancy fox fur pieces". She softens the harsh light in her bedroom with a festive Chinese lantern and even refuses to eat unwashed grapes. She demurs to Mitch that she "can't stand a naked light bulb, any more than a rude remark or a vulgar action", all the while deflecting his physical affection under the pretense of remaining refined."
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?The Godfather?, 2002.
This paper analyzes the movie, ?The Godfather?, based on the novel by Mario Puzo.
1,535 words (approx. 6.1 pages), 7 sources, $ 50.95
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Abstract
This paper discusses that the film, ?The Godfather?, brings us into the romanticized criminal underworld by asking the viewer to evaluate the Corleone family not based on traditional standards but on Mafia standards. The author points out Coppola?s ability to present such a large cast so skillfully that within the first few minutes of the film, nearly all of the main characters are introduced. The paper states that ?The Godfather? redefined the genre of gangster films and shaped public perception of the Mafia.
From the Paper
"Michael is the tragic hero of the film. He evolves from a na?ve, unwilling spectator into a Godfather. In the end, Michael becomes everything he despised about his family and more. After his father?s heart attack, he realizes that his father is going to die, and he is the only one who can fill his shoes. It is clear that he had wanted something else out of life, but he feels the need to continue his father?s legacy, inevitably becoming more merciless than he would have ever dreamed. "
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