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Realism and Modern Drama, 2008.
This paper discusses Gertrude Stein's and Bertolt Brecht's criticism of realism in drama.
1,081 words (approx. 4.3 pages), 1 source, MLA, $ 37.95
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Abstract
In this article, the writer looks at the issue of realism in drama, according to Gertrude Stein and Bertolt Brecht, in relation to Stein's play "Dr. Faustus Lights the Light" and August Strindberg's "The Ghost Sonata". The writer focuses on their views regarding realism and concludes that perhaps both Stein and Brecht are advocating alienation as a way of bridging the initial gap between the stage and the spectator in order to bring realism into sharper focus. The writer maintains that Brecht did it epically, while Stein did it psychologically.
From the Paper
"Since there is an unavoidable gap between what one experiences in real life and what one anticipates on the stage, the actual present can never be really done on stage. Therefore realism isn't really real, only a fiction of reality. What one sees in the realism of "The Ghost Sonata" is a staid, set environment rather than an acting platform. The plot is very well set out, it leads us on without giving anything away, there are expected and logical reversals (and vice versa), the characters conform to the dress and modes of the period, the characters evoke our empathy or revulsion, and there is usually a social or moral message implicit in the play. We recognize those emotions and values to which we can relate or have experienced."
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Realism and Comedy in Drama, 2002.
An analysis of the themes of realism and comedy in the three plays "Hedda Gabler" by Ibsen, "Death of a Salesman" by Arthur Miller and "Fences" by August Wilson.
1,150 words (approx. 4.6 pages), 5 sources, $ 44.95
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Abstract
This paper will seek to integrate the realism, some of the comedy, and other aspects of appearance that arise in the three plays "Hedda Gabler" by Ibsen; "Death of a Salesman" by Arthur Miller; "Fences" by August Wilson. By analyzing these themes within the scope of the three plays, we can see how they intermingle with various elements of realism and comedy, as well as the way that they approached in their differences of style.
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The Beginning of Modernism in Literature After World War I, 2001.
A sketch of the influences of naturalism and realism which led to modernism.
710 words (approx. 2.8 pages), 6 sources, $ 25.95
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Abstract
This paper is a general sketch about how modernism developed after World War I, with strong influence by 19th Century realism and naturalism. There is a description of firstly, the development of realism, and secondly, the development of naturalism, which leads to the beginnings of modernism and its purpose.
From the Paper
"After World War I, American people and the authors among them were left disillusioned by the effects that war had on their society. America needed a literature that would explain what had happened previously and what was happening to their society. American writers turned to what is now known as modernism. The influence of 19th Century realism and naturalism and their truthful representation of American life and people was evident in post World War I modernism. "
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Realism in the American Theater, 2002.
Cites two famous American plays, "Suddenly Last Summer" and "Desire Under Elms" to demonstrate realism in drama.
1,650 words (approx. 6.6 pages), 2 sources, $ 62.95
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Abstract
Seven page look at two American plays: Tennessee Williams' "Suddenly Last Summer" and Eugene O'Neill's "Desire Under Elms" examples of Realism in Drama.
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The Modern Novel Styles, 2001.
A comparison between various literary styles such as pre-modern and modern ones.
1,620 words (approx. 6.5 pages), 6 sources, $ 52.95
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Abstract
This paper examines the change in novel styles from the pre-modern to the modern period. The author discusses the new style that incorporates Romanticism, Realism and conception of love, fate and destiny. The author introduces and compares various literary styles such as of Chratien de Troyes, Joseph von Eichendorff's, Gustave Flaubert's, Guy de Maupassant's, Anton Chekhov's and George Eliot's.
From the Paper
""Although it is difficult to think of this being the case now, novels were once the province of the upper classes, for that thin segment of society that could read - and not for the teeming masses stopping by the airport bookstore. Thus even when the world depicted in the novel was not that of the world of the upper classes, the readership was an elite one, and novels were thus written for them. Thus many of the changes that we see occur as we shift from the decidedly non-modern form of the chivalric romance to pre-modern form of the picaresque to the entirely modern styles of Romanticism and Realism are reflective of changes in the nature of reading and the reading public. Other important changes reflect changes in the conception of love, in the place that love held in society in general and in the biography of each person's life, and in attitudes about fate and destiny."
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Drama, 2002.
Explores the purpose of drama and how drama has changed over time through several works.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper compares "Oedipus Rex", the various plays of Shakespeare, and "Cat on a Hot Tin Roof", thereby demonstrating the purpose of drama and how drama has changed over time.
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Modern Political Theories, 2003.
A look at classical realism and complex interdependency theory in modern politics.
2,380 words (approx. 9.5 pages), 6 sources, APA, $ 72.95
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Abstract
This paper exlores major tenets of classical realism and complex interdependency theory. It argues that classical realism does not provide adequate theories for modern politics because of the rise of nonstate actors, the decline in the importance of military force and the blurred boundary between domestic and foreign politics. Each weakness of classical realism is argued with a specific historical evidence. It also demonstrates how weaknesses of classical realism can be overcome by strength of complex interdependency theory.
From the Paper
"The traditional agenda of international affairs - the balance among major powers, the security of nations - no longer defines our perils or our possibilities. Now we are entering a new era. Old international patterns are crumbling; old slogans are uninstructive; old solutions are unavailing. The world has become interdependent in economics, in communications, in human aspirations. " Realist perspectives on politics have existed since Thucydides and have evolved through the work of scholars such as Machiavelli, Hobbes, and Rousseau. Tempered by two world wars, realism became the dominant discipline of international politics. Realism, focusing mainly on the roles of states and power in international politics, and elaborated by scholars such as Hans Morgenthau and John Herz, provides an effective frame for understanding international politics of the post world war era. However, witnessing tremendous incidents in international relations such as the Vietnam War, the oil crisis, the rise of a transnational advocacy networks, and the rapid post-war spread of multinational corporations, scholars have begun to realize that realism does not always provide adequate theory for every historical event. Consequently, they seek "better" alternatives to realism. This search leads to two questions: in which areas is realism weak? And which alternative would be ideal for overcoming the weaknesses of realism? This essay will argue that classical realism, which is still crucial for understanding the concepts of power, national interests, and rationality, is particularly weak at accounting for changes in international politics such as the rise of nonstate actors, the decline in the importance of military force, and the blurred boundary between domestic and foreign politics. Nonetheless, the weaknesses of realism can be overcome, and it will be argued that an examination of the main tenets of both classical realism and complex interdependency theory reveals that complex interdependency theory provides a more adequate theory than does classical realism and can better account for the areas in which classical realism is weak. In order to clarify this argument, this essay will begin by describing the main tenets of classical realism and complex interdependency theory."
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Realism: Royal Politics at its Best or Worst?, 2005.
Realism is a very viable International Relations theory, as it is the way that the most powerful countries operate in today's society. This essay explains the theory of realism in depth.
2,500 words (approx. 10.0 pages), 3 sources, MLA, $ 75.95
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Abstract
Realism, one of the two schools most predominant in the study of international relations has a long and exhausting history. Unarguably, it has been the most dominant theory of world politics since the foundation of international relations. This could be for various reasons, but many argue because of the United States' persistent use of this theory in its governance. Many politicians and scholars have wrestled over the question of the limitations and insights (if any) of realism. However, realism remains very prominent today, one reason perhaps being that the value of realism as an analytical tool seems to become more relevant to policymakers in times of crises. This essay is dedicated to examining the history and debates surrounding the theory of realism, and concludes with the authors' personal opinion of the value of this theory. This paper examines all fields of realism, from classical, to modern, as well as neo-realism.
From the Paper
"Under the idea of maximal realism, when there are two equally powerful hegemons in place like was the case during the Cold War between the Soviet Union and the United States, there becomes an inherently unstable situation that is destined to collapse into a more stable state where one nation is more powerful and one is less powerful. Next, the theory of minimal realism holds that non-hegemonic states will ally against the hegemon in order to prevent their own interests from being subsumed by the hegemon's interests. Under the minimal-realism theory it is possible to have two equally powerful hegemons with whom a smaller entity may ally in turn depending on which hegemon better fits with the smaller entity's policies at the moment, creating a positive sum game for both sides, rather than a negative sum game like would be the case for maximal realism."
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The Exploration of Realist Drama, 2002.
A look at realist drama through an examination of plays, playwrights, and concepts.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This essay examines the principle elements of realist drama. The realist drama, often used in films and in plays, is best explained as the best and the worst of humanity combined into a whole. This paper addresses the realist drama with an emphasis on selected playwrights as well as the social reception of the realism movement.
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Modernism, 2001.
This paper discusses the movement of modernism, putting it into a historical perspective
1,900 words (approx. 7.6 pages), 4 sources, $ 60.95
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Abstract
This paper addresses the body of work that is now known as Modernism, including an examination of how it developed and what has succeeded it. It gives examples from the world of art, music and architecture - Mark Chagall, Frank Lloyd Wright, Gustave Courbet and others.
From the paper:
"Modernism is a much harder artistic style to define than either Romanticism or Realism - although not as difficult as Postmodernism. This probably results in part from the fact that the closer a style is to one's own moment in history the more difficult it is to assess, but it also has to do with the fact that Modernism is itself a complex movement. It is not the relatively straightforward reaction against the movement before it that Realism was, nor is it a reaction against a single historical change in the way that Romanticism was primarily a response to industrialization."
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Yuan Dramas, 2006.
A look at why drama flourished during the Yuan dynasty (1279-1368).
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
The Yuan dynasty (1279-1368) was a period when cultural innovation was occurring at a very high rate in China(Lewis 34). One of the cultural areas that went through a particularly significant period of growth during this period was drama. The question that this essay attempts to answer is why did drama in the Yuan period flourish? It is argued that drama flourished in the Yuan period for four primary reasons. These reasons are; the commercialization of entertainment and the arts during this period, the use of vernacular language, the vulgarity and humor of many of these dramas and the fact that the dramas often used stock stories and characters that were known by a wide range of people.
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Greek Drama and the Modern Production, 2002.
A paper which examines the Aeschylean, Sophoclean and Euripidean styles of Greek Drama and how the relate to modern drama productions.
884 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper examines and analyzes three distinct styles of Greek drama, focusing on the Sophoclean style by giving several examples in drama history such as "Oedipus" and the modern movie, "A Few Good Men". By comparing these styles to what a modern audience expects of a film or play, the paper shows that the Sophoclean style is the most suitable for a modern production.
From the Paper
"This shows the main aspect that makes the Sophoclean approach the most suitable style for a modern audience, the character focus. The Sophoclean styles focuses on the main character as the driving force of the play. This is the same approach taken by modern films and plays, where the plot of the play is based on the struggle of the main character. This usually involves a likeable character being presented with some problem and ultimately either overcoming this problem or learning from it. Importantly, the audience forms a relationship with the main character, with this involving the audience in the action. The film Titanic is a good model example of this. As history shows, the main event the movie is based on is the sinking of the ship and the drowning of hundreds of people. Yet, the film does not focus on this to engage the audience and drive the plot. Instead, the plot focuses on the story of Rose and Jack."
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Realism vs. Liberalism, 2005.
An overview of realism in relation to liberalism.
1,125 words (approx. 4.5 pages), 0 sources, $ 44.95
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Abstract
This paper explores Realism in terms of both its classic assumptions and its contemporary revisions in the context of other theories of international relations and in particular that of Liberalism. It is argued that while there are challenges to Realism as the dominant theory of international relations, the flaws in Realism revealed by some of these challenges do not require the overall rejection of Realism and its assumptions. Rather, as is shown in this paper, no single theory can explain every situation in the international political environment.
From the Paper
"The development and analysis of theories of international relations are necessarily complicated by the social and political context in which they are developed. Although international political theory is, of course, an intellectually autonomous field of study, historically the discussion of international relations "theories are largely shaped by what happens in the sphere of practical world politics" (Haque 135). For example, while the dominant theory of international relations during the Cold War - Realism - fell into abeyance in the 1990s with the end of the Cold War, after the events of September 11, 2001 variations on Realism reasserted their predominance in the field of international political theory."
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Realism, Pluralism and Globalism, 2006.
A critical analysis of the relationship between realism, pluralism and globalism.
3,150 words (approx. 12.6 pages), 8 sources, $ 124.95
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Abstract
This paper examines a host of issues in order to identify the main lines of argument that writers utilize in the criticism of realism, but the core issue of the ongoing debate between realism and its critics is the foundational realist assessment that the primary task of international relations is to secure relative peace and stability. For forty years, this basic realist position has influenced every aspect of the debate between advocates of realism and their critics, for it has generated justifications and objections to nearly every aspect of realism derived from it.
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Realism, 2005.
A look at how the artistic form of Realism emerged as a result of the socio-economic changes brought about by Europe's industrial revolution.
1,147 words (approx. 4.6 pages), 2 sources, MLA, $ 39.95
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Abstract
This paper explains how the poverty and despondency amongst the new working class created by Europe's industrial revolution was expressed in the artistic form of Realism. The paper looks at how Realism sought to correctly portray the conditions and hardships of the poor with the hope of improving their living situations. The paper discusses some of the Realist artists of that era and describes how their works depicted the reality in the cities and countryside.
From the Paper
"To Courbet, Realism was not so much a style of painting as a philosophy. His arguments with the present French art establishment concerned subject matter, not painting technique. Juries and the public shunned the Realists' work, because the art style broke away from the official Academic art. Courbet's paintings, such as the Stone-Breakers of 1849, which featured the laboring, faceless figures of an old man and adolescent boy, was criticized severely by critics who preferred mythological or idealistic subjects."
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