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Women in Restoration Comedy, 2003.
A discussion of the role of women in Restoration comedy.
2,530 words (approx. 10.1 pages), 8 sources, MLA, $ 87.95
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Abstract
This paper examines the role of women in Restoration comedy and what it expresses about the relations between men and women of the era and in modern society.
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Restoration Comedy, 2005.
Examines the 'comedy of manners' genre, with focus upon William Congreve and Richard B. Sheridan.
2,980 words (approx. 11.9 pages), 9 sources, MLA, $ 87.95
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Abstract
Within the larger framework of the comedic genre, Restoration comedy has suffered more criticism than any other type. Judged as immoral, unrealistic, and artificial by numerous literary critics from Lamb to Macaulay, Restoration comedy has often been misinterpreted as a senseless jumble of clever-sounding sentences and words. This paper shows, however, that just as it had it virulent critics, Restoration comedy also had its own share of defenders, including Walter E. Houghton and Robert D. Hume. Writing thirty years apart, both these literary critics maintained that the rejectionist criticism of Restoration comedy is founded upon the false premise that this particular strain of comedy is meaningless and unrealistic. However, this particular viewpoint is incorrect and emanates from a failure to comprehend the purpose of comedy, on the one hand, and the importance of evaluating artistic works from within the context of their own period, on the other. Therefore, as this research argues, while Restoration comedy, or the 'comedy of manners' genre is largely satirical, as seen through the works of Congreve and Sheridan and characterized by extreme exaggeration in the representation of mannerisms, one may interpret this particular genre as a realistic and serious social criticism, which sought to impact cultural and social values and mannerisms.
From the Paper
"The condensation of vice within characters gives the impression that the play is not rooted in any recognizable reality yet, as Weber argues, this reductio ad absurdum devise is a recognized and legitimate means of exposing these vices and taking them to their ultimate consequence, in an effort to reveal society, as it is, without disguise (Weber). Hence, in taking mannerisms and the exercise of particular vices to their extreme absurd limit, Sheridan is not undermining the realistic foundations of his work per se, but is exposing the amorality of its so-called moral base."
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Restoration Drama, 2004.
An analysis of the significance of the 'rake-hero' as a symbol of social disorder in Restoration drama.
4,760 words (approx. 19.0 pages), 10 sources, MLA, $ 122.95
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Abstract
This paper examines how one of the distinctive features of Restoration comedy is the figure of the rake as romantic hero. The image of the rake-hero is of a witty, cynical, calculating, and self-serving man who pursues his own pleasure above all other considerations. It looks at the significance of the rake-hero as a symbol of social disorder by considering three plays, "The Careless Lovers" (1673) by Edward Ravenscroft, "The Man of Mode"? (1676) by George Etherege, and "Love?s Last Shift" (1696) by Colley Cibber.
Outline
Introduction
The Rake and his Times
Careless in ?The Careless Lovers?
Dorimant in ??The Man of Mode?
Loveless in ?Love?s Last Shift?
Conclusions
From the Paper
"The character of Dorimant can be regarded with a similar ambivalence as that of Careless. If he is intended to act as a warning against libertine behaviour and to fit into the character of the ?penitent rake? he does not do so very successfully, for as Robert Hume has observed, he is ?too glamorous and successful ? Dorimant is undeniably glamorous ? he has wit, spirit, an amorous temper, charm for women? and he provokes ?a combination of fascination and disapproval? (Hume (1976), 93, 95). His conduct is hardly estimable; he rids himself of one mistress, Mrs Loveit, by exploiting Bellinda, whom he seduces in the process, before apparently falling in love with the heiress Harriet Woodvil. It is perhaps only because he meets his effective match in Harriet that he can be viewed with indulgence. It is she who seemingly brings about his reformation."
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Comedy In Los Angeles, 1995.
Discusses the business of comedy; specifically, comedy clubs. Focuses on three Los Angeles clubs: The Comedy Store, the Laugh Factory and the Improvisation.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"INTRODUCTION
Comedy has become a major business over the last 20 years or so, and the proliferation of comedy clubs in major cities is a testament to this fact. Three of the seminal and more successful comedy clubs are found in Los Angeles--The Comedy Store on Sunset Boulevard, the Laugh Factory on the same street, and the Improvisation on Melrose Avenue. These clubs are known for featuring new talent, as places where established talent tests material, and as magnets for celebrities in the audience as well as on stage. Each has also been well-served by their respective owners' dedication to promotion. The venues have somewhat different approaches to the presentation of comedy acts and target somewhat different audiences. They have also been buffeted recently by a downturn in the comedy business, though they have ..."
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Ecological Restoration, 2006.
This paper discusses ecological restoration and restoring the natural balance of the land.
1,373 words (approx. 5.5 pages), 3 sources, MLA, $ 45.95
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Abstract
In this essay, the writer looks at the matter of restoring the natural balance of the landscape. The writer discusses Robert Elliot's apparent distaste for ecological restoration in close detail throughout the first portion of this paper. This article explores the circumstances in which restoration may be considered benevolent, through careful examination of Elliot's philosophy and that of Murray Krieger. The writer concludes that in the case of restoring the natural balance of the land, one is not attempting to profit from the restoration or create a fake situation, but rather restore the original version to its original grace and glory so it can be better appreciated.
From the Paper
"Robert Elliot in his work "Faking Nature" rejects the idea that restoration ecology is useful in many instances. Elliot asserts that attempting to restore the natural ecology of the land is nothing more than an attempt to forge that which was once natural and beneficial. In this light restoring the natural ecology of the land seems nothing more than an attempt to fake that which is natural, which in and of itself promotes no intrinsic value.
Further Elliot asserts that one can not reproduce the value that original ecosystems had to offer. The field of environmental ethics proposes that the natural value of nature should be preserved rather than the value of nature purely for human purposes including survival or consumption. Under this assumption nature isn't necessarily valued by humans desiring to create artificial landscapes purely for humanistic benefits."
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"Divine Comedy" and "King Lear", 2004.
A look at the theme of dark humor and satirical comedy in ?Divine Comedy? by Dante and ?King Lear? by William Shakespeare.
887 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how, in these literary works, a notable characteristic is the authors? ability to weave in the aspect of dark humor, aptly using satirical comedy in order to criticize the rulers and leaders of their societies during their time. It explains how, in ?King Lear,? Shakespeare uses character profiles that fit the description of the antagonists and protagonists in political conflicts that were happening in Shakespeare?s society. It also describes how Dante?s work served as revelation to the people to witness the anomalies going on in their society.
From the Paper
"In Inferno/Hell, Dante is accompanied by Virgil as they go through the inner circles, called bolgia, where different offenders of the sins of humankind are suffering and are being punished for their sins. There are nine bolgias inside, where the first circle is the limbo, described as a place where people experience ?gentle sadness.? Inside the bolgias are people suffering from the sins of humankind: lust, gluttony, the avaricious and prodigal, sullen, heretics, violent people against the tyrants, gods, or goods, fraudulent people in love, flatterers, simonists, diviners, barrators, hypocrites, thieves, fraudulent counselors, sowers of scandals and schism, falsifiers, rebels, and traitors against kin, homeland, guests, and benefactors."
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The Comedy of Errors: Christianity in Shakespearean Era, 2002.
Shows that although it is a comedy, Shakespeare's play, "The Comedy of Errors" contains a great deal of insight into the religious state of Shakespeare's era.
1,542 words (approx. 6.2 pages), 2 sources, MLA, $ 50.95
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Abstract
This paper explains in what ways Shakespeare was quite critical of the practice of Christianity and its hypocrisies. Ephesus, the town where "The Comedy of Errors" is set, contains a great deal of religious history. It is one of the places where St. Paul preached Christianity, as told in Acts of the Apostles in the Biblical New Testament. Ephesus was the source of much witchcraft and sorcery, and subsequently much Christian reform. It shows how through scene setting, Shakespeare had many things to say about Christianity in his play. We see the way in which the characters deal with the Christian hypocrisy of their time. The church focuses power in a patriarchal way; the men abuse this power while the women and servants (Adriana, Dromio) are expected to abide by biblical ideals. The paper addresses all these themes, including detailed adverse effects of the Christian society on the female and lower-class characters. Included are an overabundance of textual quotes, as well as some direct biblical references.
From the Paper
"In moving the location of Plautus?s play, The Brothers Menaechmus, from Epidamium (in Ancient Greece) to the Turkish city of Ephesus, Shakespeare placed the action in a newer and more dramatic religious environment for The Comedy of Errors. The missionary St. Paul, whose travel and imprisonment in Ephesus are recorded in the Christian Bible?s ?Acts of the Apostles,? associated the city with witchcraft and evil sorcery, but also sought to refine it. There are several places in Ephesus whose names hark back to the mythology of Ancient Greece, such as the ?Centaur? (Antipholus of Syracuse?s inn) and the ?Phoenix? (Antipholus of Ephesus?s home). Yet this sets up a religious conflict within the city of Ephesus, for most of the characters indicate themselves to be Christian. Antipholus of Syracuse directly states, ?I am a Christian?? (23), while characters like Luciana and Adriana suggest it in their moral counsel, or even simple exclamations (LUCIANA: ?God for Thy mercy?!? (123)). At the beginning of Act IV, the Second Merchant reminds Angelo the goldsmith, ?You know since Pentecost the sum is due? (87), demonstrating that the Christian calendar is instituted so that it guides even business dealings. However, Shakespeare does not praise Christianity in this play; at times, the manipulation of Christianity is equally as bad (if not worse) than the paganism that St. Paul had originally set out to dispel. It serves as an oppressor to selected characters throughout the play."
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Physical Comedy on Film, 2002.
An interpretation of physical comedy in the movies of Fred Astaire and Ginger Rogers.
2,650 words (approx. 10.6 pages), 10 sources, MLA, $ 79.95
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Abstract
This paper examines how physical comedy does not stop at slapstick and considers how the movies of Fred Astaire and Ginger Rogers could also be defined as physical comedy. Through a review of several of their movies with an emphasis on "Top Hat", it demonstrates how all of their movies, made in the mid-1930s, shortly after sound had been added to films in the previous decade have elements of hilarity which can be attributed to physical comedy.
Outline
Sophisticated, Funny and Physical: The Romances of Astaire and Rogers
Let?s Get Physical, Depression-Era Style
The Namesake Dance as Comedy
Feathers and Fred
A Short Compendium of More Fred and Ginger Physical Comedy
From the Paper
"In the natural comedic way of things, Dale runs into Jerry by chance and they hit it off. But then Jerry sends her flowers billed to Hardwick?s room and a bellman points Jerry out to her, so she?ll have a name to go with the face of the man she?s interested in; he had just called himself ?Adam? since she said she didn?t know him from Adam in an early line. Unfortunately, in that instant, Horace and Jerry trade places and Dale ends up thinking it is her friend Madge?s husband with whom she is falling in love. And, of course, Jerry and Horace know nothing abut this. Neither does Madge at first. When she does hear of it, what she is told is, naturally, also wrong."
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Restoration Vs. Translation of "Beowulf", 2002.
Compares and contrasts the translation of an epic Anglo-Saxon document, "Beowulf" with the digital restoration being done on the epic.
900 words (approx. 3.6 pages), 5 sources, $ 35.95
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Abstract
The review explores the work of Seamus Heaney (1999) in translating the epic Anglo-Saxon document, "Beowulf." This translation is compared to the digital restoration work being done with the original documents found in the British Library. Both Heaney and the Beowulf restoration group (at the University of Kentucky) are working with identical documents; however, Heamus has translated the text into a more accessible story, and restoration experts such as Keirnan (1984) have worked to preserve the original document for study. This paper evaluates whether Beowulf is a "story" or an artifact of Anglo-Saxon history, and the significance of the difference between translation and restoration.
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Tragedy and Comedy, 2004.
This paper discusses that the genres of drama, tragedy and comedy, are not always exclusive; many plays and films fit into both categories simultaneously.
2,510 words (approx. 10.0 pages), 9 sources, MLA, $ 76.95
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Abstract
This paper identifies one characteristic of comedy and two characteristics of tragedy and demonstrates their application to scenes from four plays considered some of the greatest tragedies ever penned, Shakespeare?s ?Oedipus Rex?, ?Macbeth?, ?Romeo and Juliet?, and ?Hamlet?; and from two films, the comedy, ?Pretty Woman?, and tragedy, ?The Path to War?. The author explains that one characteristic of comedy is the exaggerated or wry manner in which human folly or foolishness is underscored, and two characteristics of tragedy are the struggles or suffering of the protagonist over moral issues and the raising of questions about the meaning of human existence. The paper states that the ?Path to War? and ?Oedipus Rex? are pure tragedy based on circumstances and errors in judgment; whereas, ?Pretty Woman? is a film that is a comedy because its light heartedness and innocence completely overshadow its tragic characteristics.
From the Paper
"Perhaps the most appropriate starting point for demonstrating that a comedy and tragedy are not necessarily mutually exclusive, though they have long been considered the main divisions of drama is "Romeo and Juliet". Indeed, although "Romeo and Juliet" is hailed as one of the greatest love tragedies ever written, it, almost deceptively, appears to be a comedy for the most part. In fact, had Shakespeare not used the prologue to announce that the play was about star-crossed lovers; the audience may well have been completely deceived in expecting or hoping for a happy ending, particularly since the opening scene itself is a witty one that mocks human foolishness through a dialogue between Sampson and Gregory from the house of Capulets."
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The Art of Comedy, 2001.
A philosophical essay on human reaction to and experience with comedy.
1,637 words (approx. 6.5 pages), 4 sources, MLA, $ 53.95
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Abstract
This paper gives a detailed analysis of the many types of comedy in modern society and what role humor can play in our lives. Different forms of comedy are analyzed such as slapstick, farce, stand-up comedy, parody and tragi-comedy.
From the Paper
"Comedy has been used as an escape from the tensions of real life for centuries. Laughter seems to be the one uniquely human sensation that there is; there seems little possibility that animals experience humour. Comedy is an essential part of everyday life, as it is regularly on television and radio and in literature. It is often through comedy that we can take a look at our lives and the issues that govern them, and to some extent comedy shapes the world in which we live."
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Meiji Restoration and the Charter Oath, 2007.
An analysis of the success of the Meiji Restoration in Japan in relation to the Charter Oath of 1868.
1,437 words (approx. 5.7 pages), 8 sources, MLA, $ 47.95
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Abstract
This paper discusses the Meiji Restoration in Japan, from 1868 to 1912. It describes the events leading to the Meiji Restoration, the events themselves and the changes that happened during the period. It discusses them with relation to the Charter Oath of 1868 and analyzes whether the restoration was a success or not. It looks at the success in terms of the establishment of a democratically-elected government, the elimination of discriminatory class status, disparaging customs and traditions and the establishment of a universal education system.
From the Paper
"The waning days of the Tokugawa reign was witnessed by the clan's inability to implement reforms needed to face the requirements of the industrial and the overwhelming pressure of Western nations to open up the country to international trade and industry. Aside from the aforementioned problems, the Tokugawa clan was also being challenged by various other clans and a coup was the final straw that broke the Tokugawa's back. "The Satcho-Dohi coalition of the 1860s carried out this supposed feudal coup from below. The coalition was between the four tozama fiefs of Satsuma, Choshu, Tosa and Hizen, the four strongest principalities of the southwest. (The Meiji Restoration, 1999)" Eventually, the last shogun of Japan, Tokugawa Yoshinobu, capitulated in the late 1800s and handed over the rule of the country to a young emperor of the Meiji clan, Mutsuhito. Mutsuhito took over as emperor upon his father's death in 1867 - Emperor Komei left a troubled nation needing reforms to his then 15 year-old son."
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Plot in Shakespearean Comedy, 2007.
A discussion of the typical elements of plot in Shakespearean comedy, with a focus on how "Much Ado About Nothing" deviates from these elements.
1,928 words (approx. 7.7 pages), 6 sources, MLA, $ 61.95
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Abstract
This paper discusses the way in which Shakespearean Comedy has been formulated by elements of plot that are viewed as typical. It provides a brief outline of Shakespearean Comedy and explores the plot elements of the green world, multiple intertwined plots, disguise, mistaken identity and the conventional young lovers. It shows how many plot sequences, seen as typical to comedy, are demonstrated through Shakespeare's various stock characters. The paper then demonstrates how Shakespeare's "Much Ado About Nothing" is one of his plays that presents slight deviations from this typical structure.
From the Paper
"Since its origin, Shakespearian Comedy has developed having specific and identifiable elements viewed as typical, in regards to plot. Much Ado About Nothing contrasts the other comedies. The setting is not in the magical green world and there are two plots. The young lovers do not demand and obtain the role most interesting to the reader and the 'placing of the comic initiative in the hands of its vivacious heroine Beatrice' not a servant. Beatrice and Benedick appear to captivate the comic progression of the play and other than Dogberry present most of the absurd, wit and humour. The basic foundations of Much Ado About Nothing centre on the typical progression from of conflict to a happy resolution that ends with two marriages not just one. Don Pedro, the disturbingly sinister character for a comedy, is expelled, all is forgiven and society is restored to its festive note. 'Strike up, pipers.'"
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Comedy News Shows, 2007.
This paper discusses comedy news shows, especially "The Daily Show" with satirical comedian Jon Stewart.
1,000 words (approx. 4.0 pages), 10 sources, MLA, $ 35.95
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Abstract
This paper relates that comedy news shows, such as "The Daily Show" with Jon Stewart, are the only way millions of viewers, especially the younger generations, are getting their news. The author points out that, because today's youth have access to a plethora of information from radio, television, Internet, cell phones, email, blogs, chat rooms, online forums and newspapers, the problem is not getting the information but rather deciphering it between all the junk. The paper stresses that it is much easier to sit through "The Daily Show" and listen to comedian Stewart make sense of the news rather than being told by traditional news anchors what is important and how people should think. The author underscores that the success of "The Daily Show" has resulted in the spinning off of other comedy news shows, such as Comedy Central's "The Colbert Report" and Fox's "The 1/2 Hour News Hour".
From the Paper
"Traditionally people get their news from newspapers. Civilizations have used print media to spread news and information to the masses. Newspapers have been around for centuries, dating back to the Chinese in 1340. However, today's youth are watching more and more television and leaving behind their parent's method of receiving the news. Newspapers and other dated news reporting outlets are "confronted with different media options than in the past" like the Internet and cable and satellite television. Some would say the newspaper is great because it is portable but so is a laptop."
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Comedy, 2006.
An analysis of comedy as a form of entertainment, looking at two particular plays, "Candida" by George Bernard Shaw and "The School for Scandal" by Brinsley Sheridan.
1,898 words (approx. 7.6 pages), 3 sources, MLA, $ 60.95
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Abstract
The paper analyzes the use of comedy within the entertainment business. The paper specifically compares two plays - George Bernard Shaw's Victorian-era comedy "Candida" and Richard Brinsley Sheridan's "The School for Scandal". The paper discusses each of these plays in detail and focuses on the use of comedy within them.
From the Paper
"Shaw presents a play that is designed to teach as well, however, although Shaw holds up a far less socially acceptable model for his viewers to embrace. The characters are not immediately humorous in as broad a fashion as Sheridan's caricatures, even though the Shaw comedy does aspire to a didactic purpose. "Candida" tells the tale of the Reverend James Morell who is happy in his marriage to a woman named Candida. "Get a wife like my Candida; and you'll always be in arrear with your repayment." (Act I) Morell speaks some of the common, conventional notions about morality, marriage, and loving one's wife that would likely have been embraced by Shaw's Victorian audience. This creates a sense of connection between the audience and the conventional characters that Sheridan lectured his audience overtly to feel."
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