| Papers [1-5] of 5 | Search results on "REVERIE": |
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?Reverie?, 2002.
A comparative analysis of Claude Debussy?s ?Reverie? and Billy Joel's version.
890 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper reviews Claude Debussy?s musical masterpiece, ?Reverie,? which was written during the late 19th century. It discusses how the tone and feel of Debussy?s ?Reverie? is different from that experienced by the listener upon hearing Billy Joel?s ?Reverie,? part of his album, ?Fantasies and Delusions,? which was released in 2001. It shows how it is Joel?s attempt at paying homage to a classical artist whose works he admired and who had influenced him early on in his training as a musician and how the song, reminiscent of Debussy?s piece, has a different melody and is stronger in tone and louder than Debussy?s work.
From the Paper
"The music moves slowly and deliberately, and yet with a rhythm that brings to mind water flowing and bubbling in a fountain. As the song continues, the music becomes more wavelike in tone. The way the music ?while still remaining soft and tranquil ? moves back and forth in a slight crescendo only to die away again can?t help but make the listener think of waves. However, these are not the crashing waves of a beach, but rather the waves that might lap the shores of a small lake. This is not a piece that lends itself well to lyrics. Instead, it urges the listener to do what is suggested by the title and simply drift away, letting one?s thoughts move off where they will like clouds blowing across the sky."
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"Reveries of a Bachelor", 2006.
An analysis of how Emily Dickinson's reading of Ik Marvel's "Reveries of a Bachelor" played a vital role in the emergence of her mystical discourse.
3,449 words (approx. 13.8 pages), 11 sources, MLA, $ 97.95
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Abstract
This paper discusses how Emily Dickinson appropriate Ik Marvel's idea of the noon in her writing. In particular, the writer emphasizes on the idea of the noon as it is implicated in the emergence of different phases in Dickinson's writing; the way the "noon" of "Reveries of a Bachelor" gives life-long substance to her noon.
From the Paper
"The narrator in Reveries is a bachelor who uses his imagination to meditate over the joys and sorrows that he experiences in his life. He calls his imaginings "reveries," or daydreams - musing over them by using "smoke," "flame," "ashes," a "burning cigar" and the progress of the day as metaphors for "time...passing." The use of allegory in Reveries provides a basis for the theme of loss. The theme is more fully examined against the issue of time in the fourth reverie called "Morning, Noon and Evening." This fourth reverie is perhaps what encouraged Dickinson to further explore the issues of loss, the daydream and the noon in her writing."
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Claude Debussy, 2008.
This paper discusses French composer Claude Debussy's melody "Reverie".
1,098 words (approx. 4.4 pages), 6 sources, MLA, $ 38.95
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Abstract
The paper relates that Claude Debussy's music was often associated with the Impressionist movement in painting. The paper shows how his piece "Reverie" reflected the aesthetic currents of the time and mirrored the methods of the Impressionists. The paper describes the complexities of this piece.
From the Paper
"Claude Debussy (1862-1918) was a French composer and critic whose music was often associated with the Impressionist movement in painting. He believed that the primary aim of music is to give pleasure, and Debussy was especially interested in the sensuous quality of music. He often allowed the sensuous qualities of the sound to override many of the rules of composition and harmony. In his early period, Debussy was a follower of Wagner and saw his power as the future of music, especially with reference to musical drama. He later changed his focus and was influenced by the symbolist and decadent movements in poetry, notable for their interest in sound and abstract meaning. Debussy became increasingly drawn to abstract forms in music as well ("Claude Debussy" paras. 1-6)."
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Comparative Analysis of Three ?Stories?, 2004.
An analysis and comparison of Aurora Levins Morales?s ?Kitchens,? William Maxell?s ?What He Was Like?, and Anatole Broyard?s ?Intoxicated by My Illness.?
1,100 words (approx. 4.4 pages), 0 sources, $ 38.95
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Abstract
This paper explains the unique style of these three stories, which are relatively plotless, dealing more with a single coherent idea than with a progression of character and events. Each represents a sort of emotional reverie in which the rhythms of repetition become building blocks of identity, or, in the case of Maxell, portray something of the results of such a reverie. It explains that, in each, this identity is both created in and is the force behind the creation of the written and sung word.
From the Paper
"If plot is understood as a series of events springing from the very nature of the characters and eventually resolving in some fashion, then one may quickly find that no such thing underscores these three stories. ?Kitchens? deals exclusively with the stream-of-consciousness invoked in the narrator as she enters her kitchen and smells the cooking beans, and its subject is more the language and imagery of this particular place than it is any set of distinct happenings. Broyard?s story, which is actually just a collection of his journal entries preceding his death, is also relatively plotless, being more of a rumination on the general nature of death. The goal of these pieces is not so much to tell a complete story as it is to suggest a greater cyclical nature. ?What He was Like,? on the other hand, has the beginning of a plot, which could be entirely summed up in a single sentence: a man writes in his diary dark secrets that after his death traumatize his daughter. But these secrets are never disclosed to the audience, and their actual effects and resolution never quite materialize. So even with this penciled-in plotline, one is left feeling somewhat unresolved as to the story itself as the primary living character trails off ?lest in that brief interval he turn into a stranger.? (101)"
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The Many Faces of God, 2002.
A review of Karen Armstrong?s ?History of God?, focusing on its contribution to the great debate concerning the evolution of man?s perception of God.
1,774 words (approx. 7.1 pages), 6 sources, MLA, $ 57.95
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Abstract
This paper explores the central theme of ?History of God? by Karen Armstrong, that the definition of God is subject to conventionality. The paper does this by highlighting the influences that led Armstrong to embark on this quest for illumination as well as by providing a summary of the book. The writer illustrates Armstrong's belief that Man's definition of God is continuously being modified, abandoned, revived and reiterated in accordance with Man?s realistic and pragmatic challenges, as opposed to philosophical reverie.
From the Paper
"Before providing an analysis of the book?s core theme, it is necessary to study the influences that drove Armstrong to write this book. Armstrong?s interest in religion was cultivated at an early age, manifesting in her entering the religious order at the age of 17. For 7 years, Armstrong lived the life of a Roman Catholic nun (Powell, 1998, 1). Her monastic life afforded her exposure to the 3 Abrahamic religions. She obtained a BA in literature at Oxford University. However, she experienced great difficulty in conforming to the restrictive realities of her convent life and decided to leave the convent on amicable terms."
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