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"Romeo and Juliet", "M. Butterfly" and the Oppression of Men, 2007.
A discussion of the oppression of men in the plays "Romeo and Juliet" by William Shakespeare and "M. Butterfly" by David Henry Hwang.
1,708 words (approx. 6.8 pages), 1 source, MLA, $ 55.95
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Abstract
This paper analyzes the oppression of men through the study of characters and their experiences in two literary works, "Romeo and Juliet" by William Shakespeare and "M. Butterfly" by David Henry Hwang. The paper explains that masculinity is fragile because it is socially constructed and men have to struggle everyday against anything within themselves that many be perceived as not masculine: anything passive, any attraction to the same sex, and even displays of vulnerability are all suppressed. The paper argues that Romeo stepped out of the 'masculinity' assigned to him socially, and because of this, suffered. The paper also looks at how Gallimard, is insecure in his masculinity and uses it, along with his racism and prejudice to destroy himself. In conclusion the paper shows that the male protagonists in both plays are in a way a victim of patriarchy because they do not conform to the 'masculine' ideal.
From the Paper
"Looking at the text closer, it is clear that Romeo does not exhibit typical masculine characteristics, and that Juliet often acts as the more aggressive, less 'feminine' one of the pair. This is evident from the beginning of the play all the way through to the end, where each chooses a different way to die. In the first scene of the play we are introduced to Romeo, both his parents are worried about him, as he seems melancholic. He is sad, in love, and because of this he suffers. All of these are not very masculine characteristics. He loves to read, is keen on poetry, and loves to be in love. All these characteristics could be considered 'feminine'."
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"M. Butterfly", 2007.
A discussion on the exotic, feminine Orient in the Western imagination, as depicted in David Henry Hwang's drama "M. Butterfly".
1,228 words (approx. 4.9 pages), 5 sources, MLA, $ 41.95
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Abstract
The paper discusses how "M. Butterfly" is a play about the power of stereotypes to do harm, both to the person and the culture they are inflicted against, and also against the people who hold such stereotypes. The paper describes how, at the end of the play, Gallimard is destroyed because he realizes his life was based upon a lie, just as China was harmed by the lies and exploitation of Western colonialism. The paper examines how the conflict of gender, national, and identity issues are dramatically depicted in David Hwang's "M. Butterfly," when the French diplomat Rene Gallimard falls in love with a feminine image of the East, in the persona of the actress Song Liling.
From the Paper
"Gallimard has a psychological as well as a national and gender based need to see Song as feminine. Thus, the gender disguises of the play do not merely invert stereotypes of male and female, Asian and West. They also destroy the security of Gallimard's own identity as a strong, male Westerner with power. Song Liling is not only a man. Song uses Gallimard's own cultural stereotypes to exploit the Frenchman. Gallimard begins the play thinking he is the Western, White man taking advantage of the virginal 'Oriental' maiden. But like the opera's "Madam Butterfly," Gallimard ends the play abandoned, disgraced, cut off from his countrymen and finally suicidal. Thus Gallimard's own secure identity as a powerful man has been so undercut, he cannot live with himself, because he no longer knows who he is as a person."
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"M. Butterfly", 2002.
A review of the play "M. Butterfly" by David Henry Hwang.
1,650 words (approx. 6.6 pages), 6 sources, $ 62.95
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Abstract
This paper shows the sexual gender and stereotype roles in the play "M. Butterfly" by David Hwang.
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'M Butterfly' by David Henry Hwang, 2006.
A discussion regarding gender conflict in 'M Butterfly' by David Henry Hwang.
675 words (approx. 2.7 pages), 1 source, $ 26.95
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Abstract
This paper discusses the gender conflict in the play 'M Butterfly' by David Henry Hwang. According to the paper, this work is based on the romantic relationship of Song and Gallimard. In many ways, Gallimard offers a typical sexist male gender role behavior toward the typically female, Song. These gender norms appear to be colluding in unison for the couple, but are ultimately destroyed when Gallimard learns if his lovers true sex. This provides the foundation for gender norms, and Hwang reverses these roles in a clever plot twist through romance, espionage, and culture.
From the Paper
"This drama study will analyze the gender conflict that arises within the play: M Butterfly by David Henry Hwang. Much of the play revolves around Song, and her unique ability to seduce Gallimard with her submissive and seemingly passive female behaviors. However, the backdrop to her femininity is merely a mask for the male gender intrigue that surrounds her real identity as a man. In this study, the basis of gender conflict within this story reveals the darker side of male-female relationships through the conflicting masquerades of character identity within this play by David Henry Hwang. The initial and defining role of Song in this play revolves around the imperialistic sexism of Rene Gallimard, a French diplomat traveling through China. "
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"M. Butterfly", 2002.
An analysis of the film and play, "M. Butterfly" by David Henry Hwang.
600 words (approx. 2.4 pages), 0 sources, $ 21.95
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Abstract
The paper explains how the play and film of "M. Butterfly" both tell the same story in much the same way, but there are some details that are very different and the way elements are emphasized is different. It shows how both the play and the film raise the same essential question for the viewer, though, a question that was originally raised by the true story on which each is based: Given that the diplomat in the story has an affair for several years with a man dressed as a woman and claimed not to know that this was a man and not a woman, how is this possible?
From the Paper
"The external world of the film is more realistic than the "suggested" world of the stage, and this also undercuts the way the play deals with the conflict between reality and illusion because it makes reality more real and the illusion more obviously an illusion. The way Hwang develops Song Liling contributes to the essential deconstruction of Madame Butterfly, for while Song Liling decries the story of the opera, he makes use of it to seduce Gallimard and plays the part of Cio-Cio San in their relationship. "
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"M. Butterfly", 2008.
An analysis of theme of feminism in "M. Butterfly" by David Henry Hwang.
985 words (approx. 3.9 pages), 0 sources, MLA, $ 34.95
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Abstract
This paper examines how, in David Henry Hwang's "M. Butterfly", a wide variety of characters and dialogue are used to explore the feminist viewpoint that men try to control women because of self-doubts and insecurities. It looks at how this is exposed as a fruitless and impossible way to establish a productive, working relationship between men and women. From the three gossipers, to Gallimard and Marc, from Gallimard and Renee to Gallimard and Song, it discusses how Hwang inspects feminism using a new and unusual viewpoint throughout the play, which he asserts in various ways.
From the Paper
"While the play was borne of racial stereotypes, it evolves more into a tale exposing the intricacies of male-female relations, using East-West misconceptions as a medium, and focuses on the protective fantasies of men. The story, told after Gallimard's arrest, drips with cynicism and sarcasm. In flashbacks, Gallimard (the diplomat), describes his perception of the play, "Madame Butterfly," relating his own love affair with Song Li Ling, who him/herself expresses why he/she participated in it. Gallimard, a faceless unimportant diplomat begins to gain confidence as his "Madame Butterfly," submits to him. Further, as this is accomplished he moves up in diplomatic circles. "
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"M. Butterfly" and the Western Cultural Creations, 2002.
Shows how the play "M. Butterfly" dispels Western stereotypes of women in the Esst.
1,900 words (approx. 7.6 pages), 4 sources, $ 71.95
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Abstract
"M. Butterfly" deconstructs Western stereotypes of the East and the women of the East. It reveals the multiplicity of individual relationships and their meanings in social and political contexts. Within the duality of masculinity-femininity and West-East, the play brings forth the aspects of power embedded in Western stereotypes of the femininity of the East, which is comparable to the power involved in political imperialism. With the deconstruction of the stereotypes and reversal of the duality, the play leads the audience to new political consciousness and look at the Western as well as Eastern stereotypes critically.
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Ambiguous Identity and Blindness in the Play "M. Butterfly", 2001.
This paper looks at East/West and gender stereotypes in relation to David Henry Hwang's play "M. Butterfly".
780 words (approx. 3.1 pages), 1 source, $ 27.95
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From the Paper
"Playwright David Henry Hwang's M. Butterfly is based on a true story. In 1964, a French diplomat stationed in China fell in love with a native Chinese opera singer, lived with her for twenty years, and believed he had fathered a child by her, and then discovered she was a man. One would expect Hwang?s play to be a farce -- and yet it is not a farce at all. It is a deeply riveting study of not only the psychology of two individuals but of the way the West stereotypes the East and prefers its fantasies to the reality of a changing Orient."
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Fate in "Romeo and Juliet", 2004.
An analysis of the reoccurring theme of fate in William Shakespeare's "Romeo and Juliet".
1,956 words (approx. 7.8 pages), 0 sources, $ 62.95
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Abstract
This paper examines "Romeo and Juliet", written by William Shakespeare, which is set in Verona Italy, where two feuding families, the Montagues and the Capulets, produce a pair of ?star-crossed lovers?. It looks at how within the play there are five events that drastically change the course of Romeo and Juliet?s love: Romeo and Juliet?s meeting; their marriage; the death of Tybalt and Romeo?s banishment; Friar John being detained with the letter allowing Balthasar to inform Romeo of Juliet?s death; and Romeo killing himself before Juliet awakens. It attempts to show how these events could be classified as the direct results of a character?s action, an act of fate, or a combination of both.
From the Paper
"Romeo and Juliet?s first meeting is completely due to fate. Their families? hate for one another would have made it impossible for them ever to meet unless there was another force at work. Romeo was originally infatuated with Rosaline, a woman who did not belong to either the Capulet or Montague family, and who would have nothing to do with Romeo. If the Serving Man of the Capulets had not approached Romeo to read the list of guests he was to ask to the party, Romeo would never have been aware that Rosaline was invited, which is the reason that induced him to enter the home of his enemy. This string of events and coincidences could not occur in a situation without fate, which sets up the rest of the play around the delicate relationship of Romeo and Juliet that under normal circumstances would not exist."
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Shakespearean Studies: Understanding the Theme of Disguise in Romeo and Juliet and the Film Shakespeare in Love, 2005.
An analysis of the theme of disguise in "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden.
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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Abstract
This paper looks at how the play "Romeo and Juliet" by William Shakespeare and the film "Shakespeare in Love", directed by John Madden, utilize disguise as the key to romance and intrigue. It looks at how "Shakespeare in Love" displays the theme of disguise as an equal response to the trickery and guise found in "Romeo and Juliet" and how in "Romeo and Juliet" the theme of disguise through the masquerade ball is important in Romeo realizing his love for Juliet.
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Shakespeare?s ?Romeo and Juliet?.
This paper is a personal essay blaming the apothecary for the death of Romeo in Shakespeare?s ?Romeo and Juliet?.
925 words (approx. 3.7 pages), 0 sources, $ 32.95
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Abstract
This paper explains that, at the end of Shakespeare?s "Romeo and Juliet", the Prince of the City announces that this tragedy is, in some ways, the fault of all those involved and that further investigation is warranted. The deaths of Romeo and Juliet are the immediate result of the crime of one drug-dealing apothecary. The author believes that the apothecary could have most easily and simply averted this tragedy merely by obeying the laws of his land; the apothecary had nothing personal to gain from selling this poison. Only greed or a blatant disregard for the law could have inspired him to sell such a poison. The paper concludes that, when watching or reading "Romeo and Juliet", it is important to remember that one does not need to be in the center of terrible events to have an overwhelming part to play in them.
From the Paper
"At first glance, the tragedy does not seem to be the fault of the apothecary. It seems more convenient to blame it on people who were more immediately involved in the tragedy, such as the parents or the priest. However, all those involved immediately were blinded by emotion and social pressure. It was almost impossible for either side of the feud to end the warfare by themselves -- this was evidenced by Romeo?s attempt at pacifism which ended so tragically in Mercutio?s death. The feud was bigger than any individual within either family, so one cannot blame any single character on either side of the feud for their deaths, though one can blame their collective families. Blaming the priest or the prince would also be convenient, but on the other hand they were the only people to be actively struggling to end the bloody feud."
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"Romeo and Juliet" and "Macbeth", 2001.
A brief look at "Romeo and Juliet" and "Macbeth" by Shakespeare.
1,860 words (approx. 7.4 pages), 8 sources, MLA, $ 59.95
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Abstract
This paper begins with a brief biography of Shakespeare and summaries of the plays "Romeo and Juliet" and "Macbeth." The paper then presents Julia Kristeva's critique about hatred in "Romeo and Juliet" and Gerry Brenner's critique of the friar in that same play. The paper presents Harold Goddard's interpretation of the characters in "Macbeth" as criminals. The paper concludes with a comment on each of the two plays: 1)Romeo and Juliet's love was narcissistic; and 2) Macbeth and Lady Macbeth roles reverse by the end of the play.
From the Paper
"William Shakespeare was born in 1564 in Stratford-upon-Avon. The exact date of his birth is unknown but his christening took place on April 26, 1564 therefore it is assumed he was born on April 23, 1564. His father, John, was a glove maker. He was tutored at an early age and then attended the Free School in Stratford when he was seven years old. His father took him out of school when he was 13 years old to have him apprenticed as a butcher. When he was 18 years old he married Anne Hathaway. The 26 year old woman was approximately three months pregnant when they married in November 1582. Their first daughter, Susanna, was born on May 26, 1583. Three years later, their twins, son Hamnet and daughter Judith, were born. Both were named after family friends. Little is known about his relationship with his family or what transpired in his life over the next several years."
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"Romeo and Juliet", 2004.
An analysis of the characters of Romeo and Juliet and their fate in the play by William Shakespeare.
1,190 words (approx. 4.8 pages), 0 sources, $ 40.95
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Abstract
This essay discusses William Shakespeare's play, "Romeo and Juliet". The essay particularly focuses on the characters of Romeo and Juliet and their fate. It argues that Romeo and Juliet suffer as victims of fate and not their own choices. It includes examples and quotes from the play to demonstrate this point.
From the Paper
"In most tragedies there is a villainous antagonist or supernatural agent that deliberately creates obstacles and difficult circumstances in an attempt to destroy or conquer the protagonist. Sometimes, as in Shakespeare's tragedies Macbeth and Hamlet, it is the protagonist's own tragic flaw that causes their demise. However, in William Shakespeare's Romeo and Juliet there is no obvious villainous character or personal tragic flaw that leads to the untimely deaths of the two protagonists, rather fate is the opposing force in this tragedy."
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"Romeo and Juliet", 2004.
An analysis of William Shakespeare's "Romeo and Juliet".
2,710 words (approx. 10.8 pages), 3 sources, MLA, $ 81.95
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Abstract
This paper considers the characters of "Romeo and Juliet" on a psychological level, with the analysis looking deeper at the real reasons for their decisions and their behavior. The paper presents "Romeo and Juliet" not as a story of star-crossed lovers, but as one of two teenagers trying to deal with the anxiety in their lives. The paper examines "Romeo and Juliet" from this psychological perspective, illustrating that their story is one that deals with love and anxiety.
From the Paper
"One of the first critical points in understanding Romeo is that Juliet is not the first woman he has been in love with. In the first scene he describes his love for Rosaline. Most importantly, like Juliet, Rosaline is also a Capulet. In the first scene, Romeo describes how Rosaline is sworn to chastity saying, "Well, in that hit you miss: she'll not be hit / With Cupid's arrow; she hath Dian's wit; / And, in strong proof of chastity well arm'd, / From love's weak childish bow she lives unharm'd" (I,i 206-209). This shows that Romeo has selected a person to love that is a completely unsuitable match for him. It is also important that Romeo speaks as if his love is pure and will never die. When Benvolio urges Romeo to forget about her, Romeo replies that he could not possibly forget her because he loves her too much. Considering that Rosaline has shown no interest in Romeo and that they do not have a real relationship, it is suggested that Romeo is inventing his sense of deep love. This is further suggested when Romeo meets Juliet and instantly forgets about Rosaline and transfers all his feelings of love to Juliet. Reading Romeo and Juliet as a love story, it could be argued that Romeo forgets about Rosaline because he experiences real love when he sees Juliet. However, on seeing Juliet, he decided that he loves her intensely without even knowing her. In fact, the only thing he does know about Juliet is that she is a Capulet. This suggests that Romeo desperately wants to love a Capulet."
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"Romeo and Juliet", 2002.
A look at the three most recent movie remakes of the Shakespearean play, "Romeo and Juliet".
1,715 words (approx. 6.9 pages), 0 sources, $ 55.95
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Abstract
A comparison of three movie versions of "Romeo and Juliet". The writer examines why this play has been so popular a choice of film directors and looks at the different qualities each version stresses or omits. The version examined are Franco Zeffirelli's "Romeo and Juliet," Baz Luhrmann's version of "Romeo and Juliet," and the movie version of ?West Side Story?.
From the Paper
"What occurs when a filmmaker attempts to translate this extremely word-focused medium into the image-focused medium of film? Anyone who has ever seen a filmed play of any kind will understand the dilemma facing a filmmaker in such a situation. He or she is often frustrated by the static nature of the camera, and of the lack of action in the bodies of the participants. What seems exciting on the stage can seem quite dull and overly verbose on film. Three filmmakers in recent memory have attempted to remedy themselves against this danger of dullness when translating the word-heavy medium of Shakespearean verse of ?Romeo and Juliet? upon the screen in three different ways. Like the time in which it was written, these versions of ?Romeo and Juliet? themselves are tied to a particular place and time and the techniques they use to make the play cinematic are quite particular to a particular vision of the play in cinematic history."
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