| Papers [1-8] of 8 | Search results on "SHAKESPEARE BAWDY MERCUTIO": |
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Shakespeare's Bawdy: Mercutio, 2001.
A character analysis of Mercutio from Shakespeare's "Romeo and Juliet".
850 words (approx. 3.4 pages), 8 sources, MLA, $ 30.95
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Abstract
This paper discusses Romeo's friend, Mercutio in William Shakespeare's famous love story, "Romeo and Juliet". The paper compares and contrasts Romeo and Mercutio and concludes that Mercutio is the better of the two. Mercutio is more mature in his views of love, his wit is outstanding and he carries impulsiveness to a fault.
From the Paper
"Even in a simplified modern-day version of Romeo and Juliet, Mercutio's character stays with similar wit. "Unable to make anything coherent" with Mercutio's dialogue, the author of the film had the actor "put a handkerchief over his face and say, 'blah, blah, blah, blah, blah'" (Pendleton 62). Mercutio's witty punning is directly a part of his character, and leads to his death with the baiting of Tybalt (Vickers 73). He described his wound simply as "not so deep as a well, nor so wide as a church door, but 'tis enough, 'twill serve." Also punning, he states, "Ask for me tomorrow, and you shall find me a grave man." (Shakespeare 61)."
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"The Golden Ass" by Apuleius, 1996.
Critiques 2nd Cent. A.D. bawdy, satirical odyssey of hero & worshipper of goddess Isis.
1,350 words (approx. 5.4 pages), 1 source, $ 47.95
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From the Paper
"Apuleius was a North African Roman citizen of the second century A.D.; he was a pagan. He firmly believed that his worship of the goddess Isis was valid pursuit of the One True Faith. In his classic picaresque adventure, The Golden Tale of the Ass (aka The Golden Ass), Apuleius contrived to present a comic odyssey with a moral purpose designed to convince readers of Isis' value as a goddess deserving of devotion.
All odysseys lead to home eventually. In The Golden Ass, Apuleius designs a spiritual odyssey for his hero, the man-turned-ass Lucius; all of Lucius' beastly travails lead, eventually, to the homecoming of its hero into "the mindful love of the Goddess" (248): "O Lucius, what a happy and blessed man are you, whom the august deity has selected for such direct honours . . . the day that you have so constantly desired is..."
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"The Miller's Tale", 2005.
A examination of Geoffrey Chaucer's "The Miller's Tale".
690 words (approx. 2.8 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper examines Chaucer's "The Miller's Tale" as a fable or fabliau and explains why it is a tale that has a moral to it as well as bawdy humor.
From the Paper
"The Miller's Tale is a little fable or fabliau a medieval verse tale characterized by comic ribald treatment of themes drawn from life and is one of several such stories in The Canterbury Tales Fabliau. Most of the tales are ..."
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Austen and Shakespeare's Headstrong Women, 2006.
A comparison and contrast between Jane Austen's "Pride and Prejudice" and William Shakespeare's "Taming of the Shrew".
1,300 words (approx. 5.2 pages), 2 sources, APA, $ 43.95
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Abstract
This paper reviews, compares and contrasts the headstrong women presented in Jane Austen's novel "Pride and Prejudice" and Shakespeare's play "Taming of the Shrew." The paper first discusses the different intentions of the two authors, explaining that "Pride and Prejudice" was a sort of comedy of manners, written by a maiden lady, while "The Taming of the Shrew" was intended for the bawdy audience of the Globe Theatre, willing to get a good laugh at the sight of a prospective suitor paddling his prospective bride. The paper looks at the characters of Elizabeth -- who was quite proper -- and Katharina, who was not.
From the Paper
"Elizabeth Bennet would never say those words. She might smile and offer to honor and obey her wedding vows. She might DO what Kate SAYS, but it simply would not be in her character to be really that subservient. While Shakespeare literally changes his "shrew" into a doting wife, definitely the "weaker sex", Elizabeth will be sure to uphold her husband's profession and demeanor, and no doubt, keep his books. These two opinionated people will find a common, middle ground, and their wit and demeanor will surely bring them happiness and a large family (which Darcy will admire from afar) Kate, it seems to me, upon bearing children, will raucously demand a wet nurse at once. Her act of obedience is more of a temporary expedient, from my point of view."
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?Anthony and Cleopatra?, 2001.
Examines elements of east versus west in William Shakespeare's play.
1,779 words (approx. 7.1 pages), 5 sources, MLA, $ 57.95
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Abstract
Throughout "Antony and Cleopatra" by William Shakespeare there is a sharp contrast between the bawdy humour and entertainment of the east and the stern morality and politics of the west. The paper shows that this is best seen in Antony?s downfall; his death is caused by a romantic but illogical attempt at conquering Rome. Alsom the battle of Actium shows the decadent Egypt destroyed and the sensible Rome victorious. The paper shows that in Rome, Antony was at his best as a man, a soldier and a statesmen, whereas, as Antony says, ?in the East my pleasure lies?, as does his downfall.
From the Paper
"Charmian: ?My arm is sore. Best play with Mardian.
Cleopatra: As well a women with a Eunuch played as with a woman??
This short exchange presents Egypt as a place of sexual innuendo and entertainment. Such conversations never take place in Rome, and this shows the more impertinent nature of Egypt. There is also a contrast in the treatment of tragic events between Egypt and Rome. In Rome, they are taken very seriously (for example the military aggression of Pompei), but in Egypt they are often given a comic undertone, for example when Cleopatra is speaking to Antony about the death of his wife, Fulvia. At a point of sadness and tragedy, Cleopatra remarks ?Can Fulvia really die??. The word die has a secondary meaning in Elizabethan English, to reach sexual climax. Shakespeare illustrates the more irreverent nature of Egyptian life by treating such a tragic issue with bawdy humour."
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"The Wife of Bath", 2002.
This paper introduces, discusses and analyzes the book, "Canterbury Tales," by Geoffrey Chaucer.
2,169 words (approx. 8.7 pages), 5 sources, MLA, $ 67.95
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Abstract
Women during author Geoffrey Chaucer?s time were both oppressed and sacred. Men prized women for their beauty and frailty, but treated them as chattel in the everyday course of their lives. This paper concentrates on the "Wife of Bath" and women in Chaucerian times. The "Wife of Bath" is a bawdy, outlandish woman not typical of most women in Chaucer's time, yet she is a major character in the "Canterbury Tales." The paper shows that "The Wife of Bath" illustrates the diversity in women even in Chaucer's time and gives new (and old) meaning to "do your own thing," even as she illustrates how life was so incredibly difficult for women at the time.
From the Paper
"This woman who speaks her mind is amusing and alluring at the same time. Her tale is one of the longest in the book, along with being one of the most humorous, and even the most outrageous. While the Prioress shows us the piety and goodness of womanhood, the Wife of Bath shows us more the lewd, bawdy side of women. Clearly each type existed during Chaucer?s time, and he relished each one for what they had to offer. However, the women of the time had a difficult life at best. Underlying the Wife of Bath's delightful tale is the real life of women in the middle ages. They worked hard; they were often treated merely as chattel, a workhorse to keep the house running. "Lies, tears and spinning are the things God gives / By nature to a woman, while she lives" (Chaucer 285). This is more true about women's lives than any of the Wife's other boasts and brags. Women did not have the options or the freedom men enjoyed, and most of them suffered dearly if they dared to speak out the way the Wife has to her fellow travelers."
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A. D. Hope's Eroticism: "The Double Looking Glass", 2005.
Examines poet, A.D. Hope's autoerotic poem which retells the Bible story of Susanna and The Elders.
1,000 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper discusses the poem, "The Double Looking Glass" in which the biblical legend of Susanna and the Elders gets a novel twist. Australian poet A. D. Hope depicts Susanna in an autoerotic mood in which she imagines a naked youth watching her at the same time the bawdy elders do.
From the Paper
"The looking glass provides multiple and surprising perspectives, for the poem converts the story into a study of female erotic fancy. Susannah strips the "lily" (an emblem of purity from medieval iconography) of herself and, as she slips into her garden pool (the closed garden motif), she feels aroused by her sensual nakedness; she thrills as her "flesh reverberates its own surprise / And startles at the act which makes it bare" (Selected Poems 84 ). The poem pivots on a characteristic Hope stratagem: he turns the original story of the elders' sexual extortion of lily-pure Susannah into an exhibit of autoeroticism, which incites Susannah to lust for an imagined male even while the voyeuristic elders plot to ravage her."
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Regulation and Censorship in the Film Industry, 2006.
Examines the history of regulation and censorship of the film industry in America and the reasons many in society wanted the industry regulated.
5,107 words (approx. 20.4 pages), 11 sources, MLA, $ 128.95
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Abstract
Through an examination of the history of film in America, this paper looks at the censorship and regulation of the film industry and argues that the need for regulation was forced upon the industry (and still is, in a way) for no other reason than that conservative elements of America felt that what the average American could see should be censored. The paper further argues that this regulation was not merely to prevent bawdiness, lewdness, or unsuitable physical actions that stimulated sexual feelings, but also to regulate the politicization of the movies.
From the Paper
"Following the end of the War, while many film makers now turned to a rather "new" sophistication, there was also a very serious anti-Communist note in some movies. While the real "Red Scare" occurred in the 1950s, in 1919, for example, there was real concern that the newly Communist Russia might actually invade the U.S. "Conservative films such as The New Moon (1919) disparaged communists and communism with scenes of perfidious Bolshevik officers attacking vulnerable young women....In The Penalty...audiences saw 10,00 disgruntled foreign workers, armed with rifles and pistols, waiting to open fire on police and take over the city of San Francisco." (Ross 136). Politicians applauded these films, even though they often misrepresented actual events. This included several truly anti-Semitic films, which, under extreme political pressure, were forced to change character names and some dialogue. "Pressure from the Yiddish press and Governor Al Smith forced the producers of The Volcano to alter its blatantly anti-Semitic plot. The hero's name was changed from Garland to Nathan Levison and the hook-nosed villain was given the line: 'I am not Jew. I am a Bolshevik.!'" (Ross 141)."
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