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Women in Shakespeare's Tragedies, 2008.
A proposal for a project to study the representation of women in Shakespeare's "Romeo and Juliet" and "Othello".
940 words (approx. 3.8 pages), 34 sources, MLA, $ 33.95
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Abstract
This paper explains that the project will be a detailed analysis of two works by William Shakespeare, "Othello" and "Romeo and Juliet", focusing primarily on the feminist and philosophical elements of the two plays, as well as the significance of the historical context in which they were written. The author points out that feminists, who are preoccupied with the commentary being made in Shakespeare's plays concerning women, question whether his representations of women truly reflect reality. The paper includes an outline of the method by which the project will be completed.
Table of Contents:
Project Overview
Subject to be Studied
Intended Outcomes
Learning Objectives
Detailed Work Plan
Project Outline
Method
Literary Resources
On-Line Resources
Faculty Supervisor's Role
Proposed Timetable
From the Paper
"The project proposes to examine the genius of Shakespeare as a dramatist who possessed a deep psychological understanding of women and who usually was able to anticipate a feminist perspective on women's issues and roles. Being a male author during the Elizabethan period, Shakespeare exhibited profound insights into the psyche of his female characters. Desdemona is unafraid to confront her father and is fascinated by the violent aspect of life yet she is also incapable of taking any real action to resolve her situation."
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An Insufficient Treatment of Shakespeare's Tragedies, 2000.
An explanation of why Stanley Cavil's treatment of Shakespeare's works is incomplete and inconsequential.
2,510 words (approx. 10.0 pages), 0 sources, $ 76.95
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From the Paper
"Stanley Cavell?s reading of Shakespeare indicates that the bulk of what constitutes Shakespearean tragedy anticipates the sort of philosophy known as ?philosophical skepticism? that writers like Thoreau and Descartes would bring to fruition years later, within the clearly defined realm of philosophy. More specifically, Cavell claims that Shakespeare?s tragedies are essentially tragedies of ?acknowledgment,? when one character makes a conscious decision to disown something that he [sic] knows. While Cavell may have identified (indeed, accurately) and been able to categorize elements of Shakespeare which fit into his preconceived mold, to claim that this constitutes the bulk of Shakespeare?s tragic element completely eviscerates the more substantive components of Shakespeare?s tragedy. Cavell?s analytical methods are retroactive. Rather than reading Shakespeare and then formulating a conclusion, he has chosen instead to fit his reading of Shakespeare, sometimes bordering on absurd and nonsensical, to his already preconceived conclusion. To claim, then, that Shakespeare was consciously operating within the context of philosophical skepticism is irrational. Philosophical skepticism gives to the reader an analysis of Shakespeare that is excessively introspective, focusing on the motivations of individual characters while looking over the more significant and relevant parts of the tragedies, relationships between and among humans. While Cavell, centuries later, may have indeed identified elements of Shakespearean tragedy which fit within his mold of philosophical skepticism, this was certainly not the framework from which Shakespeare was operating. "
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Ego: Its Role in Characters of Shakespeare from Comedy to Tragedy, 2000.
A paper analyzing Shakespeare's use of Jungian-like psychology in the creation of his flawed characters.
2,035 words (approx. 8.1 pages), 6 sources, MLA, $ 64.95
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Abstract
This paper explores and compares the psychology of the Ego and masks that are worn by two of Shakespeare?s characters; Malvolio(Twelfth Night) and Angelo(Measure for Measure). Using concepts of the Ego laid down by Freud and Jung the author demonstrates how Shakespeare uses this flaw, of imagining oneself as an ideal persona, in both a comedic, and later, tragic play. The paper cites examples from Shakespeare's plays to demonstrate his points. Also, the author references known critics in the field of literary criticism to further elucidate his meaning. The author concludes that by using the Ego as a flaw, Shakespeare created characters that are easy to relate to and provides valuable insight on how to deal with ones mask.
From the Paper
"In C.G. Jung?s book, The Archetypes and the Collective Unconscious, he described what can happen to one who is ?possessed? by what Freud would call the Super-ego. This is an idea Shakespeare was well aware of. He used the concept in his writing as a means to bring about both comedy and later to develop a more sophisticated plot, with a more developed conflict. This flaw of imagining oneself as an ideal persona is supported by critiques of Shakespeare's comedies. Richmond, states that Shakespeare's comedies suggest, "that we should test higher sentiments against the implication of facts"(p.2). He argues that Shakespeare finds virtue in what might be called compromised relationships and only destructiveness in single-minded commitment to an ideal. This is not because this harsh world will not tolerate ideals, but because ideals are self-destructive. Through the characters of Malvolio, in Twelfth Night and Angelo in Measure for Measure, Shakespeare explores this character theme, and creates, not only internal conflict, but external as well ."
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Tragedies By Sophocles and Shakespeare, 2001.
An essay on how tragic characters deal with death as seen by Sophocles and Shakespeare.
1,700 words (approx. 6.8 pages), 2 sources, $ 55.95
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Abstract
In this paper the author examines the tragedies of Antigone and Hamlet. The characters of Antigone and Hamlet are tragic figures who meet their fates while trying to right or avenge a wrong committed against a dead loved one. The author examines the many traits they have in common and the important differences which influence how the reader responds to them emotionally.
From the paper:
"In Greece two brothers, one a hero, the other a traitor, meet on the field of battle. Both fall. The hero receives a funeral with full honors. The traitor is left to rot where he died. When the king forbids his burial under penalty of death, the traitor?s courageous sister forfeits her life to perform the proper rites. "
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Shakespeare, Aristotle, and the Idea of Tragedy, 2004.
Examines the dynamic forms of catharsis and tragic flaws in William Shakespeare?s plays and how they relate to Aristotle's definition of tragedy.
2,409 words (approx. 9.6 pages), 5 sources, MLA, $ 73.95
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Abstract
William Shakespeare?s most beloved plays are his tragedies. If one were to list his best and most popular plays, "Othello", "Romeo and Juliet", "Hamlet", "King Lear" ,and so forth, one would find the list comprised almost entirely of tragedies. The paper states, therefore, that it would not be amiss to say that much of the modern literary conception of theatrical tragedy is shaped and influenced by Shakespeare. At the same time, the paper shows that the definitions of the tragic form ,as understood at the roots of theatrical history in Greco-Roman times, continue to be part and parcel of the official comprehension of tragedy. The paper shows that many critics have sought to force Shakespeare into the mold of tragedy as defined in Aristotle?s "Poetica", and many others have rightfully protested that he was not cast from that mold, and that, in fact, he owes little to it.
From the Paper
"On the other hand, there is a startling number of criteria discusses by Aristotle that Yanni never mentions, and which Shakespeare either fulfills or denies to some degree. For example, Aristotle suggests that the proper metre for drama is ?The iambic? the proof is that in talking to each other we most often use iambic lines.? (Aristotle) The majority of Shakespeare?s tragedies, of course, use iambic lines. Likewise, Aristotle claims that ?Necessarily then every tragedy has six constituent parts, and on these its quality depends. These are plot, character, diction, thought, spectacle, and song.? Shakespeare is well known for his focus on diction, spectacle, and even song. In these categories one could make any number of parallels between Aristotle?s dramatic suggestions and the original staged forms of Shakespeare?s work."
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Shakespeare's "King Lear", 2005.
This paper analyzes extensively the character of King Lear in Shakespeare's tragedy, "King Lear".
4,240 words (approx. 17.0 pages), 5 sources, $ 112.95
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Abstract
This paper argues that King Lear is driven by a desire to validate himself independently from his noble status and that his natural combativeness brings about his own downfall. The author asks why, in the first place, does King Lear give up the throne and answers that he is beginning to realize his office is a separate entity from himself and that he is having a sort of belated mid-life crisis. The paper relates that Lear changes because, throughout the play, he finds the validation for which he has been searching and can now accept the love that Cordelia offers freely, the same love that he attempts to extort from her at the beginning of the play.
From the Paper
"As early as the first scene, Lear can be seen struggling with his roles as king and father, and how his failings as one overlap with the other. As the play opens, Lear is secure, if not necessarily successful, in his position as king, but he has decided to abdicate the throne to his daughters and their husbands. He does so by staging a ?love test?, wherein he asks his daughters which one of them loves him most and awards them a portion of the kingdom in relation to their answers. Cordelia?s refusal to flatter him causes him to explode, banishing her and his trusted advisor Kent, and setting the play in motion. This scene introduces many important ideas that will recur throughout the play, and is the most important for understanding Lear?s character."
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Shakespeare's "Hamlet", 2005.
This paper analyzes the representation of revenge in Shakespeare's "Hamlet"
3,150 words (approx. 12.6 pages), 6 sources, $ 124.95
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Abstract
This paper explains that the concept of revenge in Shakespeare's tragedy "Hamlet" is significant. The author points out that revenge serves as a point of convergence for both the contributing literary traditions, which influenced Shakespeare's work, and the multiple modes through which audiences in his time and in later centuries interpreted the action of the drama. The author reviews some of the critical literature on the tradition of revenge tragedy. The paper relates that the question of revenge is integral to the play "Hamlet" in resolving such otherwise puzzling elements as Hamlet's apparent delay and reluctance to take action.
From the Paper
"The concept of "revenge" in Shakespeare's tragedy Hamlet is significant as it serves as a point of convergence for not only the contributing literary traditions that influenced Shakespeare's work, but also of the multiple modes through which audiences in his time and in later centuries interpreted the action of the drama. Indeed, as even a brief review of the critical literature on the tradition of "revenge tragedy" and Hamlet reveal, the question of revenge is integral not only in resolving such otherwise puzzling elements such as Hamlet's apparent "delay" and reluctance to take action."
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William Shakespeare, 2003.
Examines the influence of William Shakespeare on drama and theatre.
9,454 words (approx. 37.8 pages), 28 sources, APA, $ 194.95
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Abstract
This paper discusses the influence of William Shakespeare on twenty first century theatre. Shakespeare was a great English playwright, dramatist and poet who he lived during the late sixteenth and early seventeenth centuries. He is considered to be the greatest playwright of all time. The paper shows that no other writer's plays have been produced so many times or read so widely in so many countries as his. Shakespeare had a tremendous influence on culture and literature throughout the world and he contributed greatly to the development of the English language. The paper examines how many words and phrases from Shakespeare's plays and poems have become part of our speech. It shows that Shakespeare's ideas on subjects such as romantic love, heroism, comedy and tragedy have helped shape the attitudes of millions of people. His portrayals of historical figures and events have influenced our thinking more than what has been written in history books. The world has admired and respected many great writers, but only Shakespeare has generated such enormous continuing interest. The paper discusses his different works for theatre. Costumes trends, audiences and sets are also discussed. It also discusses the formation of Globe theatre by Shakespeare.
Outline:
Abstract
Background
Life of Shakespeare
Shakespeare Career
Shakespeare's Influences on Theatre
Costumes and Sets
Audience and Plays
Globe Theatre
Structure of the Globe
Shakespeare and the End of the Globe
Development of Theatre
Conclusion
From the Paper
"Everything had to be conveyed to the audience through words and there is little doubt that the audience had better memories and perhaps higher powers of attention than people do today, so that they took in and retained the information given to them. The majority people in Shakespeare's day could not read or write so they had to rely on word of mouth and on memory; this is in evidence in Romeo and Juliet when the Servant is sent to bid Capulet's guests to dinner. He can't read the list which he has been given and he asks Romeo to read it to him; he hears it read once and then goes off to find the guests; yet, there are well over thirteen people on the list so his memory must have been extremely retentive."
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Shakespeare?s ?Othello?, 2004.
This paper analyzes Shakespeare?s ?Othello? as an Aristotelian tragedy.
2,115 words (approx. 8.5 pages), 7 sources, MLA, $ 66.95
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Abstract
This paper explains that Shakespeare?s ?Othello? follows Aristotle?s principles for creating the perfect tragedy. It has a plot that is easily remembered and structured to arouse pity and fear within the audience, with importance placed on the action, and events turning upon surprises. The author points out that the suffering of Othello meets the essential requirements to be considered a tragic hero. The paper stresses that, in ?Othello?, the reader witnesses the genius of Shakespeare; Othello changes from a loving husband and great warrior to a jealous, murdering husband. The reader loves him, hates him, and then feels sorry for him.
From the Paper
"Additionally, Iago also tells Roderigo that Othello ?Is of a constant, loving, noble nature,/And, I dare think, he?ll prove to Desdemona/A most dear husband? (II.i.280-3). In reaction to Othello?s character, A. C. Bradley states, ?Othello's mind, for all its poetry, is very simple. He is not observant. His nature tends outward. He is quite free from introspection, and is not given to reflection. Emotion excites his imagination, but it confuses and dulls his intellect . . . he has little experience of the corrupt products of civilised life, and is ignorant of European women? (Bradley). Our first impression of Othello is a positive one. This fact will help us to feel pity for Othello later in the play."
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Violations of Nature in Shakespeare's "King Lear", 2004.
An exposition of Shakespeare's characters in his "King Lear."
904 words (approx. 3.6 pages), 4 sources, MLA, $ 31.95
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Abstract
This paper provides an exposition of the symbolic use of unnatural actions and motivations of Shakespeare's characters in his tragedy "King Lear." The paper examines the Elizabethan view of determinism, including filial relationships in the play and the Elizabethan ideal.
From the Paper
"Shakespeare presents numerous violations against nature in the tragedy "King Lear." Throughout the play he exploits the Elizabethan views of determinism in nature and physical order within the universe. Shakespeare explores the effects of committing violations against established natural laws through his characters' inappropriate dealings within their relationships against the natural order and against their own bodies and minds. His portrayal of unnatural relationships carried a profound significance for Elizabethan audiences."
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The Tragedies of Oedipus Rex and Othello, 2002.
A comparative analysis of the use of tragedy in the "Oedipus" Trilogy by Sophocles and the play "Othello" by William Shakespeare.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper will discuss the two characters Oedipus Rex in the "Oedipus" Trilogy by Sophocles, and the character Othello in the play "Othello" by William Shakespeare. By understand the usage of tragedy in these plays we can learn much from the way that it is sued within this medium of playwriting. With the notion of both characters eventually meeting other doom, we can see why they did not meet on the same terms their fates.
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How Aristotle's Poetics Applies to Shakespeare's Plays, 2000.
A look at how Aristotle's influential pamphlet, which talks a great deal about tragedy, finds expression in Shakespeare.
1,000 words (approx. 4.0 pages), 1 source, $ 35.95
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From the Paper
"Aristotle?s Poetics1 is considered to be the guide to a well written tragedy; his methods have been used for centuries. In Aristotle?s opinion, plot is the most important aspect of the tragedy, all other parts such as character, diction, and thought stem from the plot. "
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William Shakespeare's "A Midsummer Night's Dream", 2006.
This paper analyzes the use of comedy in William Shakespeare's "A Midsummer Night's Dream" as presented in the play-within-a-play, 'The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisby', in Act V.
1,495 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper describes William Shakespeare's "A Midsummer Night's Dream as preposterous, and arsy-versy. The author points out that, by using the rude mechanicals, Shakespeare seems to be arguing that arsy-versy can turn even the most lamentable tragedy into a roaring comedy. The paper relates that an example of arsy-versy of one of the rude mechanicals is called Snug the Joiner, whose rhetoric is so slow and disjointed that he asks for his lines written in advance. The author also then discusses Titania as an example of preposterousnous, explaining that she is the fairy goddess who falls deeply in love with Bottom despite his having an ass for a head of which he is unaware. The paper concludes that the backwards reaction to the events of the play-within-the-play points to Shakespeare's message that people are insensitive to their own follies and yet are very perceptive of the same follies found in others.
From the Paper
"As the play begins, the preposterousness of the presentation is immediately shown in the prologue, which the rude mechanicals took great care to write so as not to offend the court. Peter Quince's delivery of the prologue presents a message opposite from the intended one. "If we offend, it is with our good will," he says, unfortunately telling the court that his intent is to offend. "All for your delight," he later says, "we are not here". The players then continue to present their play in a rather backwards manner; by making it crystal clear to the court that what they see in front of them isn't real."
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Shakespeare's Hamlet, 2001.
This paper takes a look at Shakespeare's character Hamlet.
1,200 words (approx. 4.8 pages), 3 sources, $ 41.95
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Abstract
This well-though out paper takes an in-depth look at the character of Hamlet; it discusses his life and the factors which led him from innocence. The paper also discusses Hamlet?s feelings of being lost and out of his depth and his procrastination when facts are put before him. It, however also puts forward the argument that perhaps Hamlet is wise in not rushing to murder his step father, his intelligence coming as it does from a ghost. Much is also made of the Oedipus complex and Hamlet's morbid mental struggle.
From the paper:
?William Shakespeare's play Hamlet is one of his most celebrated tragedies and the one play that most people are familiar with even today. The play itself is filled with murder, sex, love, suicide, hate, and revenge - much like a modern day soap opera. But the truly enduring part of the play is Hamlet himself, the little boy lost, who is grieving his father's death, feels isolated from his family, is in love with a confusing woman and is trying desperately to make things right and avenge his father's death. While a portion of us can identify with one or two of his plights, none of us quite know what he is facing. However, Shakespeare's use of imagery and emotion endears Hamlet to the audience and gives us insight into his tumultuous soul.?
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Irony in Shakespeare, 2004.
Examines William Shakespeare's use of irony in several of his plays.
1,125 words (approx. 4.5 pages), 4 sources, MLA, $ 39.95
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Abstract
This paper looks at William Shakespeare's use of the power of dramatic irony. His comedies especially are thickly strewn with it as the plots of plays like "As You Like It" and "Twelfth Night" depend on silly plot devices that can only be maintained through a heavy reliance on ironic understandings between the dramatist and the audience. Such an understanding in the comedic plays allows us to appreciate the fallibility of humanity. Shakespeare relies less heavily on irony in the tragedies, although in both "Macbeth" and "Hamlet" the playwright has relied on the use of dramatic irony both to heighten the sense of suspense in the play and to call into question the fitness of both Hamlet and Claudius to serve as king.
From the Paper
"William Shakespeare was as fond as any great playwright of the power of dramatic irony. His comedies especially are thickly strewn with it as the plots of plays like As You Like It and Twelfth Night depend on silly plot devices that can only be maintained through a heavy reliance on ironic understandings between the dramatist and the audience. Such an understanding in the comedic plays allows us to appreciate the fallibility of humanity. Shakespeare relies less heavily on irony in the tragedies although in both Macbeth and ..."
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