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Shakespearean Comedies: Defining Gender Limitations, 2005.
The paper discusses the feminist dimension of Shakespearean comedies, focusing on "As You Like It" and "Taming of the Shrew."
3,127 words (approx. 12.5 pages), 9 sources, MLA, $ 91.95
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Abstract
The paper argues that Shakespeare's heroines were vital and constructive protagonists; they were fully realized, independent, and capable beings. Through the presentation of such examples of females within the framework of the comic, Shakespeare was able to argue for a re-evaluation of gender norms and stereotypes at a safe distance. The writer explains that the comic framework served as a type of buffer, allowing him to castigate his society without coming under attack for doing so because, in the end, he was writing comedy.
From the Paper
"Shakespeare's comedies, possibly due to the unfailing tendency to unfairly contrast them to his tragedies and historical dramas, have never received the critical attention they deserve. His body of comedies, according to Milton Crane, contain some of Shakespeare's most insightful comments regarding human nature and society in addition to some of his most quotable and profound lines (68-69). Nevertheless, and in comparison to the attention given the other Shakespearian works/genres, his comedies have received comparatively scant attention. While Crane forwards explanatory theories, two in particular stand out. According to the first theory, Shakespeare's comedies are underappreciated because they do not subscribe to any set ad established definition of comedy. They rarely elicit laughter and, as Crane contends, are "sensible and serious" even as they are lighthearted (68). What this means is that according to the predominant critical view, as explained by Crane, critics have been unable to truly accept Shakespeare's comedies as comedies because they are not the thoroughly humorous, farcical or satirical works that they tend to categorize comedies as being. Instead, they are, at one and the same time, lighthearted and sensible and, tragic and comic, thereby defying any categorization (68). Consequently, the failure of Shakespearian comedies to fit neatly into predefined conceptions of comedy have enforced their comparison to his other works, with the result being that his comedies end up being dismissed as lightweights within the totality of his works (68-69). It is because of this that Shakespeare's comedies have not received the attention awarded to his other works."
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The Shakespearean Comedies, 2004.
This paper discusses the problems of classifying Shakespearean comedies, using "Much Ado about Nothing," "The Tempest," and "Measure for Measure" as examples.
850 words (approx. 3.4 pages), 0 sources, $ 30.95
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Abstract
This paper explains that, in Shakespearean comedies, a specific play can have, at the same time, both a happy ending and a cruel ending, as well as a character being both good and evil. The author contends that "Measure for Measure" can be interpreted as one of the happiest and the scariest endings written by Shakespeare, and yet it is classified as a comedy. The paper concludes that, because there is little solid documentation about many of Shakespeare's ideas, it is nearly impossible to comment on how Shakespeare feels about anything in his plays and to determine if a play, which is listed as a "comedy", is really a comedy.
From the Paper
""Much Ado About Nothing" is an extremely humorous play, mostly about lovers and the obstacles it took to get two couples together. In the end of the play, there is not only one proposal for marriage, but two! All begin to dance and the 'happy' ending is reached, however, the villain of the play that caused these great obstacles has not been punished. He is here, at the 'happy' ending brought to the attention of the characters, so merry in their dancing and their future weddings."
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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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Connubial Bliss in the Shakespearean Comedy, 2001.
This paper is about marriage and relationships in the Shakespearean comedy.
5,970 words (approx. 23.9 pages), 16 sources, MLA, $ 142.95
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Abstract
This paper compares and contrasts Shakespeare's portrayal of connubial bliss in his comedies "Much Ado About Nothing," "Measure for Measure," and "Twelfth Night." The institution of marriage during Shakespeare's time is examined in detail, including how one decided when one should marry, and to whom, and contrasted to today's notion of marriage. Some of the topics examined include finances, a person's reputation, family involvement, love and honor.
From the Paper
"However, despite the fact that in early modern England, ?Most people got married, and most people had children,? (McDonald 265), Beatrice and Benedick seem hell-bent against marriage. It is therefore probable that, while it wouldn?t strike modern audiences as particularly odd, Elizabethan theatergoers found both Beatrice and Benedick?s adamancy against marriage a source of humor and eccentricity in social behavior. When Claudio makes light of his intention to marry Hero, Benedick?s immediate reaction is, ?Is?t come to this? In faith, hath not the world one man but he will wear his cap with suspicion? Shall I never see a bachelor of threescore again? Go to, I? faith, and thou wilt needs thrust thy neck into a yoke, wear print of it, and sigh away Sundays,? (Sundays were the day a man was expected to be with his wife), (Shakespeare, MAAN, I, i, 197-202). Likewise, the Prince, Don Pedro, says of Beatrice, ?She cannot endure to hear tell of a husband,? (Shakespeare, MAAN, II, i, 347-8)."
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Gender Identity in Shakespearean Plays, 2004.
Examines William Shakespeare's depiction of the main female characters in "The Taming of the Shrew" and "Henry V".
2,288 words (approx. 9.2 pages), 4 sources, MLA, $ 70.95
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Abstract
This paper looks at how both main characters in Shakespeare's "The Taming of the Shrew" and "Henry V" have either challenged or embraced traditional gender ideologies of the 15th century. Katherine, the main character in the "Taming of the Shrew", evidently challenges traditional gender ideologies, as she is deemed "shrewish". She ultimately exudes behavior unlike any other woman of that time, which leads us to believe that she is rejecting her traditional role as a female in this male-dominated society. The paper shows that, conversely, Katherine from "Henry V" embraces the traditional gender ideologies of Shakespearean time. The thesis in this paper is backed up by in-text citations.
From the Paper
"Her actions deem her to be independent, as she feels that she does not need to marry to be happy. This is illustrated when Petruchio feels that he must break her will in order to tame her, in other words, to make her more feminine. The fact that Petruchio has such a hard time doing this illustrates just how strong willed Katherine is in her pursuit to be independent. By being overbearingly masculine, Petruchio finally wins over Katherine as she becomes ?obedient to his honest will? (5.2.74). It is at this point where Katherine?s pro-feminine views seem to disappear as she states: ?I am ashamed that women are so simple/To offer ware where they should kneel for peace,/Or seek for rule, supremacy and sway,/When they are bound to serve, love and obey [?]? (5.2.161-164). Katherine is essentially ?selling out?, as she denounces her femininity along with her gender ..."
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Limitations Of the Price Limit Model, 2002.
This paper analyzes the various assumptions of the limit pricing model and assesses whether it is an acceptable model or not.
1,280 words (approx. 5.1 pages), 2 sources, MLA, $ 43.95
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Abstract
The following paper critically analyzes the Limit Pricing Model, which uses limit pricing which is when companies form collusion or a cartel and try to maintain price levels which may or may not not maximize their profits or stop the entry of new firms in the market. One of the major limitations of the model discussed in this paper is that the model assumes collusion. Another limitation examined is that the model assumes the products to be homogeneous. The writer concludes, after discussing eight limitations of the model, that it is completely inappropriate.
From the Paper
"In an oligopoly there are a few entrepreneurs who are in tight competition with each other and due to this the market price is sticky or we can say downward rigid. Oligopolists do not usually decrease price (?sticky downward prices?), and tend to change prices together. Rivals match each others price decrease which leads to a ?price- war? and obviously they do end up losing in it and form a cartel. Cartels are an example of a collusive industry. Collusion occurs when firms in an industry agree to fix prices, divide the market among themselves, or otherwise restrict competition in some way."
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Cross-Cultural Gender and Gender Relations in Horticultural Societies, 2002.
This paper examines the gender roles in horticultural societies.
1,990 words (approx. 8.0 pages), 3 sources, MLA, $ 63.95
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Abstract
This paper shows the difference that agriculturists, sedentary lifestyles, and social differentiation made in gender relationships.
From the Paper
"The first evidence of agriculturists, sedentary lifestyles, and social differentiation that archaeologists and anthropologists have distinguished come from groups termed Horticulturists. Though the past record remains relatively scant in regards, anthropologists have used existing ones as a locus of study and interpretation. More numerous than surviving hunter-gatherer groups, horticultural societies also show an incredible range of gender diversity between groups, more numerous, in fact, than any other extent societal model. The quantity of studies that has come as a result of this are astounding. Those done in the area of New Guinea alone, home to at least two hundred different horticultural societies, provide ample evidence to add weight to the debate of nurture over nature, by sheer examples of the differences in living and understanding gender roles in such a relatively small and homogenous environmental area. "
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Gendered Technologies and Gendered Jobs, 2002.
A comparison between women studying and working with computer technology and the sciences in North America and women studying science and technology in Asia.
3,150 words (approx. 12.6 pages), 3 sources, $ 115.95
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Abstract
Explores how the gendered development of technology in a research setting impacts the gendered use of technology in the industrial or commercial setting, as well as the cultural barriers to women's advancement in the high-tech economy.
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Gender Issues and Third Gender Problems, 2002.
A look at how transsexuals fit into society.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This six-page undergraduate paper discusses gender from anthropological perspective and finds out how transsexuals are treated in different societies of the world. While males and female may fight each other over who is stronger, they are the fortunate ones for they belong to two accepted genders but for transsexuals adjusting to the norms of restrictive societies may not be easy as they are not considered a part of the social fabric in many cultures of the world.
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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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Statue of Limitations, 2001.
"This research examines the concept of the statute of limitations from a historical perspective.
5,175 words (approx. 20.7 pages), 17 sources, $ 135.95
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Abstract
"This research examines the concept of the statute of limitations from a historical perspective. The research will set forth the origins of the concept in Western culture and its evolution from Roman to English law, and then discuss major features of its transfer and application in the American legal system, with a view toward identifying how it was viewed by various legal authorities in the US and various uses to which it has been put.
From the Paper
"This research examines the concept of the statute of limitations from a historical perspective. The research will set forth the origins of the concept in Western culture and its evolution from Roman to English law, and then discuss major features of its transfer and application in the American legal system, with a view toward identifying how it was viewed by various legal authorities in the US and various uses to which it has been put.
The concept of the statute of limitations is deceptively simple. In the popular mind, the term refers to the amount of time during which a plaintiff may pursue a cause of civil action in court or, in criminal law, the amount of time that must elapse before a defendant is legally excused from the criminal liability associated with a crime. It is of course a truism of television court...."
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Self in Shakespeare's Comedies, 2004.
A look at how the repression of self is dealt with in two of Shakespeare's comedies.
1,402 words (approx. 5.6 pages), 2 sources, MLA, $ 46.95
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Abstract
This paper analyzes the theme of identity repression in Shakespeare's comedies, specifically in regard to Kate in "Taming of the Shrew" and Rosalind in "As You Like It". It includes two sources and includes direct quotes from the text.
From the Paper
"?All the world?s a stage/ And all the men and women merely players? (AYL 2.7.139-40); this particular quotation is one of Shakespeare?s most touted, and correctly describes the running theme of disguise throughout his comedies. Of course, there are those who would translate this quote into the act of men and women taking on different roles to adapt to certain situations in life, but it goes a bit deeper than that. It is because of social tradition (or, should I say restriction) that a person will shed his/her true self in order to don a more socially acceptable guise. This idea is especially apparent in the character traits of Kate in ?Taming Of The Shrew?, and Rosalind in ?As You Like It?."
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Problem Comedies, 2002.
A paper which presents a detailed discussion about the 'Problem Comedies' by Shakespeare.
2,100 words (approx. 8.4 pages), 4 sources, MLA, $ 65.95
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Abstract
The writer of this paper presents a detailed discussion about the way different manipulators are treated in the works of William Shakespeare depending on the style of the work. The writer explored several characters in tragedies and comedies written by Shakespeare -including "All's Well That Ends Well" and "Troilus" - and takes the reader on a journey of discovery regarding the acceptance or rejection of manipulators in the works.
From the Paper
"If one studies the works of Shakespeare one will see that there is a connection between manipulation and comedies. The connection is one that is subtle yet obvious once discovered. A manipulation is really nothing more than getting someone to do what one wants done, and in a life setting this can be comedic. The connection between manipulation and comedy is similar in that they are really both manipulations. Comedies are written in such a way that the audience is manipulated into accepting manipulation as funny and acceptable. This in and of itself is a form of manipulation and the audience is the target for the author. It is such a subtle connection that the audience often does not recognize it until they stop and realize that they accepted events and actions in the comedy that they would have found repulsive of worthy of revenge in any other setting."
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Limitations On Women's Lives, 2003.
Examines the choices made by women in response to limitations.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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Compares actions and strategies of characters from two 19th century novels, Emma Bovary in Gustave Flaubert's "Madame Bovary" and Jane Eyre in Charlotte Bronte's novel of the same name.
From the Paper
"During the 19th Century, women had many more limitations on their lives than they do now. Madame Bovary, by Gustave Flaubert and Jane Eyre, by Charlotte Bronte, both illustrate the types of choices that women made in response to those limitations..."
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Screwball Comedies, 1996.
Compares 1938 & 1989 films "Bringing Up Baby" ( Howard Hawk ) & "When Harry Met Sally" ( Rob Reiner) as screwball comedies reflecting romantic & social ideas of each era.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"In the late 1930s a sub-genre developed in the American film. The so-called screwball comedies were different from the comedies that had gone before, and to some extent it is a sub-genre that has persisted. The definition of a screwball comedy is not as definite as that for, say, a Western or a Horror film, and whether a given work fits this sub-genre is always arguable. Howard Hawks's Bringing Up Baby (1938) is an accepted classic in the genre, while Rob Reiner's Harry Met Sally (1989) is not so clearly an echo of the original group of films so classified.
The original screwball comedies were made in the era between the onset of the Depression and the end of World War II. Ed Sikov offers a definition of screwball comedy that emphasizes the sexual relationships involved, with madcap comedy surrounding the onset and development of romance. Usually, he says, the,,,"
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