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Steven Chu, 2001.
Life & work of Nobel Prize winning physicist; his major scientific contributions.
1,125 words (approx. 4.5 pages), 3 sources, $ 39.95
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From the Paper
"The Nobel Prize is perhaps the most coveted recognition of excellence in a given field. In 1997, the Nobel Prize in Physics was given to Professor Steven Chu of Stanford University along with two of his colleagues, William D. Phillips and Claude Cohen-Tannoudji. The contributions of these three men mounted over the span of more than a decade of research and experimentation, culminating in the development of groundbreaking new methods to cool and trap atoms with laser light.
Steven Chu has been an avid Physics enthusiast ever since his high school days in Garden City, New York, where under the tutelage of his Advanced Placement Physics teacher he was given his first taste of genuine lab experience(College Board Online, 1998)."
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The Mythological World of Wallace Stevens, 2002.
This paper looks at the poems of Wallace Stevens, analyzing Stevens? mythological construct.
2,928 words (approx. 11.7 pages), 9 sources, MLA, $ 86.95
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Abstract
The writer explores the question of whether Stevens? poetry is located in the realm of imagination or in reality, or attempting to balance somewhere in between. According to the paper, Stevens creates a kind of mythology in each of his poems which centers around refined symbols. The paper looks at these poems, discussing the symbols and how they are effective.
From the Paper
"Before we can understand what Stevens? mythological construct is, we must first explore what it is not. Recognizing that the crisis of faith today may be as result of the fact that our myths are no longer credible, Stevens searches ?to find nobility in things as they are, uncrowned by myths or gods? (Weston 61), which is to say that he finds neither consolation nor enlightenment in conventional mythologies, religious traditions, or cultural histories. Indeed, such dependence on the past threatens the mind seeking to relate itself to the world of the present, and Stevens strives ?to clear away all that intervenes between the perceiving mind and the world as presently perceived? (Borroff 3). According to Stevens, we must guard ourselves against the past to avoid being vulnerable to it. For example, Stevens writes in ?The Pure Good of Theory,? ?Malformed, the world was paradise malformed . . . / . . . the solar chariot is junk? (Collected 332), showing that ?even though it is no longer believed in, the ancient myth of the sun-god may interpose itself between us and the sun, and the names and legends of the constellations may similarly obscure the stars? (Borroff 3). Thus, the power of myth today is a destructive tendency to eclipse reality."
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The Poetry of Wallace Stevens, 2004.
Provides explanations and analysis of some Wallace Stevens's poems.
1,351 words (approx. 5.4 pages), 4 sources, MLA, $ 45.95
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Abstract
This paper discusses some of the poems contained within the book of poetry, "Harmonium", by Wallace Stevens. The paper demonstrates the technique Stevens uses in his poetry of relating to things surrounding him in the world. It also talks about and provides examples of the way Stevens relates his poetry to nature.
From the Paper
"Poetry is a way in which people express themselves in words. It is how some communicate with the world. Wallace Stevens is a poet who introduced a new way of expressing himself through poetry. His sense of style is that of something many people have trouble defining. Stevens?s main genre is a widely debated topic. His poetry seems to be a record of his own sense of being (McNamara 13). He relates to the things surrounding him in the world. Many critics have often referred to his style as being philosophical, artistic, and musical (Willard 127). He was a very modern poet for his time. Stevens wrote about his views on society and the world around him in a very abstract, or metaphysical, manner."
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The Poetry of Wallace Stevens, 2005.
This paper discusses the changes in style of Wallace Stevens' poetry and includes several examples.
2,035 words (approx. 8.1 pages), 15 sources, MLA, $ 64.95
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Abstract
This paper explains that the changes of Stevens' style originated not from gaudy triumphs but from isolated confessions of perceived defeat and depression. The author points out that as Steven's aged, his maturity curbed his poetic excess; a change of style caused a change in substance and a well-tempered style emerged. The paper relates that Stevens, eventually known for his restless style and imagination, won the 1954 Pulitzer Prize, at age 75, a year before died.
From the Paper
"Colors grow smaller because the poet-hero fails to resolve his opposing states of his mind. He requires a reconciling, redeeming symbol-Jung's transcendent [unifying] function to pacify his "violent disunion." These opposed states of mind negate each other until the ego finds a compensatory context, much as an emotional thesis and antithesis meld into an over-arching synthesis, not as an explicit solution but as an adjusted attitude. Having repudiated the maidens of summer and recognized the promise of the singer and the "voice within" almost simultaneously, he looks to the moon he saw and felt "When he was young, naked and alien, / More leanly shining from a lankier sky."
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Wallace Stevens' "Le Monocle", 2007.
This paper analyzes the poem "Le Monocle" by Wallace Stevens.
2,039 words (approx. 8.2 pages), 5 sources, MLA, $ 64.95
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Abstract
In this article, the writer notes that like much of Stevens' poetry, "Le Monocle" is a challenging poem for readers and scholars to define and explicate. This poem was published as part of a book of poetry in 1923 called Harmonium. The writer points out that the title of the poem, which indicates the speaker, previews the problems that the reader faces from this modernist viewpoint. The writer notes that the author plays with different strands of thought throughout the poem that sometimes interact and sometimes are antithesis of each other. The writer concludes that ideas about love and language dominate this poem, but leave the reader to wonder exactly how Stevens would define either or both of those terms.
From the Paper
"The shifting meaning and problematic relationships haunt the entire poem. The separation of the poem into twelve distinct stanzas causes problems for the continuity of language. The blank space that appears between the sections makes the reader believe that something has completed and a new idea will be introduced. This is not the case. Stevens intentionally does not complete ideas within stanzas. He frequently introduces an idea or parable that remains unresolved in that stanza and in the poem itself. Stevens may be commenting on the disjunctive nature of modern life through his form. He does toy with certain motifs across the poem, but does not allow the reader to really draw conclusions about his intention."
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Wallace Stevens and Desire: Woman Lost--Woman Ignored, 2005.
A psychosexual and archetypal study of feminine figures in "Collected Poems of Wallace Stevens".
5,141 words (approx. 20.6 pages), 33 sources, MLA, $ 128.95
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Abstract
This paper examines the "Collected Poems of Wallace Stevens", America poet. The paper shows that desire and desired denied in this work may be interpreted through the archetypal psychology of Carl Jung to disclose the reason for Stevens' preference for places over people and to explain his ambivalence toward the abstract feminine figures in his poems.
From the Paper
"Feminine archetypes reconstruct the distant attitudes in Stevens' poetry by figuring-forth embedded emotions. First, they provide an archetypal perspective on individual poems. Second, they illustrate how, ranging from Harmonium (1923) to The Rock (1954), clusters of motifs influence the poet-hero's psychic development. Although their appearances change to fit their ambiguous roles, these singular feminine figures determine the poet-hero's canon-long struggle to achieve a regulated unity of self. Two categories need to be distinguished: (a) feminine figures and (b) the interior paramour. Their protean capability makes scrupulous demarcations between exterior feminine figures impossible, but three forms or combinations prevail: the summer maiden (Kore or lover), the universal mother or earth mother, and the maiden-mother (an overlapping maid and mother figure). The interior paramour represents a climax to the poet-hero's experience with exterior feminine figures."
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Wallace Stevens, 2007.
This paper discusses the ideas and poetry of Wallace Stevens.
1,937 words (approx. 7.7 pages), 5 sources, MLA, $ 61.95
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Abstract
The paper reveals that beneath the quiet surface of the ordinary American businessman, Wallace Stevens was one of the greatest American modernist poets of the 20th century. The paper looks at "Thirteen Ways of Looking at a Blackbird," perhaps his most famous poem. The paper discusses how his choices as a poet reflect the idea that one need not go to Europe to apprehend the evolving great ideas and ideals of the modernist movement. The paper concludes that Stevens made his mark as a uniquely national modernist poet.
From the Paper
"Yet the poet Wallace Stevens stayed at home. But in his verse this mild-mannered executive at a major insurance firm in Hartford, Connecticut had "a flair" for the "flashiest titles," and turns of phrase in his verse such as "Peter Quince at the Clavier," "Thirteen Ways of Looking at a Blackbird," and "Le Monocle de Mon Oncle." Thus "Stevens, the aesthete par excellence" pressed "back against the pressure of reality" with a modernist spirit of innovation in his simple yet startling words and images ("Modernism." Poets.org, 2006) But Stevens' first work, rather than the result of engagement with other modernist authors, entitled "Harmonium" emerged as an unusual first book."
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Wallace Stevens' Poetry, 2005.
Individualized overview of Wallace Stevens' poetry and poetics as they emerged, book-by-book.
3,472 words (approx. 13.9 pages), 20 sources, MLA, $ 97.95
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Abstract
This general overview of Wallace Stevens' work, introducing his individual volumes of poetry, book-by-book, highlights the major points of his poetics without the usual associative amalgam of theme, form, diction, imagery, symbolism and belief that complicates most surveys of his poetry. The paper explains that the volumes appeared as separate collections, but the Stevens criticism and scholarship invariably commingles them as if they were parts of a simultaneously generated whole. This book-by-book overview clarifies the poetic perspective and suggests revisiting his collections with a fresh modular approach.
From the Paper
"Wallace Stevens' poetic development began with his apprentice poems published under pseudonyms in the Harvard Advocate at the turn of the century, but it was not until more than twenty years later that his elegant style and ambiguous motifs detonated into the flashy modernism of Harmonium (1923). The first change of style was drastic; he jettisoned the conventional sonnet, absorbed imagism, experimented with semi-open forms and, by liberating his style, he liberated also his sense of the bizarre, comical, and relentlessly aesthetic. Even between the brief lyrics and the deft prosody of the longer poems, Stevens' style invariably shifts to accommodate his tenets about the axis of imagination and reality. This overview looks at those shifts book-by-book."
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Wallace Stevens' Poem "Comedian as the Letter C", 1993.
Analysis of Wallace Stevens's poem, "The Comedian as the Letter C?.
7,500 words (approx. 30.0 pages), 10 sources, $ 164.95
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Abstract
This paper looks at Wallace Stevens's "The Comedian as the Letter C?. The author includes lavish interviews with Stevens about the work along with excerpts from the poem in his attempt to analyze the work. The character, Crispin, is looked at in-depth through criticism and commentary over the years.
From the Paper
"The Comedian as the Letter C? the most dramatic if not the most ambitious work in the whole of the poetry of Wallace Stevens. The majority of the critical exegeses of Stevens' pivot?al work concern themselves with analysis of the work as a frame?work in which the poet has worked up an incomprehensible extended metaphor of the imagination and reality. Some have re‑extended, from textual evidence this permeating analysis or interpretation, to include Stevens and his poetic capabilities. Only a few have considered the possibility that Stevens may have been risking the didactic in willfully constructing an allegory. The majority are un?doubtedly correct considering the pervasive dawn of the stream of consciousness school of poetry Stevens was familiar with, and the French school of "pure" poetry which was highly touted at the time."
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Steven Greenberg's "Wrestling with God and Men", 2006.
A book review of Rabbi Steven Greenberg's book, "Wrestling with God and Men".
4,950 words (approx. 19.8 pages), 5 sources, $ 196.95
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Abstract
This paper explores the theories presented in Rabbi Steven Greenberg's book, "Wrestling with God and Men". The paper explains that Rabbi Steven Greenberg works to reconcile his love for God with his homosexual nature. Greenberg identifies himself as both a devout follower of God and the Jewish faith, but also identifies himself as having homosexual preferences. The paper also explains that the thesis of Greenberg's book is that the question whether homosexual activities are permitted in the Holy Scriptures is actually a moot point: Greenberg seeks to identify whether the nature of homosexual love is permitted.
From the Paper
"In his book, Wrestling with God and Men, Rabbi Steven Greenberg works to reconcile his love for God with his homosexual nature. Greenberg identifies himself as both a devout follower of God and the Jewish faith, but also identifies himself as having homosexual preferences. The thesis of Greenberg's book is that the question whether homosexual activities are permitted in the Holy Scriptures is actually a moot point: Greenberg seeks to identify whether the nature of homosexual love is permitted. In doing so, Greenberg transforms the question of homosexuality from one of sex to one of love, in which he asks how God can deny the nature of love through prohibition. The root cause of this problem is found in the passage "Va-yar Elokim et kol asher asah v-hinei tov meod" (Bereshis 1:31) or, translated, states "And G-d saw..."
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Steven Spielberg's ?Indian Jones: Raiders of the Lost Ark? (1981), 2005.
This paper discusses the use of symbolism to portray the stereotype of the American male hero in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark" (1981).
1,625 words (approx. 6.5 pages), 9 sources, MLA, $ 52.95
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Abstract
This paper explains that not only are there actual symbols present in Steven Spielberg's "Indiana Jones" trilogy, especially "Raiders of the Lost Ark", such as Indiana's most feared enemy, the snake, but also the movies themselves serve as a symbol of American pop through the Hollywood's glorification and stylization. The author points out the symbolism in the main character Indiana Jones, played by Harrison Ford, who is a young, powerful educated man, coming from a civilized background with a catchy nickname "Indy", which all heroes must, and dressed in his classic American archaeologist attire of leather jacket and bullwhip. The paper concludes that the Indiana Jones trilogy continues to be an incredible success because it is so easy for the American population to relate to Indy, a hero who never failed, and because it reflects American pop culture of adventure, power and heroism.
From the Paper
"It is very possible for even one trailer that is a mere one minute and fifty seconds long, to encompass so many different symbols, that have significance all throughout the movie. The clip that portrays the most symbolism in the shortest amount of time is definitely the part of the movie when Indiana Jones finds himself fighting a town full of Arabs in the middle of a marketplace in Cairo, all in order to rescue Marion. First and foremost, this entire sequence is filmed to fully capture the role of having a damsel in distress, as Indy is fighting in attempt to save Marion. Secondly, a very apparent form of symbolism appears in the background of the shot, where the entire marketplace is full of Arabs who are all wearing turbans and sandals, a very stereotypical image of the people of the eastern culture living in that region. The most noticeable glorification of the American culture becomes very evident when Indy is facing a large Arab man with a sword, who is prepared to fight him."
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Steven Spielberg?s "Schindler?s List", 2004.
Compares Steven Spielberg's version of the life story of Oskar Schindler with the version presented in the book, "Schindler's Ark", by Thomas Keneally.
1,814 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
This paper compares and contrasts Thomas Keneally's book, "Schindler's Ark", with Steven Spielberg's film, "Schindler's List", which Spielberg based on Keneally's book. The paper looks at the differences in how Schindler is portrayed in the novel and how he is portrayed in the film, and the details about Schindler that are included in Keneally's book, but omitted in Spielberg's film. The paper also comments on Spielberg's ability to effectively depict the horrific treatment of the Jews by the Nazis.
From the Paper
"Perhaps no other movie in recent history has had such an effect on the American public and the citizens of the world than Steven Spielberg?s ?Schindler?s List.? Based on Thomas Keneally?s book, ?Schindler?s Ark,? the movie was hailed by most critics as a masterpiece of cinematography. It was also praised as being an important and crucial link to the untold stories of the survivors of Nazi concentration camps during World War II. Through the years the movie has been studied in classrooms across the world and has become the centerpiece for museums dedicated to the camps? victims and survivors. However, one could argue that, among other differences, Spielberg?s movie over-dramatized Oskar Schindler, compared to the Keneally?s portrayal of the man."
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The Cinematic Style of Steven Spielberg, 2007.
This paper discusses Steven Spielberg's particular style as a film director.
780 words (approx. 3.1 pages), 0 sources, $ 27.95
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Abstract
In this paper, the author compares Steven Spielberg's films "Saving Private Ryan" and "Munich." The basis for the comparison is Spielberg's personal cinematic style as a director. Spielberg is able to integrate the visual setting in both films as realistic, but not necessarily for sheer visual impact. Instead, he lets the scene tell the story. Additionally, the conclusions of both films allowed the viewer to resolve the themes of the movies themselves, another trademark of Spielberg.
From the Paper
" It was easier to immediately reject Saving Private Ryan because of its category than it was to reject Munich. At least Munich was interesting. Upon hearing the titles of both films, Munich (at least in this reviewer's case) was far more intriguing than Private Ryan. This critic's automatic rejection scenario was immediately initiated upon hearing of Private Ryan, while being intrigued by hearing of Munich."
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Film Director Steven Soderbergh, 2006.
This brief paper discusses the career and techniques of film producer and director Steven Soderbergh.
790 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper explains that, although Steven Soderbergh has had prize-winning commercial film successes such as "Traffic", "Erin Brockovich", "Ocean's Eleven", "Ocean's Twelve", "Syriana" and "Sex, Lies and Videotape", he also is known for his art house films such as "The Limey". The author relates that, born in 1963, Soderbergh, who began filmmaking when he was only 13, was the youngest producer or director to win the Palme d'Or award at the Cannes Film Festival, which he was awarded in 1989 for "Sex, Lies and Videotape". The paper relates that Soderbergh's seminal filmmaking techniques include the use of non-linear narratives to show different perspectives, a docudrama filming style that creates an aura of reality and the use of pastoral scenery.
From the Paper
"In the new millennium, Soderbergh has hit it big with success such as "Erin Brockovich", "Traffic" and "Syriana". "Erin Brockovich", a movie that portrays the real-life Erin Brockovich, only through a sexier Julia Roberts, tells of an assertive woman who, without a legal education, managed to sue and claim victory over Pacific Gas & Electric Corporation. The lawsuit was the largest civil penalty ever awarded at that time in 1996, and the film went on to be nominated for Best Picture."
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The Steven Truscott Case: Justice, Culture and Social Order, 2008.
An analysis of the Steven Truscott case and its impact on the criminal justice system in Canada.
2,150 words (approx. 8.6 pages), 3 sources, MLA, $ 67.95
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Abstract
This paper examines the legal issues emerging from the Steven Truscott case of the late 1950s, a case that broke new ground in shaping and shaking popular understandings of the Canadian criminal justice system. Particular attention is focused on social and cultural factors - especially attitudes towards sexuality and media pressure contributing to a rush to convict - as contributing elements to this case. Comparisons are drawn to a similar case in the United States at this time - the Sam Sheppard trial - to illustrate how this situation is not limited to Canadian law but, in fact, reflects wider social and cultural realities. Increasing anti-institutional sentiments in both Canada and the United States have contributed to a revisiting of both cases, sentiments that both cases also played a role in shaping.
Table of Contents:
Introduction
Culture and Sexuality
Tunnel Vision and the Issue of Disclosure
The Sheppard Case, Media and Authority
Conclusion
From the Paper
"One of the major legal problems to emerge from the Truscott trial was one of disclosure or discovery. As the Daum story reveals, the culture of the 1950s - which placed much more faith in the honesty and integrity of law enforcement officials than today -allowed law enforcement officials to effectively bury evidence that may have been of assistance to the Truscott defense. Indeed, it may be argued that cases such as Truscott contributed to an evolution in criminal law in such matters: "Rules of evidence today oblige the Crown and the police to disclose all the relevant information they turn up in the course of their investigations" (Sher 299)."
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