| Papers [1-15] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "STRINDBERG JULIE": |
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Strindberg's "Miss Julie", 2002.
A look at theme and setting in Strindberg's "Miss Julie".
650 words (approx. 2.6 pages), 1 source, $ 26.95
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Abstract
A report on Strindberg's character drama "Miss Julie," describing the themes of female inferiority and the natural correctness of class distinctions, and explaining the setting (the kitchen of a large country house) in terms of these themes.
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Power Relations in "Miss Julie" by August Strindberg, 2008.
A summary and analysis of August Strindberg's short play "Miss Julie".
963 words (approx. 3.9 pages), 0 sources, MLA, $ 34.95
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Abstract
This essay examines how August Strindberg's play, "Miss Julie", treats the issue of power, focusing on three elements: psychological domination and submission; the relative social status of the two principals; and the issue of gender-bending. The paper demonstrates how all of these elements relate to each other, with a common theme of changes in power balances.
From the Paper
"An element of psychological domination and submission is introduced early in this play. Nowadays we might use terms such as dominatrix, or SM (sadomasochism), but these terms are not explicitly used in the play. However, it is quite clear that these kinds of psycho-sexual power games are in fact occurring, as the two principals vie with each other for power."
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?Miss Julie?, 2002.
A proposal for the theatrical production of August Strindberg's play "Miss Julie".
2,190 words (approx. 8.8 pages), 1 source, MLA, $ 68.95
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Abstract
This paper analyzes the Strindberg play, "Miss Julie" and describes how to present it in theatre production. The paper describes the character dialogue of the actors, the nineteenth century setting for the stage and props. It further illustrates the lighting effects, which allude to observing something that the characters want hidden from the audience.
From the Paper
"In August Strindberg's Miss Julie, the use of setting helps advance the theme and conveys meaning to the audience not only through the visible setting but also in terms of off-stage space. For the current production of the play, the basic description in the text will be followed, though the set need not be as naturalistic as originally intended. What is important is that the set suggest a large kitchen in an aristocratic home at the end of the nineteenth century. The script says that the roof and side walls of the kitchen are hidden by drapes and borders, so they need be little more than suggestions of walls and ceiling. To the rear, on the right, is an arched exit porch, and through this can be seen a fountain and trees, which can also be suggested rather than naturalistic in design. The important kitchen props are a large stove, a kitchen table, some chairs, an ice-box, a sink, and some shelves. Prominent in the side wall is a large speaking tube, which becomes an important symbol of the master of the house and so which should be given special emphasis through size and position."
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"Miss Julie", 2004.
A review of "Miss Julie" by August Strindberg.
805 words (approx. 3.2 pages), 0 sources, $ 28.95
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Abstract
This paper discusses how responsibility for one?s own death is a hard conclusion to come by, especially if that person had killed him/herself. It examines how, in "Miss Julie" by August Strindberg, the character Julie commits suicide and how there are a number of reasons for someone else to be the blamed for her death. It analyzes how, without any doubt, there are even more reasons for Julie?s mother and father to be blamed for her death, and it looks at the effect of her childhood and upbringing on her suicide.
From the Paper
"The major and minor characters in the story play a roll that may have caused her some distress but not enough to be considered the people responsible for the Miss Julie?s death. Jean, the valet, was a laborer?s son who became a gentleman through educating himself. He is a person that has turned his back on the others in his class due to the fact to his drive to become something he is not. He has both the slave's character of brutality and the master's lack of squeamishness. This causes him to see blood without fainting and take disaster by the horns. Having these qualities are causing him to, perhaps, give Julie the impression of him not caring about things in her life or him being able to tell her what she wants to hear even if they are not the right thing to do."
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Comparing Ibsen and Strindberg, 2002.
A comparison of dramatic strategies of Henrik Ibsen and August Strindberg, focusing on off-stage events and utterances in the plays - looking at Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie".
2,748 words (approx. 11.0 pages), 7 sources, MLA, $ 82.95
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Abstract
This paper shows how Ibsen and Strindberg both wrote plays taking place in one setting over a short period of time, often only a day or two in scope. The writer explains that to propel the plot there had to be action that took place off stage, outside the constructed set. Ibsen embedded offstage action into his texts more so than Strindberg did, but Strindberg succeeded elsewhere. Whereas both were successful in removing important action from the stage, Strindberg?s work was brought further into the realm of what will soon be defined as off the off stage than Ibsen?s, with the difference being Strindberg?s better use of a new form of player: the audience. The plays analyzed are Ibsen's "A Doll's House" and "Hedda Gabler" and Strindberg's "Miss Julie."
From the Paper
"Dealing first with the off stage world of Ibsen we can see many examples of the action he writes for the express purpose of invisibility to the audience. In ?A Doll?s House? the audience is given a very good chance to hear events offstage. The main stage area comprising of one room with four doors leading to other parts of the house. Throughout the play the characters move within this space, but constantly refer to actions taking place outside of it as well. Beginning in the opening scene, the audience is allowed only a glimpse of the outside world in the porter bringing the Christmas tree in for the maid (Ibsen, 3). This is one of the few visuals the audience has of the off stage world; most of our comprehension of the off stage happens as a result of utterances. ?Is that my little lark twittering out there?? (Ibsen, 4) Helmer calls from his room early in the first Act. This simple line, with the stage direction, immediately defines the space we see. As he is calling from his room, we immediately identify the space on the stage as belonging to Nora. This is further strengthened throughout the play as we see Nora take charge of this main stage space. When her life is interrupted, so is this space. Krogstad?s entrance through a door left ajar upsets her, removing control from her hands to his. Her first instinct is to take control where she can by taking her children to the room on the left and shutting the door after them (Ibsen, 26). Nora?s space, her life, is thus defined by the space around her off stage; her boundaries of power remain clear. She has power only as it relates to people invading her space: for one example she is able to bolt the door to Torvald?s room on her side of the door, giving a degree of privacy to her affairs (Ibsen, 55). Her space thus defined the actions offstage suddenly take on a greater importance: these are actions that Ibsen has defined as outside of Nora?s world."
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Blanche and Miss Julie, 2003.
A comparison of two characters of Tennessee Williams', Blanche and Strinberg's, Miss Julie.
690 words (approx. 2.8 pages), 2 sources, MLA, $ 23.95
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Abstract
This paper compares the two fictional characters of Blanche in Tennessee Williams' play "A Streetcar name Desire" and Julie in August Strindberg's drama, "Miss Julie." It considers both women as products of their society who gave in to their weaknesses.
From the Paper
"Miss Julie" and "A Streetcar Named Desire", while written during two different times in history both relate the downward spiral of two women from degenerating aristocratic families both of whom were unable to interact with men in a healthy manner ..."
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Rivalry Revisited, 1999.
Power struggles in "The Legend of Salome" and Strindberg's "Miss Julie".
3,414 words (approx. 13.7 pages), 7 sources, $ 96.95
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Abstract
This paper looks at the similarities between the Strindberg stories "The Legend of Salome" and "Miss Julie". The author uses extensive quotes from both in an attempt to show the common threads. The author further quotes critics that have also compared and contrasted these two stories.
From the Paper
"When there is an unequal balance of power in a relationship, there is bound to be conflict and attempts to either sustain or reverse the roles of power. This kind of imbalance can be analyzed in terms of the relationships of the major players in Strindberg?s play Miss Julie, and The Legend of Salome. Although Miss Julie is often analyzed in terms of the Bible, including images of the fall, the crucifixion of Christ, and scriptural analysis of exactly who goes to heaven, the most striking similarity between the play and the Bible is the legend of Salome."
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Tragedy Can Often Make Someone Look Good, 2002.
A detailed examination of how tragedy can glorify an individual, through the discussion of August Strindberg's "Miss Julie" and Ibsen's "Ghosts" as examples to illustrate this point.
1,505 words (approx. 6.0 pages), 7 sources, MLA, $ 49.95
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Abstract
This paper examines the contention that characters of literary works often are put through physical and emotional torment in order to strengthen their character and emerge as heroes. In "Ghosts" the writer shows that the character of Mrs Alving is the hero after she suffers greatly from her husband's death and unfaithfulness and her son's illness. Despite all this she rises above her troubles. In the play "Miss Julie" the heroes are the rich daughter and a house servant and their love for each other which cannot be. This paper compares the way in which each of these literary works uses tragedy to strengthen their characters.
From the Paper
"Authors of literary works often use their writing to convey the character worth and strength of their protagonists. They may put them through grief and tragedy but in the end they come out on top and even in spite of the horrors they have suffered they look very moralistic and glorified. Two classic works, August Strindberg?s Miss Julie and Henrick Ibsen?s Ghosts are illustrative of this ability to glorify an individual through the use of tragedy."
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?What to the Slave is the Fourth of July?, 2005.
This paper analyzes Frederick Douglass' speech, "What to the Slave is the Fourth of July", delivered on July 5th, 1852, one of the most provocative, powerful and persuasive speeches in American history.
850 words (approx. 3.4 pages), 2 sources, MLA, $ 30.95
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Abstract
This paper explains that Frederick Douglass' speech, "What to the Slave is the Fourth of July", challenged America, which had become a leading slave-nation and demanded the abolition of slavery because the foundation upon which America was built is freedom. The author points out that Douglass' argument was based heavily on American irony; by enslaving millions of their own countrymen, America's actions are analogous to the British oppression of Americans during its infancy. The paper relates that Douglass called the American people -- in the name of their fathers, the constitution and the Bible -- to renounce their "flagrantly inconsistent ways", abolish slavery and preserve liberty for all.
From the Paper
"After reminding the audience of what their fathers fought for and against, Douglass speaks of the present condition of slavery. Many admit the evils of slavery yet fail to take action against it, while others live "off the fruits of your fathers." American citizens, according to Douglass, do not have this right to "wear out and waste the hard-earned fame" of their fathers. Instead, they must fight for justice. Douglass again emphasizes that America and its freedom do not belong to him, that it belongs to white Americans; "The rich inheritance of justice...is shared by you, not by me." Furthermore, Douglass brings light to the claim that slaves are not men. It is evident that slaves are men since there are laws against them which prove that slaves are in fact "moral, intellectual, and responsible beings." Therefore, it is conceded that slaves are men, and thus slaves deserve the same right of freedom, equality, liberty and justice as every white American."
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The Fourth of July is Yours, not Mine, 2002.
An analysis of Frederick Douglass' address to the Americans, commemorating the fourth of July.
886 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses the speech made by Frederick Douglass regarding black Americans and the fourth of July. The writer examines the arguments presented by Douglass as to why black Americans should not celebrate the 4th of July.
From the Paper
"When Douglass proclaimed that the Fourth of July is not a commemoration of independence for the slaves, but a commemoration of American slavery?s injustices and inequality, he supported this argument by saying that the American nation?s ?high independence only reveals the immeasurable distance between us.? He also questions his audience if ?the great principles of political freedom? embodied in that Declaration of Independence, extended to us?? Douglass poses these statements to his audience because the American nations are the ones who tolerated American slavery, a contrast to what the principles of their Constitution holds."
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August Strindberg and Dreams, 2002.
Examines the use of dreams in August Strindberg's plays, "A Dream Play" and "The Ghost Sonata".
1,198 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
The paper examines how August Strindberg makes use of the form of the dream in the plays "A Dream Play" and "The Ghost Sonata," with varied results. "A Dream Play" was written in 1901, and "The Ghost Sonata" in 1907. The paper shows how the structure of both plays is dreamlike and the characters experience the world as if in a dream. The subject matter of the plays, though, is life itself, with a strong religious and moral tone.
From the Paper
"Much of the dialogue also makes the action of the play seem dreamlike, for though the dialogue could be taken as metaphorical, it has the tone of something surrealistic when the daughter says that the "castle keeps on growing up out of the earth" (Strindberg, "A Dream Play" 199). The action as well has a surrealistic quality, as when the daughter of Indra goes on her dream journey to the opera house, where a mystical door opens to show the four learned representatives of different faculties busily arguing over their disciplines and the great problems of human knowledge. This leads to the great fire that consumes the castle, followed by a wall of questioning human faces as the roof turns into a giant chrysanthemum. Such transformations are of the sort that occur in a dream, carrying symbolic meaning on a deep level."
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'Born on the Fourth of July' by Ron Kovic, 2006.
An evaluation of the Vietnam War in 'Born on the Fourth of July' by Ron Kovic.
1,350 words (approx. 5.4 pages), 6 sources, $ 53.95
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Abstract
This paper discusses the problems of psychological torment through the American military and the inability of Ron Kovic to agree with the Vietnamese and Iraqi wars. In many ways the film by Oliver Stone cannot match the complex issues that surround Kovic's anger and resentment with the Vietnam War but explains many reasons why this war should not have been fought. Much like Iraq the theories for fighting these wars remains obscure and politically illogical.
From the Paper
"This political study will evaluate the problematic issues of psychological and physical torment suffered by Ron Kovic during his experiences as a soldier in Vietnam. The basis of these experiences in Vietnam are brought forth in his self published book Born on the Fourth of July and the film adaptation of this book, directed by Oliver Stone. By comparing these two mediums of Kovic's vision of the war, the injustice and hardships of American soldiers helps to argue against their involvement in this war. In essence, the basis for the Iraq War and the Vietnam War are both similar in how Kovic argues the insanity and needless death involved in these historical American military campaigns."
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Ibsen and Strindberg, 1993.
Compares two naturalistic approaches: Henrik Ibsen's social consciousness vs. August Strindberg's cynical pessimism.
2,475 words (approx. 9.9 pages), 12 sources, $ 87.95
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From the Paper
"Henrik Ibsen and August Strindberg are both associated with modern naturalism in the theater. In their naturalistic plays, Ibsen and Strindberg were similar in that they both included psychological, symbolic, and subjective elements in their depictions of reality. However, Ibsen and Strindberg were very different in the way they went about expressing naturalism. Ibsen was concerned with ideas of social consciousness, whereas Strindberg expressed a cynical, fatalistic, and individualistic perspective on life. This paper will show how these differences influenced the dramatic elements in the plays of Ibsen and Strindberg.
Naturalism in the theater, like realism, seeks to show life as it really is. This effort can be seen in the sets, dialogue, characterization, and plots of naturalistic plays. However ..."
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Plays of August Strindberg, 1976.
This paper compares the "dream" plays and the "reality" plays of August Strindberg.
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"The purpose of this research is to compare the "dream" plays
and the "reality" plays of August Strindberg. The paper will be specifically concerned with "A Dream Play" and "The Ghost Sonata" ("dream" plays), and "The Father" and "Miss Julie" ("reality" plays).
The first important point to be developed in such research is that the dividing line between the two "types" of plays becomes less clear the more deeply one examines the plays themselves. Indeed the very application of the terms "dream" and "reality" must be questioned.
In writings on Strindberg and his dramatic work, the word "naturalistic" is as often used as "realistic" in describing such plays as "The Father" and "Miss Julie." And, in this regard, more critical energy is spent on separating such plays from the ... "
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Woman In Strindberg's Plays, 2002.
Background of the Swedish playwright.
1,125 words (approx. 4.5 pages), 6 sources, $ 39.95
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Abstract
Background of the Swedish playwright. Ambivalent feelings toward his mother. Role of women in "The Father," "Miss Julie," and "The Ghost Sonata." Husband-wife battleground of "The Father." Struggle between the sexes in "Miss Julie." Society's moral and social codes. Gender wars of "The Ghost Sonata." Harsh treatment of women in the plays.
From the Paper
"Introduction
According to Webster's New Collegiate Dictionary, a misogynist is defined as one who has or shows a hatred and distrust of women (1981). Such is the name that many have called Johan August Strindberg. Yet, as seen in his plays and writings, his feelings towards women are much more complex than simple hatred and distrust. In some cases, Strindberg demonstrates a genuine sympathy, if only because it fits in with his worldview at that moment. This paper will discuss the role that women played in the world of August Strindberg, specifically looking at the plays "The Father," "Miss Julie," and "The Ghost Sonata."
Background
Johan August Strindberg was born in Stockholm, Sweden in 1849 to a serving woman and a bankrupt gentlemen. Although he ..."
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