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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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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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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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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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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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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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Two Comedies, 2002.
This paper introduces, discusses and analyzes two comedy films "His Girl Friday," directed by Howard Hawks and "Bedazzled," directed by Harold Ramis.
1,820 words (approx. 7.3 pages), 2 sources, MLA, $ 58.95
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Abstract
In comparing these two comedies made at least 45 years apart, the writer explores their their similarities and their differences. It focuses on the societies which they portray and whether these societal changes make the films obsolete or keep them classic.
From the Paper
"Comedies are some of the most popular film genres of all times. They entertain, they make the audience laugh, and they all contain certain formulas that make them successful. Most comedies have a happy ending, likeable characters, and some ridiculous situations, and these two films are no exception. Even though they were made over 50 years apart, they contain some of the same compelling and humorous features, and some major differences. Selling your soul to the devil for good fortune or a group of wishes is a topic written about numerous times. Goethe did it in "Faust," and it comes up again in the 2000 film "Bedazzled," directed by Harold Ramis of "Ghostbuster" fame. This remake of a 1967 film starring Dudley Moore and Peter Cook stars Elizabeth Hurley as the Devil, and Brandon Fraser as the befuddled computer nerd who sells his soul for seven wishes. (The first one, a Big Mac and a Coke that he has to buy, should not count, but it does.)"
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Romantic Comedies, 2004.
A discussion on film and the element of drama in the romantic comedy genre.
3,150 words (approx. 12.6 pages), 9 sources, MLA, $ 111.95
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Abstract
This paper emphasizes the impact of crime drama elements on the romantic comedy in three films. The films mentioned are "Some Like It Hot," "Grosse Pointe Blank" and "Gigli." It compares and contrasts how these three films use the elements of danger and criminal associations to heighten the romance of the story.
From the Paper
"This paper examines two frequently used film genres the romantic comedy and the crime drama and compares and contrasts three films that combine these genres using the elements of danger and criminal associations to heighten the romance of the story. Billy Wilder's, "Some Like It Hot" sets its darkly comic plot in motion when two musicians witness the St Valentine's Day massacre and flee from the killers in disguise, each finding a romantic partner in the process. George Armitage's "Gross Pointe Blank" sends a hit man to an unsettling reunion ..."
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Screwball Comedies as a Genre, 1992.
A review of "Some Like It Hot" by Billy Wilder and "Victor/Victoria" by Blake Edwards including plots, stereotypes, a discussion of sexual duality, musical numbers and genre stages.
1,800 words (approx. 7.2 pages), 2 sources, $ 63.95
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From the Paper
"The purpose of this research is to discuss film genre and theory. Genre is a method of classifying narrative structure. It is a formula consisting of style, subject matter, stereotypes, and conventions that characterizes certain types of film that have become popular with American audiences. Several genres that have emerged out of the collective American psyche are the gangster film, the Western, the musical, the screwball comedy, and the horror film. An audience knows what the ingredients are and recognizes these conventions in a film of a certain genre, even finding comfort with the familiarity of the stereotypes.
Making a film in a certain genre also allows the filmmaker to use a kind of shorthand in presenting his world. Stock devices are useful and do not take away from time that might better be spent for other aesthetic purposes. However, the..."
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Comedy In Los Angeles, 1995.
Discusses the business of comedy; specifically, comedy clubs. Focuses on three Los Angeles clubs: The Comedy Store, the Laugh Factory and the Improvisation.
3,375 words (approx. 13.5 pages), 6 sources, $ 119.95
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From the Paper
"INTRODUCTION
Comedy has become a major business over the last 20 years or so, and the proliferation of comedy clubs in major cities is a testament to this fact. Three of the seminal and more successful comedy clubs are found in Los Angeles--The Comedy Store on Sunset Boulevard, the Laugh Factory on the same street, and the Improvisation on Melrose Avenue. These clubs are known for featuring new talent, as places where established talent tests material, and as magnets for celebrities in the audience as well as on stage. Each has also been well-served by their respective owners' dedication to promotion. The venues have somewhat different approaches to the presentation of comedy acts and target somewhat different audiences. They have also been buffeted recently by a downturn in the comedy business, though they have ..."
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Women in Shakespearean Plays, 2002.
Looks at the role of women in "As You Like It", "All's Well Ends Well", and "Twelfth Night" by William Shakespeare.
1,129 words (approx. 4.5 pages), 3 sources, $ 39.95
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Abstract
Women had no status in Elizabethan society; their main function was as fertile breeders, and their role in society was simply not viewed as important. This paper shows how the unimportance and taking for granted of women is clearly reflected in Shakespeare?s plays. Although their roles are not viewed as contributing to society, the dramatic function of women in Shakespeare plays is anything but not contributory. The paper shows that the female lead's role is crucial to the restoration of order that occurs in the play. As Shakespearean comedies are cyclical, the ultimate goal of a comedy is to travel from disorder to resolution. This paper examines three plays, "As You Like It", "All's Well Ends Well", and "Twelfth Night".
From the Paper
"Similarly, Viola in Twelfth Night, goes through a loss of identity by disguising herself as Cesario in order to find work with Duke Orsino. She disguises herself as a man because society believed females to be incapable of handling work. When Viola becomes Cesario, she instantly becomes one of Orsino?s favourite workers and is rewarded with the position as his page. The positioning of Viola as Orsino?s page asserts Viola?s working capabilities, and thus shows the audience that women can do a job as well, perhaps even better, than men."
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"Taming of the Shrew", 2004.
An analysis of one of the most memorable and prominent Shakespearean comedies, "Taming of the Shrew".
2,347 words (approx. 9.4 pages), 4 sources, MLA, $ 72.95
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Abstract
This paper discusses Shakespeare's "Taming of the Shrew". The paper examines the play's patriarchic themes, such as the taming of wild women, a man's domineering character and female subjugation. The paper contends that while many critics feel that the play chronicles the domination process in a marriage where Petruchio, the male lead finally overpowers his wild and aggressive wife, Katherine Minola, closer analysis of the play reveals that this is not exactly true. The paper claims that the play actually deals with the issue of equality of power. The paper states that this play presents a mockery of wife submission norms in English society of 17th century rather than an approval of the same.
From the Paper
"Kate who was very wild and rarely ever submitted to anyone was dragged into a marriage against her wishes. One wonders then, how and why did she ever let her father take this action if she was actually so outspoken. We must understand that while she didn't have much choice in the case since it was a time when arranged marriage customs were rife her behavior earned her the right and respect that she deserved. This is very clear when we read the betrothal scenes of both Kate and Bianca and compare them to each other. In Kate's betrothal scene, her father Baptista, makes it absolutely clear that he wants Pet to win her daughter's love before he could hope to have her money while in Bianca's betrothal scene, she is objectified as Baptista feels he could hand her over to anyone he found suitable enough. "
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"Divine Comedy" and "King Lear", 2004.
A look at the theme of dark humor and satirical comedy in ?Divine Comedy? by Dante and ?King Lear? by William Shakespeare.
887 words (approx. 3.5 pages), 0 sources, $ 31.95
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Abstract
This paper discusses how, in these literary works, a notable characteristic is the authors? ability to weave in the aspect of dark humor, aptly using satirical comedy in order to criticize the rulers and leaders of their societies during their time. It explains how, in ?King Lear,? Shakespeare uses character profiles that fit the description of the antagonists and protagonists in political conflicts that were happening in Shakespeare?s society. It also describes how Dante?s work served as revelation to the people to witness the anomalies going on in their society.
From the Paper
"In Inferno/Hell, Dante is accompanied by Virgil as they go through the inner circles, called bolgia, where different offenders of the sins of humankind are suffering and are being punished for their sins. There are nine bolgias inside, where the first circle is the limbo, described as a place where people experience ?gentle sadness.? Inside the bolgias are people suffering from the sins of humankind: lust, gluttony, the avaricious and prodigal, sullen, heretics, violent people against the tyrants, gods, or goods, fraudulent people in love, flatterers, simonists, diviners, barrators, hypocrites, thieves, fraudulent counselors, sowers of scandals and schism, falsifiers, rebels, and traitors against kin, homeland, guests, and benefactors."
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