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Tragic Figures in "Othello" and " Paradise Lost", 2002.
Looks at the two lead female characters in "Othello" and "Paradise Lost" to determine if they should be considered tragic figures.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
The purpose of this paper is to show whether the two lead female characters in Shakespeare's "Othello" and Melton's "Paradise Lost"-Desdemona and Eve respectively-can be considered tragic figures. To make a determination, it is first necessary to define what it means to be a tragic figure within the context of Elizabethan and 17th century literature.
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Tragic Figures in Literature, 2002.
Uses two famous literary characters to demonstrate how authors of literature have historically used their works to make their characters evoke emotion in the hearts of their readers.
1,892 words (approx. 7.6 pages), 8 sources, MLA, $ 60.95
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Abstract
This paper presents an examination of tragic figures. The writer compares and contrasts Macbeth and Arthur Dimmesdale as "tragic figures". Their lives, their ideas and the things that happen to them all contribute to the tragic figure persona
From the Paper
"Throughout history authors of literature have used their works to make their characters evoke emotion in the readers hearts. One of the most emotion evoking characters in works of literature is the tragic hero. The tragic hero is a hero in actions and tragic in the flaw that makes him or her human after all. The tragic hero is the character that struggles with human flaws or emotions while at the same time acting in heroic ways. The ways of a tragic hero are often about warriors and the ability to fight but this is not always the case."
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Mother Figures in 19th Century English Literature, 2005.
Examines the presence of mother figures in works by Thomas Hardy and Elizabeth Gaskell.
1,617 words (approx. 6.5 pages), 2 sources, APA, $ 52.95
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Abstract
During the nineteenth century, especially toward its conclusion, women were beginning to break out from their usual molds, and perceptive authors used that fact to create some outstanding dramas and novels. Thomas Hardy was one, having written "Tess of the D'Urbervilles" and Elizabeth Gaskell wrote "Ruth". There are many ways to look at these two novels; however, one interesting link makes them worth investigating. The paper shows that this link is the presence and the absence of a mother figure that might have changed the denouement of both women - a happy, peaceful conclusion for Ruth in her passing, and a tragic one for Tess, hounded by men seeking revenge for her stabbing of her seducer.
From the Paper
"Hardy, a male in the Victorian age where sex was all done behind closed doors and shuttered windows, as if it never existed at all, took umbrage at the mores of men and women whose lives would be shattered by revelations of premarital sex. Ruth had no mother to comfort her during her distress, having been forcibly removed from Mr. Bellingham. There was no mother to run to when it was time for the baby to be born. And yet, near the end of "Tess", when she might have needed her mother more than a bland Alec, her mother was distant, and not at all communicative with those who wanted information about Tess' whereabouts."
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The Tragic Hero in Modern Literature, 2002.
A discussion of tragic heroes in modern, American literature.
9,500 words (approx. 38.0 pages), 10 sources, MLA, $ 194.95
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Abstract
Today, people do not often see the unquestionable splendor of royalty, the unrelenting actions of the hand of fate, or the importance of human interactions. Does that mean that a tragic hero could not exist in the modern world? This paper reviews what a tragic hero is and illustrates this type of character with examples from "Oedipus Rex". Then, the heroes of "The Zoo Story", by Edward Allbee, "One Flew over the Cuckoo's Nest", by Ken Kesey, "Death of a Salesman", by Arthur Miller, "The Catcher in the Rye", by J.D. Salinger, and the "Autobiography of Malcom X" are compared to the definition of a tragic hero. The paper concludes that modern society may not believe in crowns, robes and the hand of fate, but it believes in the ability to create revolution. It is in these revolutions that tragic heroes emerge.
From the Paper
"Modern society may not believe in crowns, robes, and the hand of fate, but it believes in the ability to create revolution. It is in these revolutions that tragic heroes emerge. The act of inciting revolution and change becomes noble. By unselfish actions, courage, and honor, these revolutionaries create a new class of nobility. This idea can be seen in society, and literature is imitating it, just like Aristotle said it should. While there are still many "phonies" in the world, the tragic hero has reemerged to put them in their place."
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Greek Tragedies and Their Influence on Modern Day Literature, 2002.
A discussion on the ways in which Greek tragedies and the theory of the Greek tragic hero has survived the diverse style changes of literature since its conception.
960 words (approx. 3.8 pages), 2 sources, MLA, $ 34.95
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Abstract
The following paper examines the ways in which the idea of Greek tragedies has been embellished upon by great literary geniuses. This paper examines how Shakespeare, for example, used his tragic plays to purge his audience of their own flaws, which is precisely how Aristotle had defined the ideal tragic play. The writer examines how modern playwrights such as Sophocles, Ibsen and Tennessee Williams began to interject less idealism and more realism into their tragedies, providing a more ?real life? hero than the ideal hero as defined by the dramas in ancient Greece.
From the Paper
"As literature has evolved over time, plays have become less of a staple of only aristocracy. American literature came into existence, and with that came Tennessee Williams (one of many notable playwrights) and his superb work, ?The Glass Menagerie?. Unlike the original idea of a tragic hero that was someone of great influence and stature (though not god-like), Tennessee Williams wrote about real characters, that virtually anyone could identify with. In the play, the role of the hero is shifted between Amanda, Tom and Laura ? depending on the angle of the play at the time. Williams doesn?t focus on the characters, which doesn?t allow for much development beyond their initial two-dimensional appearance. Tom is arguably our hero, but he isn?t really all that likeable. He is mean to his mother, alienates his sister, and abandons them both. Nothing remarkably heroic there. Williams is more concerned with the outcome of the play, and Tom?s resounding guilt for his actions; as a result, Williams revolves completely around the plot. Tom, who serves as the narrator for the play, is essentially the protagonist of the play ? he is not necessarily the most important figure in the play, but he is the first one to interact with the audience, which is the definition used in the time of the Greek tragedy."
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Male-Female Dynamics in Greek Literature, 2005.
Discusses the comparisons between two relationships in ancient Greek literature: Hector and Andromache from the "Iliad" by Homer and Oedipus and Jocasta from the "Oedipal" trilogy by Sophocles.
1,030 words (approx. 4.1 pages), 0 sources, MLA, $ 36.95
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Abstract
The parallel gained by a closer study of the characters, Hector and Oedipus, shows both comparisons and contrasts that can be drawn. Both couples in these works by ancient Greek authors Sophocles and Homer show not only bittersweet pictures of the loving tragic family, but also show the differing emotions and reactions that an average person goes through during a personal crisis. The paper notes that, just as one can clearly see the depth of their relationships, one can clearly see the progression of the emotions in play. The depth, dynamics, and reactions of each relationship bring them to life and show not only the insight the writers had into human nature, but also the quality that these works have that makes them a part of our modern literature.
From the Paper
"Another prominent similarity between the two couples is their outstanding family life. With Hector and Andromache, their scene with Astyanax is perhaps the most well-known and emotional scene of The Iliad. As Andromache and Hector meet on the Trojan precipice, they speak of their love and concern for each other and then play with their son. As the exchange between the three proceeds with laughter and love, we see the playtime with Astyanax as, "Then taking up his dear son he tossed him about in his arms, and kissed him, and lifted his voice in prayer to Zeus...:...grant this boy, who is my son, may be as I am...great in strength...and delight the heart if his mother," (91). We see not only the joy they share embodied in the boy, but Troy's hope for a future. The affectionate family dynamic, either atypical of ancient fathers or at least not written into much literature, is also seen with Oedipus and Jocasta's home life, though the audience may shudder."
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Women in Greek Literature, 2002.
A look at the impact that women have had in Greek literature.
2,590 words (approx. 10.4 pages), 2 sources, MLA, $ 78.95
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Abstract
An analysis of Greek literature and how women fall into tragic roles. The author examines the female characters in Virgil?s "Aeneid," such as the goddesses Athena and Dido and their role in assisting Aeneas. The author examines how the female presence and aid is viewed and discusses the characters of these women.
From the Paper
?Women are not often thought of as tragic characters in Greek literature. When the average student of the classics is asked to rattle off the names of tragic characters from mythology, the names that would spring to mind are probably that of Oedipus and Achilles, rather than Jocasta (Oedipus? mother/wife) and Thetis (Achilles? mother). Yet in many ways, one of the main female protagonists in Virgil?s ?Aeneid? can be said to be a tragic character. She loves Aeneas, the main character of the story. She aids him in his quest in his escape from his destroyed homeland, the besieged city of Troy. The gods cause her to fall in love with Aeneas and the gods take him away from her, for all time.?
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Cycladic Religion and Marble Figures, 2005.
Attempts to penetrate the mystery of marble figures from the Cyclades and their relation to the religious beliefs of those ancient people.
3,125 words (approx. 12.5 pages), 7 sources, MLA, $ 90.95
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Abstract
This essay surveys the literature for opinions on the purpose of the mysterious and appealing marble figures of the Bronze Age in the Aegean islands of the Cyclades. Since the sculptors left no writing, scholars are left to speculate based on evidence from nearby cultures. Arguments from many scholars are compared to try to find the best solutions to the problem. The paper includes photographs of the figures.
From the Paper
"Van Schaik points to the fact that too few of the figures were found outside of burial contexts for the figures to be a assigned to a cult of the Mother Goddess like the one in Anatolia. However, as stated earlier, the similarity in form of the Cycladic figures to those of Anatolia cannot be discounted, whether or not one believes that they serve the same purpose".
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Mother Figures in "The Sound and the Fury", 2006.
A comparison of Caroline Compson and Dilsey Gibson as mother figures in William Faulkner's "The Sound and the Fury".
839 words (approx. 3.4 pages), 1 source, MLA, $ 29.95
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Abstract
This essay compares and contrasts Caroline Compson and Dilsey Gibson as mother figures within the novel "The Sound and the Fury" by William Faulkner. This paper is written within the terms of their relative positive and negative influence on the Compson family, and the Compson children in particular. Throughout the novel Caroline Compson, the children's real mother, is lacking as either a mother figure or a positive influence of any kind, while Dilsey Gibson admirably fulfills both roles. Faulkner, though, implies hope for the Compsons, and, by association, post-Reconstruction South itself. The conclusion allows that in reflecting on the relative strengths and weaknesses of Caroline and Dilsey, it is clear that Dilsey Gibson, not Caroline Compson, finally exerts more influence over the Compson family.
From the Paper
"Both Caroline Compson and her husband, Jason Compson III, are neglectfully detached from their children. It is Caroline's chronic self-absorption, however (at her children's expense) that, as Faulkner implies, is more hurtful and damaging to them. Caroline seems interested in two things only. The first is her own self, and her numerous personal needs, rather these are imaginary or real. The second is her family's declining social importance within Jefferson. Caroline is in fact so obsessed with the latter that when it becomes clear that the child originally named Maury, after Caroline's brother Maury Bascomb is severely mentally retarded, Caroline changes his name to Benjamin ("Benjy"), so as not to reflect badly on the older Maury, or her family name. Clearly, from that example alone, we recognize that Caroline's first affections and loyalties are not to her children."
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Prepatriarchal Representations of Female Figures, 2002.
An examination of archaeological discoveries of female figures representing cult fertility objects and ancient goddesses.
1,350 words (approx. 5.4 pages), 9 sources, $ 47.95
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Abstract
Archaeological discoveries of female figures representing cult fertility objects an ancient goddesses. Representations of Paleolithic, Neolithic periods. Greek and Roman depictions of goddesses. Feminist ideology & goddess imagery. Patriarchal ideology. Varied views of contemporary ecofeminism in deconstructing patriarchy.
From the Paper
"Contemporary Ecofeminism
Introduction
Prepatriarchal Representations
The earliest interpretations of archaeological discoveries of female figures was that they represented cult fertility objects. However, by the 1970s, there were numerous interpretations of these figures, and others, as representing ancient goddesses.
These representations varied between civilizations and epochs in how they represented goddesses and stories that were told about them. In the Paleolithic period, the representations were the simplest. These are the female figurines that early archaeologists identified as Venus figurines (Eisler, 1987). They were often broad-hipped, pregnant, stylized, and sometimes were missing faces or..."
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Authority Figures in "Alice in Wonderland", 2001.
This paper examines the significance of authority figures and the hierarchy of authority in "Alice in Wonderland" by Lewis Carroll.
1,700 words (approx. 6.8 pages), 1 source, MLA, $ 55.95
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Abstract
In Lewis Carroll?s novel, "Alice?s Adventures in Wonderland", Carroll creates a satirical impression of human authority. This paper explains how he portrays seemingly powerful characters such as the King and Queen of Hearts as shallow, idiotic, and farcical, while characters such as Alice and the Cheshire-Cat are depicted as knowledgeable, witty characters who possess the real authority in Wonderland. Carroll, through exaggeration, displays the King and Queen of Hearts as somewhat of a parallel to the top of the hierarchy of authority in the real world. The paper looks at how these characters are presented to the reader as abusing power they don?t really possess. It explains how, in the end, Alice, with the help of the Cheshire-Cat, develops as the true figure of authority in Wonderland and symbolizes young children everywhere, showing them that they too can make a difference in the world.
From the Paper
"Lewis Carroll develops Alice as a prominent authority figure throughout her tenure in Wonderland. Alice?s authority increases in her own mind as she realizes how farcical and illogical the important figures in Wonderland really are. This is quite evident at the mad tea party when Alice is arriving and the Mad Hatter and March Hare claim there is no room but
Alice indignantly says, ?there?s plenty of room!,?(Carroll, 60) and sits down in a large armchair
at the head of the table. Alice, here, is showing the characters of Wonderland that they do not intimidate her and she is trying to enforce her own sense of authority over these idiotic beings. The Hatter and the March Hare try to belittle Alice with their remarks but Alice replies to their snide remarks with polite, intelligent responses. This can be manifested when the Hatter and the Hare are rudely commenting on how Alice could use a hair cut and Alice replies, ?you should learn not to make personal remarks . . . it?s very rude.?(Carroll, 60). Although the Hatter and the Hare don?t realize it, Alice is establishing herself as a teacher, or leader, that provides a helpful example to children readers with respect to manners and temperament. The idea of Alice?s authority in Wonderland is further developed to the point where she can be recognized as the supreme authority figure in Wonderland near the end of the story at the trial regarding the stolen tarts. Alice, at this point, has grown back to her normal size and has no respect for, or fear of the Queen or King of Hearts any longer."
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Father Figures in Poetry, 2004.
Analysis of the father figures in a poem by Robert Hayden and a poem by Theodore Roethke.
985 words (approx. 3.9 pages), 8 sources, MLA, $ 34.95
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Abstract
This poem describes and analyzes how two different poems, "Those Winter Sundays", by Robert Hayden, and "My Papa's Waltz", by Theodore Roethke, portray a father. The paper also describes the feeling that the reader gets about the father and the relationship he has with his child.
From the Paper
"In reading Robert Hayden's poem "Those Winter Sundays," one gets the feeling of the speaker's finally having achieved enough distance from the subject of the poem to consider with equanimity what had to be a painful experience. "Sundays too" the father "got up early," the poet confides, and however the reader might feel in later lines about the coldness of the man, she or he has to deal with the fact that this man is not slothful. He got up early not only six days a week but "Sundays too...." The father performs a variety of services for the child: he reinvigorates the banked fire into a blaze to make the house warm for a rising that is not required before a modicum of comfort has been provided. And, not only did this father drive out the cold, but he polished a pair of "good shoes," having provided, one must assume, at least another pair of shoes that are not so "good."
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Horse Figures in Ancient Art, 2004.
Compares how ancient Chinese and Afghan cultures depicted the horse in their art.
992 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper describes and compares two works of art to show how two ancient cultures, China and Afghanistan, created small, personalized horse-figures to express the importance of horses in their world. The figures compared are ?Quadruped with Bowl and Three Cockerels?, at the Los Angeles County Museum of Art, from the Second Century, and a Chinese tomb sculpture made between 25 and 220 A.D, also found in the LACMA. The paper includes pictures of the two pieces.
From the Paper
"The Chinese horse is also stylized, its pose exaggerated. But unlike the Afghan piece, it shows no humor, and no real movement, despite the fact that its more realistic legs seem to be posed to indicate actual movement; the Afghan figure?s legs are four-square and still, it seems more active than the Chinese figure. This may be a function of the function of each piece. The Afghan figure was made for an apparently ritualistic purpose, and possibly not a totally serious one because of the humor shown in the abstraction, the gesture and the mixture of geometric and curvilinear forms."
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Maternal Figures in Shakespeare, 2004.
An analysis of the absence of maternity in Shakespearean drama.
1,721 words (approx. 6.9 pages), 10 sources, MLA, $ 55.95
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Abstract
This paper examines the presence and lack of maternal figures in William Shakespeare's "The Winter's Tale" and "King Lear." It discusses both the societal and familial implications of maternal absence and acknowledges the fact that this trend is still common in modern fiction.
From the Paper
"As in many contemporary stories, the tragedy King Lear begins without a mother present. Nothing is known of her; the reader is unaware of the circumstances of her death, or if she actually is dead. What is clear is that her presence is missing, not only throughout the course of the play, but in the lives of Lear and his three daughters. Seemingly the opposite, The Winter's Tale begins with an existent maternal figure, Hermione. Not only is Hermione present, she seems to represent all that maternity should. She is a just and gentle queen, and although her royal husband, Leontes, accuses her of adultery, this accusation stems from his own maddened jealousy, and has no basis in truth. In fact, Hermione spends a good deal of the play defending her womanly honesty against her husband's unfounded jealous rage."
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Influential Political Figures of the Twentieth Century, 2002.
A study into how the beliefs and actions of Marx, Lenin, Stalin, Mussolini and Hitler influenced the world during the early part of the twentieth century.
1,000 words (approx. 4.0 pages), 5 sources, APA, $ 35.95
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Abstract
The paper shows that not only did the ideas and policies of Marx, Lenin, Stalin Mussolini and Hitler have significant effects within their own countries during their lifetimes, but became so widespread that their influence was felt throughout the world. The author of the paper shows that the ideas and actions of these five men are now of such importance to the study of history, politics and sociology, that their influence will be taught to, and discussed by, students for many generations to come.
From the Paper
"In his desire to restore Italy to greatness, Mussolini was responsible for introducing the images that are now commonly associated with the word 'fascism', such as military rallies, emotional speeches and slogans, and a patriotic leader with great personal charisma (Griffin 1995). These ideas and images were soon adopted and developed by the leader of the country with which Italy would form a close alliance with during World War II, a man who saw Mussolini as a role model, but who would take the ideas of Mussolini and Fascism to such an extreme that he would become, arguably, the most notorious and despised man in history - Adolf Hitler."
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