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Women in Television Drama, 2000.
This paper analyzes research investigating the portrayal of women in daytime and prime-time television drama from the early 1970s to the 1990s.
5,415 words (approx. 21.7 pages), 22 sources, APA, $ 133.95
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Abstract
This paper reports that research findings indicate, especially in the 1970s, that women were under-represented and constrained to the narrow mold of housewives and mothers, both in daytime and prime-time television drama. The author points out that the women's movement has had a noticeable effect on the depiction of women; however, there are still traits of under-representation of woman, even in the 1990s and 2000s. The paper relates that researchers disagree as to whether the daytime portrayal of women is relatively more positive in daytime drama than in prime-time drama; however, the researchers do concur that, in both these time periods, women are portrayed as being incompetent in keeping the patriarchal system from interfering with their lives. The paper includes many quotations several of which are embedded in the text.
Table of Contents:
Introduction
The Early 1970's
A Turning Point: Cagney and Lacey
Discussion
Conclusion
From the Paper
"With the overt manifestations of women's movement, questioning conventional cultural perceptions of femininity in various spheres such as labor, family, sexuality and economy, prime-time network television began its quest to respond to these new discourses. In the late 1970s, prime-time television "was generating portrayals of women that drew-in various ways and to varying degrees-on the new feminist consciousness, particularly that of the U.S. liberal women's movement." "Cagney and Lacey" provided a sharp contrast to the conventional images of women on television and met the multidimensional character imposed by the woman movement's discourses."
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The Oppression and/or Liberation of Women in Drama, 2002.
An examination of the dramatic representation of the oppression andliberation of women in the plays "Mrs. Warren?s Profession" by George Bernard Shaw and "Hindle Wakes" by Stanley Houghton.
2,058 words (approx. 8.2 pages), 6 sources, MLA, $ 64.95
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Abstract
This paper uses two plays from the beginning of the century, "Mrs. Warren?s Profession" by George Bernard Shaw and "Hindle Wakes" by Stanley Houghton to examine the attitudes of the playwright and British society toward women. It deals with such issues as prostitution and marriage and shows how different the views of the turn of the century man can be. It looks at how the liberation and oppression of women are major themes in both plays and discusses how exactly which of the female characters in each play is liberated or oppressed is a more contentious issue ? and views of this are subject to the social climate of the contemporary audience.
From the Paper
"Mrs. Warren can also be seen as a liberated woman, for in actuality she is not legally attached to a man, and she makes her own way in the world. She has provided for herself and given her daughter a good life and a good education, so that Vivie does not have to make the same choices as her mother ? she may move in far better social circles with her mothers money than her mother herself can. In the same way that Vivie does not want a husband, and is therefore seen as a liberated woman because she has the opportunity to live her own life, nor does Mrs. Warren have or require a husband."
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Women of Drama, 2004.
This paper examines the women in three plays: Ibsen's "A Doll's House," Chekhov's "The Cherry Orchard," and Strindberg's "The Father."
1,125 words (approx. 4.5 pages), 3 sources, MLA, $ 39.95
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Abstract
The paper offers an analysis of Ibsen's "A Doll's House," Chekhov's "The Cherry Orchard," and Strindberg's "The Father." The paper examines the women in these three plays, focusing on their impact on the men and the men's impact on them.
From the Paper
"Ibsen's "A Doll's House," Chekhov's "The Cherry Orchard" and Strindberg's "The Father" are three plays whose conflict revolves around women within the household. In "A Doll's House" Nora's machinations to help her husband result in revelations that for her expose the lack of love she has for her husband and he for her. In "The Cherry Orchard" Madame Ranevsky's selfish behavior involving her lover and the mounting of enormous debt causes the loss of the family estate."
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Contributions of Women to History, 2002.
An essay on the history of women?s contribution to history from 1865 through 1980.
1,945 words (approx. 7.8 pages), 4 sources, MLA, $ 61.95
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Abstract
This paper goes through Western world history starting at 1865 and lists the accomplishments of many women in several fields. Remarkable women in the fields of drama, art, literature, science, technology and politics are mentioned. It also looks at the rise of the suffrage movements and the start of the women's liberation organizations. A special section is dedicated to Mother Teresa.
From the Paper
"Women have contributed to the history of the world from the beginning of time. Their stories are found in legends, myths, and history books. Queens, martyrs, saints, and female warriors, usually referred to as Amazon Women, writers, artists, and political and social heroes dot our human history. By 1865, women moved into the public arena, as moral reform became the business of women, as they fought for immigrant settlement housing, fought and struggled for the right to earn living wages, and stood up to the threats of the lynch mobs. The years beginning in 1865 is known as the Civil War era and the beginning of the Industrial Revolution. It was a time of great changes, especially for African-American women such as Harriet Tubman and Sojourner Truth. Women of all races had to fight for equal rights, even the right to vote (http://women.eb.com/women/nineteenth09.html)."
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Drama, 2006.
The drama as a literary form and as a performance art using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer.
1,400 words (approx. 5.6 pages), 0 sources, $ 46.95
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Abstract
Using the literary works "The Phoenician Women" by Euripides and "The Iliad" by Homer, this paper shows how the underlying impetus for drama has from the first been the depiction of conflict. The paper reveals how dramas developed from a religious festival and then became a celebration in itself. Drama, as a literary form and a performance art, involves human beings acting out their inner emotions in a public way and interacting with one another over emotions, ideas, and situations.
From the Paper
"All of these elements are presented in the epic poem, while in a drama, many of these elements would only be mentioned or would be left as knowledge the audience already has because they know the story. Drama is more selective, more concise, and more focused on the dramatic situation than on the sweep of a large-scale story. The dramatic situation in this one scene has shifts and turns even in the short time covered. Priam takes a ransom with him consisting of twelve robes, twelve cloaks, twelve blankets, twelve capes and shirts, ten bars of gold, two tripods, four cauldrons, and a Thracian cup. Priam arrives and immediately grasps Achilleus by the knees, telling of his grief and of the need for Achilleus to be compassionate and to return the body of Hektor. For his part, Achilleus speaks of his won victory by reminding Priam of all that the latter has lost, but he also shows that he is fully aware that the gods have guided Priam to this place and that he must return Hektor to his father. The tension of the opening is never fully dissipated even as Achilleus shows his hospitality and makes certain promises to Priam about holding off the fighting for twelve days while the Trojans bury the son of their ruler. However, just as it appears that the situation is concluded, the god Hermes comes to Priam and warns him to leave now because if the Greeks find him asleep in the morning, they may decide he is worth more as a ransom and will not allow him to leave as Achilleus has promised."
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Drama, 2002.
Explores the purpose of drama and how drama has changed over time through several works.
650 words (approx. 2.6 pages), 3 sources, $ 26.95
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Abstract
This paper compares "Oedipus Rex", the various plays of Shakespeare, and "Cat on a Hot Tin Roof", thereby demonstrating the purpose of drama and how drama has changed over time.
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"The Trojan Women"--A Film Review, 2007.
A review and analysis of Michael Cacoyannis' film "Trojan Women."
917 words (approx. 3.7 pages), 1 source, MLA, $ 32.95
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Abstract
This film review describes the challenges of translating the medium of Euripides' ancient Greek drama "Trojan Women" into cinematic technique. The paper explores how Michael Cacoyannis did this in his 1971 adaptation of the Greek tragedy. One method Cacoyannis used was using familiar character archetypes or actors to generate immediate interest in the plot. He also chose famous actresses to star in the film. The reviewer offers his own critique of the film, concluding that rather than making Euripides more intimate, the film only created a wider divide between the great Greek tragedian's world and today's.
From the Paper
"The characters endure very extreme situations, like having their child murdered by Greek soldiers or being forced to become concubines. However, the long, formal speeches that dominate the screenplay, no matter how well-delivered, do not convey a sense of reality. Even close-ups of the women's contorted wailing faces do not stimulate empathy in the heart of the viewer. The advantages of film as a medium, as opposed to the stage, might be defined as being able to convey emotion without a great deal of hysteria, as might be seen in 'real life.' However, Euripides' play did not attempt to convey a realistic portrayal of life, but show a myth on an epic scale."
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Yuan Drama, 2002.
A discussion of the differences of social status and gender in Yuan drama.
1,979 words (approx. 7.9 pages), 3 sources, APA, $ 62.95
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Abstract
This paper examines the different social status and gender positions portrayed in seven dramas from Chinese theatre of the Yuan period. The Yuan dynasty was the period of Mongol rule in China. The dramas included portrayals of a wide range of social classes- rich, poor, officials, beggars, women, men and many more. It shows how women had a lower social status then men and were held in lower regard. Those of a higher status were mostly officials who had access to power and money while in contrast, the lower classes had to work hard for a living and face many injustices. It aims to bring forth the idea that the playwrights used these differences to illustrate moral ideas about good and evil.
From the Paper
"The status of scholars and those who become officials by passing the exam is clearly illustrated here. The Chang family held scholars and officials in high regard and considered it a source of pride and social status to have a son-in-law who is an official. This could be attributed to the fact that the imperial examination was a way for someone from the lower class to raise the position of his family and himself in the social hierarchy. Passing the examination and becoming an official was to bring great honor and prestige to the family. Understandably, to gain a son-in-law who was an official would also bring prestige to the Chang family and perhaps validate or improve their social status."
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Yuan Dramas, 2006.
A look at why drama flourished during the Yuan dynasty (1279-1368).
900 words (approx. 3.6 pages), 2 sources, $ 35.95
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Abstract
The Yuan dynasty (1279-1368) was a period when cultural innovation was occurring at a very high rate in China(Lewis 34). One of the cultural areas that went through a particularly significant period of growth during this period was drama. The question that this essay attempts to answer is why did drama in the Yuan period flourish? It is argued that drama flourished in the Yuan period for four primary reasons. These reasons are; the commercialization of entertainment and the arts during this period, the use of vernacular language, the vulgarity and humor of many of these dramas and the fact that the dramas often used stock stories and characters that were known by a wide range of people.
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Greek Drama and the Modern Production, 2002.
A paper which examines the Aeschylean, Sophoclean and Euripidean styles of Greek Drama and how the relate to modern drama productions.
884 words (approx. 3.5 pages), 3 sources, MLA, $ 31.95
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Abstract
The paper examines and analyzes three distinct styles of Greek drama, focusing on the Sophoclean style by giving several examples in drama history such as "Oedipus" and the modern movie, "A Few Good Men". By comparing these styles to what a modern audience expects of a film or play, the paper shows that the Sophoclean style is the most suitable for a modern production.
From the Paper
"This shows the main aspect that makes the Sophoclean approach the most suitable style for a modern audience, the character focus. The Sophoclean styles focuses on the main character as the driving force of the play. This is the same approach taken by modern films and plays, where the plot of the play is based on the struggle of the main character. This usually involves a likeable character being presented with some problem and ultimately either overcoming this problem or learning from it. Importantly, the audience forms a relationship with the main character, with this involving the audience in the action. The film Titanic is a good model example of this. As history shows, the main event the movie is based on is the sinking of the ship and the drowning of hundreds of people. Yet, the film does not focus on this to engage the audience and drive the plot. Instead, the plot focuses on the story of Rose and Jack."
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Women in Ancient Tragedy and Comedy, 2005.
Examines the way women were portrayed in ancient Greek theatre by looking at the plays "Medea" (Euripides) and "Lysistrata" (Aristophanes).
1,224 words (approx. 4.9 pages), 4 sources, MLA, $ 41.95
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Abstract
Both the drama of Euripides' "Medea" and the comedy of Aristophanes' "Lysistrata" seem unique upon a level of even surface characterization, to even the most casual students of Classical Greek drama and culture. The paper shows that both are female-dominated plays that were produced by male-dominated societies and written by men. Both the drama and the comedy feature strong women as their central protagonists, whom are depicted under extreme circumstances, in relatively positive lights. The paper also shows that both plays, despite their very different tones, also have an additional, unique feature in that they show 'the enemy'-or the non-Greek or non-Athenian, in a fairly positive and humane fashion.
From the Paper
"Medea's act of infanticide is far more shocking than any allegations in Aristophanes about the positive aspects of Greek unity. Unlike the withholding of sexual favors in the private sphere, Medea's act is a public act, in a world such as Greece where "women had no power: they were excluded from politics; from the army, navy, and war; from the law courts; from the Olympic and other Games; from agriculture and trade. In short, women were excluded from the male agonistic world of challenge and response, from what," was often seen as the "real world." (Arkins, 1997) Medea makes a claim as a woman for her status, now denied in the domestic sphere, as a cast off wife, in the public discourse of ruling the land."
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Renaissance Drama and Cultural Materialists' Viewpoints, 2007.
This paper provides an analysis of the difference between the new historicist viewpoints on Renaissance drama and the cultural materialist viewpoints.
2,408 words (approx. 9.6 pages), 19 sources, MLA, $ 73.95
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Abstract
In this article, the writer notes that in recent years, two related and overlapping schools of literary theory have emerged that have offered competing responses to the relationship between Renaissance drama and the political power of Tudor and Stuart Britain. To determine the differences in these perspectives, this paper provides an analysis of Shakespeare's "The Comedy of Errors," Ben Jonson's "The Alchemist," Thomas Kyd's "The Spanish Tragedy" and Heywood's "A Woman Killed with Kindness". The writer looks at these works from the perspective of two modes of criticism or theory, with various criticisms from the new historicist camp and cultural materialist camp being reviewed. An assessment of the complexities of these modes is also provided, taking into account the social, theoretical, and critical movements that informed them. A summary of the research and salient findings are presented in the conclusion.
Outline:
Introduction
Review and Discussion
Shakespeare's "The Comedy of Errors."
Ben Jonson's "The Alchemist."
Thomas Kyd's "The Spanish Tragedy."
Thomas Heywood's "A Woman Killed with Kindness"
Analysis
Conclusion
From the Paper
"This relationship between social contract and means of production becomes even clearer when its importance in the community was taken into account, with marriage representing both a socially acceptable framework in which people could live together and have children, it was inextricably related to how people earned their livings and what roles they played in this society. In this regard, Orlin emphasizes that although marriage ceremonies feature prominently in the opening and conclusion of the play, there is a difference between the celebratory nature of the occasion today and the implications the institution had during this period in history. There is no romantic comedy involved in the marriage of John and Anne Frankford, for example, and the opening scene ... "
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The Women's Movement in Literature, 2002.
A discussion of three plays' representation of the modern women's movement.
1,285 words (approx. 5.1 pages), 4 sources, $ 43.95
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Abstract
This paper discusses how three dramas, ?Trifles? by Susan Glaspell, "A Dolls House" by Henrik Ibsen and "Antigone" by Sophocles portray the modern women's movement. Examples from the text reveal how the characters and plots of the stories depict various themes of the women's movement
From the Paper
"?Trifles? is the story of a woman driven to the ?end of her rope? by a spiteful, mean-spirited man, but it is also a story of women, and how they can come together in a crisis. The two women who open the story know immediately what Mrs. Wright had to put up with, and protect her when the men begin to criticize her housekeeping skills. ?MRS. HALE. No, I don't mean anything. But I don't think a place'd be any cheerfuller for John Wright's being in it? (Glaspell).
While the men are still fumbling around looking at things and speculating, the more introspective and sensitive women have solved the crime, and are on the way to saving Mrs. Wright from paying for the murder.
This entire story revolves around the difference in understanding between men and women, and we learn it early, by one of the idle comments made by the first man to find the dead man. ??though I said to Harry that I didn't know as what his wife wanted made much difference to John--? (Glaspell). It is clear the women do not matter to the men in this story, they are condescending to them, laugh at their thoughts, and obviously feel much more important than mere women. ?SHERIFF. They wonder if she was going to quilt it or just knot it. (The men laugh, the women look abashed)? (Glaspell)."
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The Exploration of Realist Drama, 2002.
A look at realist drama through an examination of plays, playwrights, and concepts.
1,150 words (approx. 4.6 pages), 6 sources, $ 44.95
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Abstract
This essay examines the principle elements of realist drama. The realist drama, often used in films and in plays, is best explained as the best and the worst of humanity combined into a whole. This paper addresses the realist drama with an emphasis on selected playwrights as well as the social reception of the realism movement.
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Shakespeare'S Women, 2003.
Examines the characterization of women in two plays.
1,575 words (approx. 6.3 pages), 4 sources, $ 55.95
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Abstract
Analyzes the major female characters in "Hamlet" and "King Lear". Examines the relationship of these women to the tragic hero of each drama. Discusses the psychology of the female characters and the tragic decline of Hamlet and Lear.
From the Paper
"This research examines the characterization of women in Shakespeare's Hamlet and King Lear as a presentation of an apocalyptic vision embedded in the tragic scheme of action. It will be argued that in each of the plays, different as they and their respect..."
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