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"A Wrinkle in Time" and "The Wonderful Wizard of Oz", 2002.
An analysis of the female characters in the two novels "A Wrinkle of Time" by Madeline L'Engle and "The Wizard of Oz" by L. Frank Baum.
1,900 words (approx. 7.6 pages), 3 sources, APA, $ 60.95
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Abstract
This paper compares and analyzes "A Wrinkle of Time" and "The Wizard of Oz" and shows how both books attempt to broaden the stereotypical view of women by introducing us to two strong female protagonists Margaret 'Meg' Murray and Dorothy.
From the Paper
"The ability to be different and define ones own destiny are important literary components for a protagonist to possess. Meg, from A wrinkle In Time, is not like other girls her age. She is outspoken and not afraid to voice her own opinion. Meg's father has been absent from home for quite a while and it is causing emotional distress in her life. The townsfolk begin to murmur that her father has abandoned the family. She is determined to keep a stiff upper lip and not let others get the best of her. Meg states, "As long as she (Mother) says Father is coming home then I'll believe that." (L'engle p. 25) Even her school principal advises her that she'd "make a better adjustment to life if (she) faced facts." (L'engle p. 25) Adjusting to life is not what a protagonist does."
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L. Frank Baum's "The Wonderful Wizard of Oz", 2006.
A comparison of the original story of "The Wonderful Wizard of Oz" by L. Frank Baum and the 1939 screen adaptation of the story.
1,350 words (approx. 5.4 pages), 2 sources, $ 53.95
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Abstract
Almost four decades of history and innovations in media technology separate the text of L. Frank Baum's "The Wonderful Wizard of Oz" (1899) and MGM's 1939 musical "The Wizard of Oz". Although the plot of the film is roughly comparable to that of the book, the filmmakers made a great many changes in their adaptation of the story. This essay argues the thesis that the changes and modifications between the text and the cinematic version represent more than just the efforts of the filmmakers to adapt the story to a different medium.
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"The Wonderful Wizard of Oz", 2008.
An examination of L. Frank Baum's connections to the populist party and his references to it in his classic novel, "The Wonderful Wizard of Oz."
2,500 words (approx. 10.0 pages), 10 sources, MLA, $ 75.95
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Abstract
This paper analyzes the politics of the populist party that can be found within L. Frank Baum's classic novel, "The Wonderful Wizard of Oz." It provides a brief history and correlative analysis of the ideology of the populist party, in order to reveal Baum's influences in writing the plot for the novel. The paper also examines the correlation to Baum's own socialist ties with populist reform in the Midwest.
From the Paper
"In conclusion, the involvement of L. Frank Baum in the Populist Party Movement is a major facet of the plot and character structure in his novel: The Wonderful Wizard of Oz. The symbolic use of Dorothy and her companions seeking to find the Great Oz, so that they can free the people is paramount to Baum's own quest to garner better living conditions and governmental regulations on the banks that were closing down and confiscating farms all over the Midwest. In this manner, Baum offers a parable of the Populist Party struggle in the Wizard of Oz, but also provides biographical and societal information about his involvement and propagandistic agenda for writing this classic novel for the turn of the 19th century in America."
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"A Wrinkle in Time", 2007.
A look at why Madeleine L'Engle's children's book "A Wrinkle in Time" is considered inappropriate for children.
1,201 words (approx. 4.8 pages), 5 sources, MLA, $ 41.95
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Abstract
The paper discusses how Madeleine L'Engle's children's book "A Wrinkle in Time" is one of the books which have been included on the list of the banned books in the United States. The paper explains that this is partly because it was structured as a Christian fantasy, blending science and religion to convey its main meaning about good and evil. The paper relates that it was not considered appropriate for children also because of its mystical implications, its feminist content and perhaps it was considered too challenging and possibly influential. The paper highlights that all these reasons were motivated by the time at which it appeared; the beginning of the 1960s.
From the Paper
"Madeleine L'Engle's children's book "A Wrinkle in Time" is one of the books which have been included on the list of the banned books in the United States. The censorship of the book is explainable through the many sensitive spiritual matters it touches upon, and for the way in which it chooses to explore them, which has been considered by some critics as inadequate for children. "A Wrinkle in Time" has been equally subject to praise and critics and even serious censorship. It has received the Newbery Award as well as the National Humanities Medal, and has been extensively praised as a good challenge for children's imagination and a really good starting point for teachers to serve their educational purposes. However, at the same time, it has been termed as highly improper by other critics, who saw it as inappropriate for a children' s reading, because of the biased spiritual interpretations found in it."
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'A Wrinkle In Time', 2002.
A critical analysis of Madeleine L?Engle's novel.
340 words (approx. 1.4 pages), 0 sources, $ 17.95
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Abstract
?A Wrinkle in Time?, by Madeleine L?Engle does not present all the aspects of a fantasy novel, however, it does employ many. The novel demonstrates both fantastical and science-fictional facets. These subjects are analyzed and placed into their respective genres. Theme, setting and language are examined and deconstructed. Examples are also given to show appropriate genre.
From the Paper
"Furthermore the struggle is an attribute common to fantasy and it is shown in this book with Meg and the group fighting, and eventually destroying IT. Even though the quest is purely fantasy there are elements of science fiction present in the theme. The way the group travelled through outer space is a feature of science fiction. Also the concept of IT, the pulsating brain, controlling the people of Camazotz, and ?The Black Thing? fit into the realm of science fiction."
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The Wizard of Oz vs.The Dark Side of the Moon, 2002.
A comparitive study of Pink Floyd's album, "The Dark Side of the Moon" and of the classic movie, "The Wizard of Oz".
2,680 words (approx. 10.7 pages), 17 sources, MLA, $ 80.95
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Abstract
This paper compares the similarities of Pink Floyd's Dark side of the Moon and The Wizard of Oz. The paper defends the idea that there was no intentional synchronization of the two pieces. This paper explores the facts and the myths that surround the cult like following of the phenomenon of synchronicity and what has been coined "The Dark Side of the Rainbow."
From the Paper
"For more than 60 years people have been watching the MGM movie The Wizard of OZ, and for almost 25 years people have been listening to the album Dark Side of The Moon by the rock group Pink Floyd. It wasn?t until March of 1997 that a Disk Jockey in Boston mentioned on the air that if you sync the sounds of Dark Side of the Moon with the picture of The Wizard of Oz that there are many synchronistic occurrences. It is the intention of this paper to explore the facts and the myths that surround the cult like following of the phenomenon of synchronicity and what has been coined The Dark side of the Rainbow."
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"The Wizard of Oz", 2007.
A discussion on "The Wizard of Oz", directed by, Victor Fleming.
940 words (approx. 3.8 pages), 1 source, MLA, $ 33.95
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Abstract
This paper introduces and discusses "The Wizard of Oz". It offers an archetypal analysis of the movie from the viewpoint of Jung's theory of the collective unconscious. The paper offers quotes from the film to qualify points made.
From the Paper
"Dorothy's journey through Oz to find the Wizard, or "trickster," is a journey through a magical land filled with strange and wonderful creatures. It can also be seen as a very real journey through the Jungian philosophy. First, Dorothy must travel through an unreal or unconscious landscape in an attempt to return to her normal conscious state. The entire time in Oz is a dream sequence in the film, so Dorothy is literally exploring her unconscious mind from the moment she is hit on the head and goes to sleep. Her return home (waking up) is a return to her conscious self. "
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Comparison of "The Princess and the Goblin" and "The Wizard of Oz", 2002.
Explores the symbolic significance of vision and the importance of imagination in two famous children's tales.
1,775 words (approx. 7.1 pages), 2 sources, $ 66.95
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Abstract
The thesis that will be argued is that in both texts sight/vision is used as a metaphor cautioning children about trusting everything that they see. Although the texts differ in the symbolic significance attached to sight/vision - with its depiction in "The Princess and the Goblin" having more obvious religious overtones - in both imagination is shown to be a more important quality in relating to those around us without prejudice than is pure vision.
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"The Wizard of Oz", 2003.
Explores the success of L. Frank Baum's book.
675 words (approx. 2.7 pages), 3 sources, $ 23.95
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Abstract
The paper presents a brief history of the book and contends that it is a psychological fairy tale. It shows elements that are important to the story's success and continued popularity. It touches on the populist message and its allegorical content, as well as the spiritual message of the book.
From the Paper
"L. Frank Baum created a magical place in his book The Wizard of Oz and in the many subsequent books he wrote about this fantastic land to which the Kansas farm girl, Dorothy, was transported by a tornado. Baum wrote 13 Oz books, and the books were ..."
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"Wizard of Oz", 1996.
Compares book by L. Frank Baum & 1939 film, critical views, plot, characters, popularity.
1,125 words (approx. 4.5 pages), 6 sources, $ 39.95
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From the Paper
"L. Frank Baum created a magical place in his book The Wizard of Oz and in the many subsequent books he wrote about this fantastic land to which the Kansas farm girl, Dorothy, was transported by a tornado, and the film version of the book, made in 1939, offered a visualization of the creations of Baum in a colorful and appealing form. The film is different from the book in a number of ways, not only in terms of changes in the plot, but in terms of the accent placed on various ideas and in the way elements are dramatized. For one thing, of course, the movie is part musical, something never considered by Baum. Baum would likely have been favorably disposed to the movie given that he himself had written, produced, and directed several Oz films during the silent era. Baum wrote 13 Oz books, and the books were carried on after his death by others so that another 19..."
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The Wizard Of Oz ( Victor Fleming ), 1988.
Psychological, social & artistic impact of 1939 musical fantasy film starring Judy Garland.
1,350 words (approx. 5.4 pages), 5 sources, $ 47.95
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From the Paper
" The Wizard of Oz, which made at MGM in 1939, is still on of the world?s favorite films. It has remained special because it visualizes its own unique world. It inspired many films that followed, from Star Wars to Close Encounters of the Third Kind, because it constructed its own universe: one that could be enjoyed by adults and children alike.
Others films have borrowed more noticeably and directly from The Wizard of Oz. The opening sequence of Martin Scorsese?s Alice Doesn?t Live Here Anymore shows the young Alice in a setting very much like Dorothy in the Kansas opener of Oz. The sci-fi epic Zardoz, directed by John Boorman, also borrows from the classic, starting with its title and the play (...)"
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Adults and Kiddie Lit, 2004.
This paper discusses two childhood books enjoyed by adults, F. L. Baum?s ?The Wonderful Wizard of Oz? and F. H. Burnett?s ?The Secret Garden?.
1,480 words (approx. 5.9 pages), 6 sources, MLA, $ 48.95
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Abstract
This paper explains that ?The Wizard of Oz? and ?The Secret Garden? are children?s books that bring out the child in the adult by invoking a renewed desire to experience a childhood state of unbridled curiosity, optimism, courage, and capacity for love. The author points out that Baum and Burnett use the technique of ?fantastic composition?, where elements of daily life are connected intimately with the heart of the magic itself. The paper relates that, unlike Baum, Burnett, who does not resort to the use of any other worldly powers or creatures in ?The Secret Garden?, nevertheless manages to weave a form of magic quite uniquely her own.
From the Paper
"Initially, Burnett uses the neglected and locked up garden to mirror the lonely, unloved lives of Mary and Colin: ? She wants to see the garden because it has been shut up for ten years, as she herself as been?. The process of discovery and exploration of the garden?metaphor for Mary?s resumed growth and development.? That process of growth and development into happy, confident, fulfilled beings is, however, not an easy one. Like Dorothy, Mary and Colin, too, soon discover that the answers to their problems lie within themselves and not in the external world."
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Film: "The Wonderful, Horrible Life of Leni Riefenstahl", 2008.
This paper describes and analyzes Ray Muller's documentary film "The Wonderful, Horrible Life of Leni Riefenstahl", who is best known as a documentary filmmaker during the time of Hitler.
1,055 words (approx. 4.2 pages), 3 sources, APA, $ 37.95
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The paper explains that title of the documentary "The Wonderful, Horrible Life of Leni Riefenstahl" captures the controversy, which Leni Riefenstahl arouses and summarizes the nature of her film work. The author points out that Riefenstahl is popularly acknowledge for having made two of the best documentary films ever produced but they have been denounced for their inherently horrible ideology of Nazism and central figure Hitler. The paper relates that, while this documentary is objective by presenting her admirable qualities, the film also exposes an infinitely less attractive dimension to Riefenstahl's personality, her self-defensive, over-brimming with self-justification and unwaveringly unapologetic stance about the services she rendered to Hitler and the Nazi party. The author discusses the use of voiceovers, flashbacks and contrasts in the production of the film.
From the Paper
""The Wonderful, Horrible Life of Leni Riefenstahl" compels mixed reactions to its protagonist, evoking both admiration and aversion towards Riefenstahl. In one of the scenes, she is depicted as walking on a pier, carrying her own, undoubtedly heavy, scuba diving gear. Her much younger companions are walking ahead of her and neither offers to help her with her equipment and, indeed, her demeanor suggests that she would have rejected any offers of help. This scene would not have been remarkable were it not for the fact that Riefenstahl was over 90 at the time."
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Larkin's Wonderful World, 2002.
An analysis of the influence of the blues on the poetry of Phillip Larkin.
2,945 words (approx. 11.8 pages), 11 sources, MLA, $ 87.95
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Abstract
This paper analyses the influences on the poetry of Phillip Larkin in relation to Ezra Pound's principles of Logopoeia as described in his "How to Read". It looks at Larkin's objection to Pound's abstract principle of Logopoeia, by which all words hold historical and poetic significance by their being charged with their use by the poet's predecessors. It shows how this is deconstructed by his use of the imagery of the blues in his poetry.
From the Paper
"Further evidence for the inconsistency of Larkin's objection to the use of allusions in poems to other poems or poets can be seen in 'Deceptions'. His alteration of Ophelia's line 'I was the more deceived' to 'That you were less deceived' undermines the dominance of the rapist - parallel to Hamlet's control of Ophelia - by suggesting that he is 'more deceived' in pursuing sexual 'fulfilment' than any victim experiencing suffering which at least has clear causes and effects. The modification of this allusion was important enough to Larkin for 'The Less Deceived' to later become the title of the whole collection of poems in which 'Deceptions' appeared."
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Madeleine L'engle, 1999.
Examines the life and career of this author of spiritual children's books, including "A Wrinkle in Time".
1,575 words (approx. 6.3 pages), 9 sources, $ 55.95
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Abstract
Far from being satisfied with the settled, comfortable existence of an affluent and artistic household or with the benefits of being married to a successful actor, Madeleine L'Engle applied and built on the many advantages into which she was born to the project of her own artistic and professional development. An award-winning writer of children's books, including A Wrinkle in Time, which was published in 1962 and won the Newbery Medal in 1963, and which served as the touchstone for three sequels that shaped the rest of what has been described as the Time Quartet.
From the Paper
"Introduction
Far from being satisfied with the settled, comfortable existence of an affluent and artistic household or with the benefits of being married to a successful actor, Madeleine L'Engle applied and built on the many advantages into which she was born to the project of her own artistic and professional development. An award-winning writer of children's books, including A Wrinkle in Time, which was published in 1962 and won the Newbery Medal in 1963, and which served as the touchstone for three sequels that shaped the rest of what has been described as the Time Quartet (Estes 1620), L'Engle now divides her time between writing and lecturing, holding the post of writer-in-residence and librarian at the Anglican Cathedral of St. John the Divine in New York City (Collection)."
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