Abstract This essay examines how AugustStrindberg'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."
Abstract In Sophocles's "Antigone" and William Shakespeare's "The Tempest", two very different, yet similar, displays of power on the parts of Creon and Prospero are the basis of the plots of their respective stories. This paper explains how both Creon and Prospero use their powerrelations to impose their own ideals on the societies in which they live. Creon uses his power on the throne to impose his own laws and beliefs on the people, while Prospero uses his supernatural powers, ultimately, for the good of his community, as well as personal gain. It explains that these examples of powerrelations, as shown by Sophocles and Shakespeare, serve the purpose of demonstrating to the readers that authority figures and government are capable of imposing whatever they wish on the people, in some cases causing unnecessary grief for many.
From the Paper "Traditionally, authority figures tend to flaunt their power in search of personal gain and intimidation. In The Tempest, Prospero uses his magical powers to employ the use of a servant and a spirit to assist him in his personal chores and to keep the island running smoothly. In Antigone, Creon uses his royal power, more or less, to his personal advantage, with no obvious benefit to society. Prospero's supernatural abilities are made evident when Miranda accuses him, ?by your art thy dearest father, you have / put the wild waters in this roar.?(Shakespeare, I. ii. 1-2). In light of this, one may be led to believe that Prospero is trying to hurt those on the ship who have hurt him in the past but, in fact, Prospero only creates this storm out of love for his daughter who is in search of a mate, and Ferdinand, who is on board the ship seems to be a logical candidate. Prospero ensures that no one is harmed by the storm by sending his spirit, Aerial, to keep watch over the ship."
Tags: authoritative, ferdinand, grief, law, moral, power
Abstract The paper examines how AugustStrindberg 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."
Abstract This paper examines how in "Jane Eyre" and "Wide Sargasso Sea", both authors raise the issues of powerrelations and the reversal thereof. It looks at how, along with the notions of feminism they follow the subject of other discrimination and colonization and how race, class and gender are intertwined in the lives of both novels' characters.
From the Paper "Both authors assess the spiritual and emotional growth of a different heroine in the same time frame. The main character, Antoinette, in Wide Sargasso Sea does not resemble Jane Eyre, but both women match their determination for female independence. Jane Eyre is a young poor woman, whose social position is inferior. Her prospects are bleak as she belongs to a lower class, making it unlikely for her to prosper or gain wealth. Antoinette is a product of colonialism, and although wealthy, her position is to be destroyed at the hands of imperialism, male superiority and mastery. Both women show obstinacy and authority over their own experiences and destination. Jane is never intimidated by Rochester, and she is clearly equal to him in intellect."
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 AugustStrindberg, 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."
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."
Tags: stage, props, dialogue, miss, julie, lighting, nineteenth, century
Abstract This paper compares the two fictional characters of Blanche in Tennessee Williams' play "A Streetcar name Desire" and Julie in AugustStrindberg'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 ..."
Tags: A Streetcar Named Desire, Miss Julie, Blanche Du Bois
Abstract This paper assesses the nature of the relationship between China and the international community. It looks at what is expected of China in the coming years by the U.S.A. what China can expect from itself. It discusses whether China will eventually subjugate itself to international norms or whether they will challenge the existing international system, which is dominated by United States principles. It also examines the power the United States wields over China and how effective it is. Examples of Chinese challenges to U.S. powerrelations are shown as well as examples of U.S. attempts at controlling China's destiny.
From the Paper "'The People's Republic of China (PRC) is more integrated into, and more cooperative within, regional and global political and economic systems than ever in its history.' Despite this, there is considerable apprehension coming from the United States as to what the increase in economic, political and military power in China will mean. The question as to whether China is playing by the 'international rules' or, if it is not, whether it will in the medium term, is a continual headache for western politicians. China is now combined with Hong Kong and is significantly integrated with the economy of Taiwan. The economic success of recent years has meant that China has the production capabilities and trade options to become a major superpower."
Abstract This paper reviews the doctrinal development of war powers held by the President as Chief Executive. The author examines legislative war powers enactments, executive war powers initiatives and judiciary war powers-related decisions. The paper focuses on Supreme Court decisions.
From the Paper "The Constitution of the United States makes the president Commander-in-Chief of the armed forces but does not give to this chief executive unlimited authority to declare war."
A comparison of dramatic strategies of Henrik Ibsen and AugustStrindberg, 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".
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."
Abstract This paper will discuss the play "To Damascus I" by AugustStrindberg, and seek to understand the Scandinavian folklore and fairy tale elements that exist within the text. By understanding the motifs for the book in the realms of fate, the concept of good and evil in the Christian mythology of Christ, and feminine relationships with the women in the play, we can see some of the Biblical connections that also make themselves apparent in the work of Strindberg. By clearly making the connection between these two belief systems, the story of the 'stranger' can be brought into a conscious mode of thought.
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 ... "
Abstract The paper relates that August Wilson's work, "Fences", gained immediate recognition for its ability to convey the struggles and hardships among African Americans and the societies that they live in. The paper focuses on Troy and Cory's tumultuous relationship that emphasizes the difference of struggles between past and current generations of African-Americans. The paper also touches upon the issue of marital infidelity and the literary device of the fence.
From the Paper "In 1983 August Wilson wrote one of America's most loved plays entitled "Fences." This literary piece gained immediate recognition and awards for its ability to convey the struggles and hardships among African-Americans and the societies that they live in. The play embodies the past issues that these individuals deal with, along with the present ones. Several African-American generations of conflict and discrimination are examined in this play by the use of strong characters who share their lives with the audience."
Abstract This paper examines August Wilson play "Joe Turner's Come and Gone" as symbolic of loss and redemption after the abolition of slavery. The author points out that Wilson uses Bynum's "binding song" as a main point of reference for the characterization of Bynum and Loomis.
From the Paper " In Joe Turner's "Come and Gone" the audience is faced with characters who are most certainly out of place in their surroundings. By setting his work during that period of American History known as The Great Migration, he opens our ..."
Tags: joe turner, august wilson, binding song, bynum, loomis
Abstract According to this paper, August Wilson wrote his plays in a non-sequential manner that set about depicting the lives of African Americans over the course of the twentieth and twenty-first centuries by decade. Yet, the paper shows how as Wilson wrote the plays, the ideas for the work became vivid in his imagination instead of through a planned and organized presentational manner. Like his manner of writing the ten cycles of plays, his work was often composed through a series of multiple changes that he made while the plays were in production.
