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Marxist Interpretations of Hamlet, 2008.
A Marxist interpretation of William Shakespeare's "Hamlet".
1,808 words (approx. 7.2 pages), 4 sources, MLA, $ 58.95
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Abstract
In this essay the writer examines Hamlet from a Marxist perspective. It is shown how the class structure associated with a feudal society drives the action in Hamlet. Particular attention is placed on the relationships between the royal family and their courtiers. The writer notes that these relationships show how the class system associated with a feudal society results in an aloof upper class that exploits a subservient lower class. The writer concludes that a Marxist criticism looks at how class, material production and the history of material production can influence a work. The writer maintains that Hamlet can be successfully analysed using a Marxist perspective.
Outline:
Introduction
Thesis
Historical Context/Material Context
General relationship
Upper Class Exploitation of Lower class
Lower Class Encouraging their Exploitation
Conclusion
From the Paper
"Denmark in the twelfth century was a feudal society. This meant that the economy was based primarily on agriculture and wealth was determined by how much land a person controlled. Feudal societies have a very strong class hierarchy with clearly defined upper classes and lower classes. In this type of society the upper classes essentially lived pampered lives of luxury by controlling the land and exploiting the lower classes. Essentially the upper classes control the means of production (land) and the lower classes sell their labour in order to survive. As a result of these material relationships the upper class is clearly dominant and the lower classes are subservient to them."
"This type of relationship is clearly apparent in Hamlet. The upper class lives in absolute luxury and is mostly preoccupied with their personal issues."
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Athol Fugard's "'Master Harold'... and the Boys", 2007.
A review of the play "'Master Harold'... and the Boys" by South African playwright Athol Fugard.
1,419 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper looks at the subject of Apartheid in South Africa in the 1950's, by examining the dialogue between the three characters in the play "'Master Harold'... and the Boys" by Athol Fugard. It explains the narrative of the play and the describes the relationships between the characters in the play. The paper also discusses Fugard's technique of allowing each character to tell a story, which allows the audience a glimpse into the character's past and makes the play more real.
From the Paper
"The play begins on a note of tolerance and agreement, and it ends in anger and racist speech. Apartheid was a deliberate creation of the White power structure to prevent the Blacks from gaining political power, and while racial segregation had been the norm through most of the century before that, apartheid made this the law and also made it harsher than it had been before. In the play, the White anger directed at Blacks is an anger that was general, meaning the Blacks were being made scapegoats for whatever other problems and concerns the Whites might have."
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Drama: Love, Marriage and Sexual Politics, 2008.
This paper compares themes of love, marriage and sexual politics in Henrik Ibsen's "A Doll's House" and in William Wycherley's "The Country Wife".
1,335 words (approx. 5.3 pages), 2 sources, MLA, $ 44.95
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Abstract
This paper explains that, although "The Country Wife", a 1675 restoration comedy by William Wycherley, and "A Doll's House", an 1879 play by Norwegian playwright Henrik Ibsen, were written at different times, both portray the sexual politics that existed between couples during those periods. The author point out that both stories involve possessive love, marriages fraught with deception and struggles between the sexes; however, these plays differ in several significant ways. The paper relates that Wycherley's Margery is unsophisticated at the beginning of the play while Ibsen's Nora maintains a level of city sophistication throughout the play. The author states that the primary conflict between the couples is sex for Wycherley but money for Ibsen. The paper reveals that, while both Nora and Margery hold the majority of the power by the end of each play, Nora uses her power to leave her husband while Margery stays and manipulates her husband.
Table of Contents:
Love
Marriage
Sexual Politics
Conclusion
From the Paper
"Both men also treat their wives as being stupid. In Act I, Torvald calls out to Nora from his study, asking if it was his "little lark twittering out there" (Ibsen Act 1). He goes on to ask if she is his "little squirrel bustling about" and, later, takes her by her ear and calls her his "little featherhead" (Act 1). Clearly, Torval is objectifying his wife, rather than identifying her as a thinking woman. Similarly, Pinchwife feels that Margery is too stupid to make any plans to deceive him, even when she proves herself to the audience to be very capable of doing just that."
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The Women of "Othello", 2008.
An analysis of Desdemona, Emilia and Bianca's relationships with the men that they love in William Shakespeare's "Othello."
786 words (approx. 3.1 pages), 2 sources, MLA, $ 28.95
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Abstract
This paper discusses three women in William Shakespeare's "Othello" and their different relationships with the men they love. It looks at Desdemona and her adoration of Othello, at Emilia and her loyalty to the abominable Iago and finally at Bianca as the sensual mistress of Cassio. The paper describes the characters' love throughout the play and looks at the various outcomes of that love.
From the Paper
"Cassio, Othello's lieutenant, is a young blade, the dashing, handsome man whom Iago admits has virtues that Iago cannot match. (V:i:18-20) In Bianca, he has a mistress rather than a wife, apparently a prostitute (IV:i:95-96), and while his actions suggest that he is reasonably fond of her (III:iv:167-78), he apparently does not intend to marry her (IV:i:116-117, 120-22, 124-26, 128-30), and while he will try to attend to her when he can (III:iv:176-77), he offers her no assurance that he will give her anything more than a handkerchief he has happened upon. (III:iv:186) When he gives this to her, she is jealous, that this is something from another woman, but there is a youthful innocence and exuberance in her remarks, not the burning rage of Othello's jealousy. (III,iv:178-81; IV:i:147-161) She becomes a tool in Iago's scheming, as he speaks of her to Cassio, while Othello believes that the conversation is about Desdemona. (IV:i:94-144) Although she ordinarily treats love as a mere commodity (Kernan), when she finds Cassio wounded, she seems genuinely concerned for him. (V:i:115-20) Iago turns his malice on her, suggesting she had a role in the attack, which is all Iago's doing. (V:i:85-86, 100-01, 104-10, 116) She recoils at the accusation, but can do little about it. (V:i:122-23)"
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Dramatization of the Outsider, 2008.
An analysis of the language and symbolism used to dramatize the outsider in "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod.
3,168 words (approx. 12.7 pages), 7 sources, MLA, $ 91.95
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Abstract
This paper analyzes the definition of the outsider as discussed in two plays - "AlterNatives" by Drew Taylor and "Amigo's Blue Guitar" by Joan MacLeod. It explores how and why the various characters in the plays have constructed the outsider, while simultaneously fortifying their own position as outsider. The paper also analyzes the symbolism and language in both plays and discusses how this adds to the theme discussed.
Table of Contents:
Introduction
Dramatization of the Outsider
Outsider Constructing the Outsiders
Consequences of Dramatization by Characters
Symbolism in the Two Plays
Conclusion: The Nature of Experience
From the Paper
"In both plays, language is the main route to understanding the presumed outsider. At the same time, language is the main avoidance strategy. Elias, for example, serves a practical end for Sander in that Sander "gets to cut out of Spanish and English class and hang out at immigration. Everyone thinks he's some kind of hero" (MacLeod 38). When Martha is speaking quite rapidly to Elias and he requests that she slow down, she does understand but ignores him. Martha even repeatedly mispronounces Elias' name. Elias points out to both Callie and Sander that the most formidable barrier to comprehending his reality is language. "If you want to know my story, then you can learn my language" (MacLeod 42)."
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Oedipus the King and Antigone, 2008.
An analysis of the underlying themes and character development in Sophocles' "Oedipus the King," "Antigone" and "Oedipus Colonus."
1,464 words (approx. 5.9 pages), 3 sources, MLA, $ 48.95
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Abstract
This paper analyzes the deeper inferences that Sophocles portrays through the vivid character history of the main characters in his "Three Theban Plays." It describes the characters and the development of the character Oedipus as the model for the tragic hero in "Oedipus the King," "Antigone" and "Oedipus Colonus." The paper concludes that the life of suffering is the underlying theme in the story of Oedipus and Antigone.
From the Paper
"It is also important to note that 'innocence' is not rewarded with an escape from any type of suffering. As in the case with Jocasta and Ismene, who play passive roles, both experience an element of suffering. While many view Jocasta as more a tragic character than Ismene, it is important to note that Ismene is governed by fear of man, rather than will of the gods; serving as the perfect foil to her older sister Antigone.
"Ultimately, the life of suffering is the underlying theme in the story of Oedipus and Antigone. In both plays, the hero's suffer extreme consequences for the choices laid upon them, regardless of their favor to the gods. In this sense, suffering is not only a consequence of choice, but also an inherent part of life. Sophocles portrays this theme perfectly through his tragic hero's and characters, laying the groundwork for many tragedians in the future."
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Hamlet and Truth, 2008.
This paper discusses the aspect of truth in the play "Hamlet" by William Shakespeare.
1,330 words (approx. 5.3 pages), 1 source, MLA, $ 44.95
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Abstract
In this article, the writer discusses that in 'Hamlet', the central character has to face a number of truths in the play. The writer notes that Hamlet has been seen as hesitant to do so in many cases, hesitating while he decides if the truth he is facing is really the truth or not. The writer maintains that these truths contribute to the overall themes of the play and also illuminate the character of Hamlet.
The writer concludes that Hamlet shows that he has learned the importance and sanctity of the confessional and now lets that knowledge guide his action. Throughout the play, Hamlet listens, observes, and learns what is true and what is not, what is right and what is wrong, what he must do and what he must not do.
From the Paper
"The first truth that he must face is that his mother and uncle murdered his father. He is told this by the Ghost, and the way he hesitates before taking the action he is told to take makes it seem that he doubts the Ghost. The Ghost has to be seen as a reliable informant, though some have doubted what the Ghost says and believe that Hamlet has doubts about this as well. The Ghost brings the charges against Claudius in the beginning of the play, introducing the character of Claudius so as to make clear his guilt. The Ghost appears first in the play, passing through as an ominous portent of things to come and as indication of what happened in the past, though this is not yet explained."
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Hamlet's Misogynistic Behaviors, 2008.
This paper explores the central motivations for Hamlet's sexist and misogynistic behaviors in "Hamlet, The Prince of Denmark" by William Shakespeare.
848 words (approx. 3.4 pages), 1 source, MLA, $ 30.95
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Abstract
The paper explains that Hamlet's hatred for his mother and Ophelia causes him to become consumed with an extended misogynist complex that sets his own tragic downfall. The paper examines the roots of this behavior and shows how Hamlet's misogynistic actions occurred due to his inability to find strong female role models and his ghostly father's patriarchal influence.
From the Paper
"The first misogynist resentment that Hamlet has is against his mother, Gertrude. Since she has married Claudius so soon after his father's death, he begins to resent her for not realizing the usurping treachery Claudius represents. After Hamlet's father appears as a ghost and tells him that his brother, Claudius, had poisoned him, Hamlet resents anyone involved with the usurping king. Hamlet states is immediate anger at all women, but especially toward his mother: "Frailty, thy name is woman!" (1.2.146). Hamlet's diatribe on his mother's baseness for marrying his father's murderer is relentless when he defines his mother as a beast: "O God, a beast that wants discourse of reason/Would have mourned longer -- married with my uncle" (1.2.150-151)."
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"The Odyssey", 2008.
An analysis of Homer's use of literary devices and the characterization of Telemachus in "The Odyssey."
791 words (approx. 3.2 pages), 1 source, APA, $ 28.95
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Abstract
This paper discusses the search of Telemachus for his father Odysseus, in the classic ancient Greek play, "The Odyssey" by Homer. It discusses the way that Homer crafts persuasive dialogue and speeches in order to convey what Telemachus learns in his travels and why he is searching for his father. In addition to these literary devices, the paper explains the manner in which Homer characterizes Telemachus in this play and how it too a is method he uses to explain the motivation the son has for finding his father.
From the Paper
"According to Lattimore (1999) this mistake demonstrates that Telemachus has not yet inherited his father's foresight or caution, and the scene in which he tries unsuccessfully to string his father's bow reveals that Telemachus has not yet attained his father's skills with weapons either. But his homecoming was the turning point in his young life, for by the time Telemachus got back to Ithaca, he was a much more self-confident and assertive young man and had acquired the psychological and physical maturity necessary for defeating the suitors. He took advantage of his newly acquired maturity when he joined his father in slaughtering the suitors and then defied their furious relatives in The Odyssey's final scene."
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The Corruption of Wealth and Power, 2008.
An analysis of the theme of wealth and power as found in "The Revenger's Tragedy" by Cyril Tourneur and "Women Beware Women" by Thomas Middleton.
771 words (approx. 3.1 pages), 2 sources, MLA, $ 27.95
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Abstract
This paper analyzes the corruption of wealth and power in the early 17th century as is seen within the Elizabethan plays, "The Revenger's Tragedy" by Cyril Tourneur and "Women Beware Women" by Thomas Middleton. It discusses the central elements of the plays and shows how they define medieval elite society through an Elizabethan dramatic point of view.
From the Paper
"In conclusion, the two plays The Revenger's Tragedy by Cyril Tourneur and the Women Beware Women by Thomas Middleton represent a social commentary on wealth and power in the Middle Ages. Although these plays were written within the Elizabethan Era, the continuity of greed and disloyalty is a part of the behaviors of medieval aristocracy, which was mostly pervasive within England in the early 17th century. By examining the various characters in these two plays, the desire for wealth and power is the central social theme about medieval upper class culture that is brought forth by Tourneur and Middleton."
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