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On "Dinner at the Homesick Restaurant", 2008.
An analysis of the theme of pain and growth in Anne Tyler's play "Dinner at the Homesick Restaurant".
1,430 words (approx. 5.7 pages), 1 source, MLA, $ 47.95
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Abstract
This paper takes a look at Anne Tyler's 1982 play, "Dinner at the Homesick Restaurant", with particular focus on the growing pains of the character Cody. The paper discusses Cody's relationship with his mother and recently deceased father. It also examines the theme of pain and growth in relation to the other characters in the play. In the final analysis, the paper holds that only Cody appears to eventually find the peace of mind and personal growth he needs.
From the Paper
"Suffice it to say, Pearl's problem is that her introspection does not give way to a mind-set that allows her to "open up" before her children. Specifically, she not only fails to tell the children what has happened to their father, but she fails to come to terms with what has happened to her, not even giving into her emotions when she has a few minutes alone (Tyler, 18). As one might expect, the pressure of keeping everything inside frequently becomes so great that she explodes in bursts of anger, especially when the children present her with accidents or when they do something to irk one another and then noisily ask for their mother's intercession (Tyler, 19). To this psychologically damaging outlook must be added the fact Pearl is usually over-burdened with work (Tyler, 25). She is forced to shoulder the responsibilities of both a father and a mother. In the end, it is hardly revelatory that she is a mostly withdrawn woman."
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Samuel Beckett's "Waiting for Godot", 2008.
A paper describing several different interpretations of the play "Waiting for Godot" by Samuel Beckett.
1,234 words (approx. 4.9 pages), 6 sources, APA, $ 42.95
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Abstract
This paper talks about Samuel Beckett's play "Waiting for Godot" written in the 1950s. It has been performed world wide and has been critiqued and deconstructed many times, and many different interpretations offered as to its meaning. The author of this paper concludes with his own interpretation of what Beckett might have intended from this play - that is the he might simply have wanted people to sit still and reflect about what exactly is so significant in their lives.
From the Paper
"In order to understand the comic relief of Beckett the philosophical view of Schopenhauer must be defined. Schopenhauer believed that the "will" is the inner part of man that drives the world forward--"will" supersede intellect placing desire before thought and "will" prior to being (Ross, 1998).
"In the 21st Century Beckett's Godot still has a place in theater including cyber-theater. Interactive art is all about the spontaneous and unpredictable occurrences between people coming together online and performing as if they were on a stage in front of an audience full of hecklers. The interaction between the performers and the audience is far more entertaining then the play by Beckett "Waiting for Godot" when it is performed open to anyone logged into the chat room at the Digital Storytelling Festival in Crested Butte, CO (Rosenberg, n.d.)."
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Opera: "Salome" and "Heriodade", 2008.
This paper compares the operas "Salome" by Richard Strauss and "Heriodade" by Jules Massenet Different, both of which are based on the same story of John, the Baptist and Salome.
2,300 words (approx. 9.2 pages), 8 sources, APA, $ 70.95
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Abstract
This paper explains that Richard Strauss in the opera "Salome" and Jules Massenet in "Heriodade" treat the story of John, the Baptist and Salome in different ways. The author points out that these differences reflect the time of composition and the societies of which the composers were a part. The paper relates that the composers had different motivations for the characters, different theological concerns regarding the story and different musical concerns. The author underscores that the opera by Massenet was a product of what would be called in England the Victorian Age, while the opera by Strauss came during the Edwardian era. The paper discusses that the treatment of women in these opera are different.
Table of Contents:
Introduction
Women and Opera
Women in Two Operas
From the Paper
"The opera depicts two women, Salome and Herodias. In this version, Salome is quite different from the image the world would have of her later, for she is essentially moral, even virginal, and seeks to protect John rather than to destroy him. She is herself a victim and not a perpetrator. Indeed, she is also sentenced tob e beheaded and professes her love to John while they are both in a dungeon. Her mother is the villain in this version, and the character of the mother is more like that would later be attributed to Salome herself."
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| Term Paper # 104018 |
temporarily unavailable
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Iago's Jealousy, 2008.
This paper analyzes how Iago causes Othello's moral degradation in William Shakespeare's "Othello".
1,663 words (approx. 6.7 pages), 6 sources, MLA, $ 54.95
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Abstract
In this analysis of Shakespeare's "Othello, the author discusses how Othello, Iago and Desdemona are victimized by the envy and jealousy of Iago's trickery. The author further emphasizes how Othello's lack of moral objectivity is often the subject of Iago's cunning. The paper then shows how this loss of moral objectivity ultimately acts as the foundation for Iago's success over Othello.
From the Paper
"In these lines, Iago's envious understanding of Othello's jealousy is a successful modus operandi for his diabolical scheme to sabotage Othello's career. When Iago successfully dissolves Othello's trust in Cassio, one can see a glimpse of his anger, which would commit murder against his wife in a jealous rage. In this manner, the racial superiority that Iago feels toward his Moorish superior helps to begin the cataclysm of jealousy that cascades through Iago and then into the marriage of Othello and Desdemona."
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Greek Myths and Monsters, 2008.
A discussion of the monsters in Greek mythology.
1,641 words (approx. 6.6 pages), 11 sources, MLA, $ 53.95
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Abstract
This paper discusses three of the monsters of Greek mythology:the Gorgon Medusa, the Minotaur and Scylla and Charybdis. The paper also looks at the role that they play in this culture. The paper explains that among the most grotesque of the Greek monsters was the Gorgon. The paper suggests that the Gorgon is a representation of a human head undergoing decay, more common to the Greeks than to modern peoples, but still distasteful. The paper then points out that just as the Gorgon reflected something the Greeks had seen in real life, the Minotaur may have reflected their revulsion with human sacrifice as carried on by the Minoans of Crete. In conclusion, the paper shows that the Greeks tried to explain their world and to do this they created a series of myths and legends that have vastly enriched the world's lore and literature ever since. While some of their stories seem more than fantastic, on examination, most have a reasonable explanation.
From the Paper
"Medusa was eventually killed by Perseus. He was the product of one of Zeus' many dalliances. Perseus and his mother, Danae, came eventually to the land of Seriphos, where the king fell in love with Danae. Wanting to get Perseus out of the way, the king tricked him into going on a quest for the head of Medusa. (Hard, 239)
"Perseus received help from the gods Hermes and Athena, who sent him to the Graiai, the three "old woman," sisters of the Gorgons, who knew their secrets. The Graiai gave Perseus winged sandals with which he could fly, a cap of invisibility which would let him approach Medusa unseen, and a metal satchel in which he could safely store her head."
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Misogyny in Henrik Ibsen's Plays, 2008.
An analysis of the concept of misogyny in playwright Henrik Ibsen "A Doll's House", "Ghosts" and "Hedda Gabler".
2,120 words (approx. 8.5 pages), 4 sources, MLA, $ 66.95
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Abstract
This paper relates that, through an analysis of Henrik Ibsen's plays, "A Doll's House", "Ghosts", and "Hedda Gabler", one can realize the under current of misogyny that Ibsen provides in his own patriarchal Victorian milieu, which devalues the role of women under the various aggressions of men brought forth. The paper explains that, for Ibsen, women provided a servant function within patriarchal society that did not necessarily provide a "feminist" perspective, but revealed that men should be tolerant and respect women. The paper concludes that, as a result, the dark under current of misogynist values provided by Ibsen in his plays informs the reader of the struggle of women in Victorian society, but does not effectively redefine a feminist ideology for women to liberate themselves from patriarchal aggression.
From the Paper
"Hedda's behaviors and actions often appear crude and uninformed as to the nature of husband to use her as a servant for his career. Ibsen often has Hedda appear as naive of the fact that her husband is merely trying to us her as a kind of "trophy wife" to accent his real desire to achieve success in his artistic ambitions. In this manner, she wholly a woman that is able to be traditional, but becomes so enamored of her love that she takes independent action to get his attention. The circumstances under which Hedda burns Lovborg's manuscript are, of course, entirely different and infinitely more dramatic"
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Sexual Tension in 'A Streetcar Named Desire', 2008.
This paper discusses the sexual tension present in the play 'A Streetcar Named Desire' by Tennessee Williams.
750 words (approx. 3.0 pages), 1 source, MLA, $ 26.95
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Abstract
In this article the writer analyzes the play 'A Streetcar Named Desire' by Tennessee Williams and notes that bathing and drunkenness are two common threads exposing sexual tension in the play. The writer points out that even the title of the play suggests the sexual tension between the characters. Further, the writer looks at the connections between desire and death as portrayed in the play. The writer maintains that it is as if Williams is telling us that from too much desire only death can come. The writer notes that Stanley, the most dead of all three characters becomes numb to his reactive behavior. The writer concludes that Stanley is trapped in his uncontrollable animalistic sexual desire destined to live like an animal surviving purely by instinct.
From the Paper
"Stanley is a man's man--full of animal instinct and desire. He cannot control himself in any regard. Stanley cannot control his temper so he beats his pregnant wife. He can't sequester his passion for Blanche so he rapes her. He can't bare losing Stella so he screams for her at the top of his lungs proclaiming his need and love for her. Stanley is all about sexual desire--it rules and runs his life.
"Drunkenness and bathing are the soothsayers for Blanche and Stanley when their desires become overwhelming. Blanche uses a bath to soothe her nerves and to try and wash away her sexually promiscuous path."
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"A Streetcar Named Desire", 2008.
A comparison of patriarchal behaviors in the historical period after World War II with those in modern times, as portrayed within the play, "A Streetcar Named Desire," by Tennessee Williams.
806 words (approx. 3.2 pages), 1 source, MLA, $ 28.95
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Abstract
This paper analyzes the sexism of patriarchal behaviors that were present in the historical period after World War II. It then compares this how they have changed in modern times, as portrayed within the play, "A Streetcar Named Desire," written by Tennessee Williams. The paper analyzes the roles of both men and women in the play in order to examine patriarchal dominance.
From the Paper
"A modern woman in the feminist perspective would certainly be offended at Stanley's 'lordly' patriarchal values, which would have the woman only be a servant to his domestic needs. The contrast in this scene with modernity in the roles between men and women would be defined through a feminist construct, enabling women to defy commands and overtly sexist demands that Stanley makes to Stella. In this manner, Stanley becomes the patriarchal figure that would not be tolerated in the 21st century, but within the context of the post World War II era, he is able to incite sexism and machismo in the cultural context of the returning soldiers and their behaviors toward women as objects for their servitude in the home. In this manner, the greatly contrasting choices that feminism brought in the 1970s until modern times has changed the way that women react toward sexist men, providing them with a choice to follow or reject these patriarchal behaviors that Stanley epitomizes in the play."
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Chaucer, Shakespeare and Gender Roles, 2008.
A comparison of the portrayal of sexual and gender roles in Geoffrey Chaucer's "Wife of Bath's Tale" and William Shakespeare's "Twelfth Night".
1,540 words (approx. 6.2 pages), 3 sources, MLA, $ 50.95
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Abstract
The paper compares how Geoffrey Chaucer in "Wife of Bath's Tale" and William Shakespeare in "Twelfth Night" questioned, challenged or mocked contemporary views on gender roles and sexual stereotypes. The paper shows how, although there are differences, we can see a similar attitude in both works toward gender roles, sexual stereotyping and the treatment and portrayal of women.
From the Paper
""The Wife of Bath's Tale" is one of a series of stories in Geoffrey Chaucer's The Canterbury Tales. It was probably written shortly prior to his death in 1400. The Canterbury Tales is a "frame story," meaning that a series of narratives are tied together allowing each character to relate their own story (Alexander xvii). Chaucer's stories are the individual tales of a group of pilgrims traveling together to the shrine of St. Thomas Becket at Canterbury (Alexander xvi). "The Wife of Bath's Tale" is really the second for this character as it is preceded by "The Wife of Bath's Prologue" which is sort of an autobiography in which she describes her five marriages. The true order in which Chaucer placed each of the tales (other's including the Miller, the Pardoner, the Prioress and the Nun's Priest) is not known (Alexander xix). Chaucer was not only a writer, but had a long career as a public servant. During his life he traveled widely throughout Europe, no doubt the source of many of his story ideas and characters. It is possible that Chaucer never finished all of his intended tales, and that some of the book is autobiographical, with him playing the varied role of the host for his collection of characters."
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