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Honor and its Social Impact in "The Iliad" by Homer, 2008.
An analysis of the social roles of the heroic code of honor in "The Iliad" by Homer.
2,167 words (approx. 8.7 pages), 1 source, MLA, $ 67.95
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Abstract
This paper analyzes the heroic code of honor in Homer's "The Iliad" by examining the social roles of Hector and Achilles within the construct of familial and military culture. The paper defines the social role of Hector as a hero and as an ethical defender of his family through civic responsibility. The paper looks at the social role of gift giving as a part in the heroic code, because honor becomes the central catalyst for the heroic portrayals provided by Homer in "The Iliad". The paper then points out that Achilles also abides by strong ethic towards honor, which invariably creates a social impact on his actions after Patroklos is killed. In conclusion, the paper shows that the impact of these social norms drive Achilles and Hector toward the extreme violence of war, which ultimately ends in their deaths.
From the Paper
"The encounter between Hector and Andromache during the battle reflects a Homeric process, which allows for a union between family that is compassionate and not driven necessarily by a cold and calculating necessity for war on the part of the soldier. In this manner, Homer is projecting a socially responsible man in Hector that respects social traditions military and within the family unit. Andromache is a wife that shows concern, and only wishes for her husband to stay with her and not die in battle with the Aecheans. In this manner, Hector is not only questing to find solace in his wife's love for him, but actually seeks to be consoled before entering into the main thicket of war outside the Trojan City."
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The Role of Entertainment in Ancient Rome, 2008.
A discussion of the important function of entertainment in the political and everyday life of the Roman Republic and Roman Empire.
1,878 words (approx. 7.5 pages), 3 sources, MLA, $ 60.95
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Abstract
This paper examines the social and political significance of the entertainment in the life of ancient Rome. The paper explains that even though many forms of entertainment existed, special emphasis was given to the spectacles and public events rather than private events, like parties. The paper then looks at the function of these spectacles and their role in the politics and government of Ancient Rome. The paper discusses how, as Rome expanded both territorially and in influence, the status of the spectacles transformed - the expansion resulted in significant social and economic changes. The paper points out that entertainment in ancient Rome had a function that significantly differs from its function today - it was an opportunity for public gathering during which the people could speak freely and express their concerns. In conclusion, the paper shows that as Rome went from the republic to the empire, the spectacles remained important events and they gave the opportunity to the masses to see their ruler and express their opinion on state matters freely.
From the Paper
"The Romans were an agricultural society and their religion can be described as polytheistic paganism. The early religious rituals were aimed at pleasing the gods who, as Romans believed, controlled everything necessary for a successful harvest like crop growth and weather. The rituals were not limited only to the agriculture. They also extended to celebrations of military victories, celebrations of various household deities, etc. As Shelton notes "these days were the days of sacrifice and ritual, but also of holiday merriment, as Easter or Christmas are for us today" (329). In other words, these holidays were a great opportunity to skip a day of hard work, relax, socialize, be grateful for what you have and, through the rituals, do the best to have more next season. As such these holidays did not have any deeper political and social position in the Roman society.
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Emilia's Speech in "Othello", 2008.
An analysis of Emilia's speech in Act IV, Scene 3 of William Shakespeare's "Othello".
1,180 words (approx. 4.7 pages), 0 sources, $ 40.95
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Abstract
This paper examines a passage from Act IV of Shakespeare's "Othello", (scene iii, ll.89-106), which comes after the dinner that Desdemona hosts for Othello. The passage is a speech by Emilia in which she tries to get Desdemona to feel better and not to despair at the way her husband has been treating her, in essence by suggesting what she should do. The paper points out that this speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. To conclude, the paper focuses on the way Shakespeare uses the sound of the words the way they are put together to create an impression that guides the listener through Emilia's argument and enhances aspects of that argument to make it more sensible and to show ways in which men and women are alike.
From the Paper
"This speech serves as a balance to an earlier speech by Iago on the false nature of wives from Act II. Emilia here refers to the false nature of husbands and to the consequences for those husbands, for their wives are then unfaithful in retaliation. Emilia is always the practical one in the play, sat least in terms of how she believes people should behave. She takes the practical view that if Desdemona is under suspicion and if her husband is mistreating her, then Desdemona should take care of herself and forget Othello. At the same time, she knows that Desdemona is innocent and also knows part of what Iago is doing. She certainly knows that Iago has taken the handkerchief, and she is likely also bitter about the way she is treated by her own husband, Iago. Much of this bitterness comes out in this speech."
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Male and Female Relationships in Literature, 2008.
An analysis of the relationship between the male and female characters in the ancient text, "The Medea" by Euripides and the modern text, "A Doll House" by H. Ibsen.
1,025 words (approx. 4.1 pages), 2 sources, MLA, $ 36.95
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Abstract
This paper examines two texts, one ancient, "The Medea" by Euripides and the other modern, "A Doll House" by H. Ibsen. It looks at the roles of the two female characters - Medea in " The Medea" and Nora in "A Doll House" and discusses how the relationships between the male and the female characters reflect the relationship of the colonizer and the colonized. The paper examines what such a relationship entails and argues that this relationship can be changed only under extreme circumstances, which require a drastic action on the part of the colonized.
From the Paper
"Both Medea and Nora have challenged the concept of the passive feminine and the gender roles assigned to men and women within our society. The relationships between the male and the female often resemble the relationship between the colonizers and the colonized. The male/colonizer is active, the female/colonized is passive. The balance of power tips sharply towards the male/colonizer. The female/colonized are often the 'Others'; they are weak, simple creatures that need protection and guardianship, provided by the 'naturally' stronger, dominant male/colonizer. Nora and Medea refused to stay in the roles of the colonized and succeeded in freeing themselves from oppression by taking drastic action. Both however, were punished for it, shunned by the society in which they lived and both lost their children."
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Music and Performing Arts, Renaissance to Today, 2007.
A discussion of music and drama, from the Renaissance era until today.
984 words (approx. 3.9 pages), 4 sources, MLA, $ 34.95
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Abstract
This paper examines the influence that music and performing arts have had on human culture and society, focusing on the Renaissance period. The paper explains that in the early part of the Renaissance, the role of music was tremendously important as polyphony became more simplified in the Renaissance, generally "smoother" and more harmonious overall. The paper notes that there is no doubt that the technological impact of recording technologies, beginning with the phonograph and leading up to today's CDs and DVDs, has had an impact upon the individual enjoyment and distribution of music and dramatic art forms (especially film), unprecedented since the invention of the printing press in the Renaissance. In conclusion, the paper shows that today, the Internet has hugely assisted in enabling individuals to share such work among themselves, though not to the point of alleviating the isolating influence of technology or to creating a new form of communal experience.
From the Paper
"In the early part of the Renaissance, the role of religion, that is to say, the church as an organization and social unifying force, was still prominent above all else. Nation-states had not yet arisen to assert their claim on peoples' loyalty. The church represented stability and social cohesion in a world of uncertainty and danger from many sources: feudal overlords, weak central governments, and unpredictable weather and harvests. The role of music was thus tremendously important too in this period. Polyphony became more simplified in the Renaissance, and generally "smoother" and more harmonious overall."
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The Meaning of Comedy, 2007.
A review of the films "Sherlock, Jr." directed by Buster Keaton and "Bringing up Baby" directed by Howard Hawks.
966 words (approx. 3.9 pages), 6 sources, MLA, $ 34.95
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Abstract
This paper examines Aristotle's definition of comedy using two classical cinema comedies - "Sherlock, Jr." and "Bringing up Baby" - to illustrate this definition. The paper explains that Aristotle believed that comedy shows people engaged in ridiculous activities, but this ridiculousness is not painful or destructive and the comic action must be without bad intent. The paper looks at how in each movie the lead character is ridiculous, but always portrayed without malice. The paper points out that in "Bringing up Baby", a longer film than "Sherlock Jr.", and one in which sound allows for the speedy development of more characters, the subordinate characters draw heavily on classical models such as Shakespearean figures like Dogberry and Verges in "Much Ado About Nothing". The paper notes that these characters too are ridiculous although not malicious, and clearly inferior in the nonsense they act out, but saved in the end through the resolution of the plot. In conclusion that paper shows that Aristotle's definition is general, even imprecise, but it is clearly a definition which is well illustrated in these two films.
From the Paper
"These people act without malice. Keaton wants to be a detective, but is outdone by the "sheik," who gets him blamed for the theft of a gold watch, and by his girlfriend, who shows his innocence. In his dream, he is a great, if bumbling detective. Grant tries mainly to avoid Hepburn, but cannot extricate himself from her. Hepburn means well, repeatedly offering to help him get the funding for his museum which is his main hope. Sherlock Jr. begins with scenes of Keaton sweeping the theatre, beset by people who claim to have lost money in his trash pile. The scenes are funny: they show an inferior person, an inept sweeper, being ridiculous. They do little, however, to advance the main plot."
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Power Relations in "Miss Julie" by August Strindberg, 2008.
A summary and analysis of August Strindberg's short play "Miss Julie".
963 words (approx. 3.9 pages), 0 sources, MLA, $ 34.95
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Abstract
This essay examines how August Strindberg'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."
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Love in "Twelfth Night", 2008.
An analysis of the relationships and love portrayed in William Shakespeare's play, "Twelfth Night."
700 words (approx. 2.8 pages), 1 source, MLA, $ 24.95
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Abstract
This paper discusses the theme of true love, as it is depicted in William Shakespeare's play, "Twelfth Night." It explores the idea of true love and its possibilities and then looks at how much of love is, in fact, an illusion. The paper discusses the plot of the play and the various relationships that exist and also briefly looks at the implications of that love.
From the Paper
"One of the ways this theme is often depicted is in terms of lovers who seem mismatched so that their faithlessness is almost expected. Duke Orsino in this play is a man who has a wandering eye when it comes to women, so it would seem that he is not likely to remain faithful, though he would become apoplectic if his wife were to stray as he does. He proposes to Viola in a less than convincing manner and claims that all women are unfaithful. At this stage, Orsino is doing no more than projecting his own character onto the women he meets, and he does learn a lesson in the course of the play."
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Lodovico as Moral Commentator, 2008.
This paper analyzes the character Lodovico's dramatic role of moral commentator in William Shakespeare's "Othello".
778 words (approx. 3.1 pages), 5 sources, MLA, $ 27.95
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Abstract
The paper illustrates how Lodovico defines the immorality and cruelty in Othello's behaviors that will eventually end in his tragic death. The paper explains that Lodovico as a marginal character is written into the play by Shakespeare to help the reader realize the gravity of Othello's actions and the inevitable tragedy that surrounds the deceptions of Iago.
From the Paper
"Lodovico's role as moral commentator on Othello's behaviors brings insights into the tragedy of the play, which many of the other characters are too self-involved to perceive. In latter parts of the play, Othello's increasingly violent behaviors are clearly noticed when he strikes Desdemona: "Is this the noble Moor whom our full Senate/Call all in all sufficient?" (IV, i., ll.2712-2713). This increasingly potent sense of volatility on the part of Othello is clearly defined by Lodovico, who can see the immorality of this action against a woman. Shakespeare portrays Lodovico as a moral gauge that allows the audience to realize the effects of Othello's behavior through an external source (Bloom 45)."
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Caroline Neuber, 2008.
An analysis of the contributions of German dramatist, Caroline Neuber, to German comedy and theater.
2,526 words (approx. 10.1 pages), 7 sources, MLA, $ 76.95
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Abstract
This paper looks at the life of eighteenth-century German dramatist and actor, Caroline Neuber. It describes the obstacles she and other women faced in German theater at the time, the dramatic reforms of the theater scene she championed and the inventive way in which she used dramaturgical conventions like the prologue to advance her agenda. The paper also discusses Neuber's commitment to re-shaping German comedy so that it would acquire the gravitas she felt it deserved. Finally, the paper examines Neuber's pivotal relationship with Johann Christoph Gottsched.
From the Paper
"Still, for all the troubles which attended her life-long foray into the German theatre, Neuber should be remembered for her many accomplishments. Not least of all, she was one of the very few theater troupe owners who happened to be female; Neuber was also a committed perfectionist who dedicated herself to raising the standards of the German theater. Not to be overlooked, it was Caroline Neuber, arguably more so than anyone else in German theater at the time, who transformed the improvised, traditional Haupt- und Staatsaktion performances into a genuine national theater which promoted rehearsed and memorized performances of the 'courtly' Alexandrinerdrama variety so much in vogue in France at that time (Eigler & Kord, 75 and 229)."
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