| Papers [1-7] of 100 :: [Page 1 of 15] | | Go to page : 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 —> | Search results on "ENGLISH DRAMA": |
|
|
Religion and Romance in English Drama, 2005.
Examines romance within literature, focusing on "Hamlet" by William Shakespeare.
1,800 words (approx. 7.2 pages), 5 sources, $ 71.95
»
Click here to show/hide summary
Abstract
This paper answers a series of questions concerning literature. The focus of the paper is on "Hamlet", although there is a definition of romance using Oscar Wilde's "The Importance of Being Earnest." Both the play, "Hamlet", and Mel Gibson's film of the same name are discussed in detail. There is an essay of whether Hamlet is truly insane.
From the Paper
"Romance is the concept of emotional infatuation with an individual, and attempting to act in a manner that represents the depth of these feelings to that person. To romance someone is to attempt to convey to them how you feel and why these feelings are significant to you. In Oscar Wilde's The Importance of Being Earnest, the characters are driven by the need to romance their prospective partners. However, the scenario in which the romance is set does not allow for these feelings to be expressed in a truthful manner. As both suitors are attempting to convince their intended partners that they are "Earnest," they have the difficult task of showing that their true feelings while also continuing to carry on a subterfuge (Wilde, 1982; 80)."
| |
|
Yuan Dramas, 2006.
A look at why drama flourished during the Yuan dynasty (1279-1368).
900 words (approx. 3.6 pages), 2 sources, $ 35.95
»
Click here to show/hide summary
Abstract
The Yuan dynasty (1279-1368) was a period when cultural innovation was occurring at a very high rate in China(Lewis 34). One of the cultural areas that went through a particularly significant period of growth during this period was drama. The question that this essay attempts to answer is why did drama in the Yuan period flourish? It is argued that drama flourished in the Yuan period for four primary reasons. These reasons are; the commercialization of entertainment and the arts during this period, the use of vernacular language, the vulgarity and humor of many of these dramas and the fact that the dramas often used stock stories and characters that were known by a wide range of people.
| |
|
Classroom Drama, 2004.
A review of literature on the topic of using drama as a didactic tool in the classroom.
1,319 words (approx. 5.3 pages), 6 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
This paper discusses several articles that deal with the use of drama in the classroom. The paper examines how drama instruction, such as role-play, miming, puppetry, improvisation and readers theatre, in the early elementary classroom can improve learning. The paper highlights the positive experiences that children gain from incorporating drama in their every-day lessons.
From the Paper
"Barbara Ryan Larkin (2001) shares her classroom experience with drama among elementary school students. Her young students would ask to act out stories they read in class, and once Larkin began studying the theories behind drama in education, she came to realize the beneficial effects that taking time to do so would have with student development. Rather than leaving drama for a separate area of study, Larkin found that "drama is presented as a meaningful context for children to read, write, speak, and listen. Struggling students especially seem to be motivated by this experience." (Larkin 2001) Reader's theater is one way of approaching drama in education. It is an interpretive activity where students practice and perform with each other, using methods like repeated readings and improvisation to enhance comprehension and to build on knowledge. Larkin's students responded very excitedly to reader's theater, immediately embracing the opportunity to take on characters, learn scripts, block scenes, and perform with and in front of one another. The teacher read a story to students, helped them learn the vocabulary, reviewed the entire text of the script as a class, then let students develop parts in groups. "
| |
|
The Male Character in Restoration Drama, 2002.
A look at the representation of the sophisticated and the unsophisticated male in three works of Restoration drama.
1,150 words (approx. 4.6 pages), 3 sources, $ 44.95
»
Click here to show/hide summary
Abstract
This paper investigates the characters of the "sophisticated gentleman" and the "country bumpkin" in three works of Restoration drama. The three novels that are addressed are "The Country Wife", "The Way of the World" and "The Rover".
| |
|
Family Betrayal in Myth, Modernist and Post-Modernist Drama, 2008.
A comparison of Susan Hazen Hammond's short story "The Kidnapped Wife and the Dream Helper," Arthur Miller's drama "All My Sons" and P.J. Gibson's play "Long Time Since Yesterday".
1,316 words (approx. 5.3 pages), 3 sources, MLA, $ 44.95
»
Click here to show/hide summary
Abstract
The paper examines Susan Hazen Hammond's short story "The Kidnapped Wife and the Dream Helper," Arthur Miller's drama "All My Sons" and P.J. Gibson's play "Long Time Since Yesterday" that all dramatize the struggles of individuals trapped in uncomfortable family relationships. The paper shows how the three works contain vastly different conceptions of what constitutes the human character and how a character should be dramatized over the course of a story. The paper highlights, however, the consistent themes in these works, such as the family relationships that are based on lies and the lesson that true fulfillment cannot be found in material success or in the esteem of the world.
From the Paper
"Hammond's tale is a retelling of a Native American myth. The character, even the most dynamic character of the piece that of the male warrior, father, and husband, is not what a modern reader would call a well-rounded character. He is compltetly 'bad' at the beginning of the piece, ignoring his wife, then suddenly shifts to being a 'good' character, in the quest to recover her. In the Miller piece, Joe Keller and his son Christ are depicted as far more complex, psychologically rounded characters. Joe Keller wants to do good things, and help his family prosper, but he commits evil actions in his quest. Unlike the Native American fable, character, and the failures of character drive the plot of the tale. Finally, the Gibson work, takes a post-modernist view of the characters of Janeen and Layer. The play is a 'memory play,' dramatizing the differences between how we remember the past and the reality of the past."
| |
|
Reflexivity of Medieval Drama, 2005.
A look at reflexivity (self-reflection) in medieval drama and, in particular, in the plays, "Mariken van Nieumeghen" and "Man's Desire and Fleeting Beauty".
1,554 words (approx. 6.2 pages), 3 sources, MLA, $ 51.95
»
Click here to show/hide summary
Abstract
This paper explores reflexivity in the medieval morality plays, "Mariken van Nieumeghen" and "Man's Desire and "Fleeting Beauty". The paper explains how both are reflexive in that they are both examples of a play-within-a-play: the play enacted within the play reflects the town's morality and quality of living as a whole.
From the Paper
"Reflexivity is central in Dutch plays much like that of the York Pageant Cycle. Drama often served as a self-reflection for the city and its social norms and conventions. When reading the plays with cultural performance in mind, often the ideological multilayeredness is revealed. There is no one reason why the play was produced, and the play is reflexive of the city it was produced in more ways than one. Some Dutch morality plays were designed to instruct audiences in the Christian way of life and church attitude toward death. They differed from the cycle plays by not drawing from biblical stories and characters."
| |
|
Early English Literary Criticism, 2004.
An analysis of the artistic works of criticism of Alexander Pope and John Dryden.
2,654 words (approx. 10.6 pages), 4 sources, MLA, $ 79.95
»
Click here to show/hide summary
Abstract
Alexander Pope?s work, ?An Essay on Criticism?, takes the form of a two-part poem. John Dryden?s ?An Essay on Dramatic Posey? takes the form of an extended dialogue between four characters. This paper explains that the ?essays? attempt to formulate critical theories about the proper methodology of poetry and poetic drama, while at the same time, these writers and critics attempt to create artistic works of their own in the process. It examines how, in doing so, both men?s works highlight how the 18th century English poetic and prosaic style of a highly rationalistic, argumentative, and logical artistic approach, often defined as ?Neo-Classical?, could easily be elided with criticism. In other words, art could more easily critiqued in a linear fashion in the Neo-Classical style.
From the Paper
"Long before the structuralists ever attempted to define what constituted the proper way of conceptualizing the narrative art, long before the deconstructionists ever wrote about the socially constructed nature of gender, long before the New Historicists attempted to reconfigure the relationship between text and historical context, the authors Alexander Pope and John Dryden penned their own theories of literary criticism for a far wider audience in their native England. But although both called their works essays, neither authors? central critical text takes the form of a theoretical or critical essay upon the literary art of poetry, prose, and drama."
|
|
|
