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Socio Dramatic Play in Early Childhood Education, 2008.
A research proposal discussing the importance of socio-dramatic plays in early childhood education.
1,855 words (approx. 7.4 pages), 11 sources, APA, $ 59.95
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Abstract
This paper presents a research proposal that explores the role of socio-dramatic play within the modern educational settings and explores how it affects the daily lives of children. The research paper also aims to explore how socio dramatic play in early childhood education enhances student performance. The paper discusses how socio-dramatic play compels children to use their imagination, thoughts and creativity.
Table of Contents:
Introduction
Statement of the Problem
Purpose Statement
Significance of the Study
Literature Review
Research Questions
Sub Questions
Methodology
Research Objectives
Research Method
Participants
Sampling Frame
Method of Selecting the Sample Elements
Data Collection
Scale Development for the Questionnaire
Data Analysis
Questionnaires
Reliability and Validity of the Results
Ethical Issues
Conclusion
From the Paper
"Piaget, who is a cognitive theorist, believed that play can help children develop several cognitive and emotional stages and it is a key instrument in the early mental growth of children. Piaget believed that people change and adapt according to the conditions around them and this change and adaptation is the ultimate weapon for personal growth and development. Tsao (2002) writes, "Children who play over and over again with the same object, such as repeatedly pretending to drink from an empty cup, actually are practicing eye-hand coordination and developing sensory-motor skills. At the same time, children practice the behaviors that are acceptable to society so that they can act appropriately in different situations. Different kinds of play require different levels of cognitive sophistication, and that is why each different type of play is found at a specific stage of cognitive development (Tsao, 2002; pg 230)" Similarly, Vygotsky, who is a socio-cultural theorist, conceptualized play as a tool, which assists children develop self-control. It helps children in mastering their behavior and allows them to understand the difference between thought and action. According to Vygotsky, play also helps in the development of advanced cognitive skills and abstract thinking (Tsao, 2002)."
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Branagh and 'Much Ado About Nothing', 2008.
This paper discusses Kenneth Branagh's film production of 'Much Ado About Nothing'.
1,200 words (approx. 4.8 pages), 1 source, MLA, $ 41.95
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Abstract
In this article, the writer notes that when looking at the effectiveness of a film-interpretation of any Shakespeare play one has to determine whether or not the staging, blocking, sets, props and scenery interfere with or enhance the dialogue. The writer maintains that overall, Kenneth Branagh's production of 'Much Ado About Nothing', succeeds in this - the setting and staging rarely step on the dialogue. The writer notes that unlike the opening of the play, Branagh's version begins with, essentially, a musical number. The success of this complete reinterpretation of the original is in true keeping with the spirit of fun and frivolity of the play itself. The writer discusses that while this departs significantly from anything Shakespeare wrote, Branagh's opening stands as a significant success and does nothing but enhance and, when compared side-by-side with other scenes, proves to be one of the most effective scenes in the film.
From the Paper
"Traditionally, the play opens with the messenger arriving to tell of the arrival of Don Pedro. In this, we are given the setting and, just as effectively, an understanding of the comedy to ensue. But, in Branagh's version, going from the printed words, fading out, and then the fade in to the pastoral scene in which all of the characters living in Messina are frolicking carefree on the Italian hillside seemingly celebrating nothing but life itself. We see, viscerally, that these are children, adults living a life of ease and free from worry. There is laughter, play, teasing, and an absolute sense of ease between the characters that either sets the tone for the entire movie or, in another context, would be the setup for great tragedy later on - which, of course, there is a lot of the former and a little of the latter throughout. This feeling is exactly what Shakespeare sought to convey in the play."
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Teaching Playwriting, 2008.
Explores teaching playwriting in high school.
1,635 words (approx. 6.5 pages), 6 sources, MLA, $ 53.95
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Abstract
This paper argues for a greater inclusion of playwriting in the high school educational syllabus. The writer points out that some of the reasons playwriting is not included are it is simply impractical and serves no functional purpose. However, many teachers feel that playwriting is an important and educationally viable subject, which can have many benefits for the student. The paper relates that the formal academic advantages of playwriting as a school subject are literary competency and inquiry, communications skills and creative problem solving. The author stresses that playwriting as a teaching method is interesting and as well as a craft for the students, which in itself encourages further learning.
Table of Contents:
The Argument for Playwriting in Schools
Conclusion
From the Paper
"In the first instance, some commentators are of the opinion that play writing skills and other theater arts have a positive effect generally on the student's educational development. It can, for example, "... promote the educational outcomes associated with good citizenship" This view is related to a central aspect of playwriting, which is the fact that it encourages the students to think outside the narrow boundaries of his everyday frame of reference and encourages them to imagine other circumstances, situations and events that help to expand their view of life and explore problem areas that they would not normally experience."
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Antipholus' Speech in Shakespeare's "The Comedy of Errors", 2008.
A review of Antipholus' Speech in Shakespeare's "The Comedy of Errors."
936 words (approx. 3.7 pages), 2 sources, MLA, $ 33.95
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Abstract
The paper comments that the play, "The Comedy of Errors" is much more than a simple comedy or farce as it is usually seen; it is rather a profound meditation on human life, and the way in which errors blind men and keep them from the truth. The paper concludes that Shakespeare's play is a profound meditation on the human condition as a progression from error, illusion and confusion, towards ultimate truth and enlightenment.
From the Paper
"The passage thus contains a few key elements for the interpretation of the play: first of all, the words "transformation", "error", "deceit" and the phrase "earthy-gross conceit" all hint at the main theme of the play: the plane of the human life is seen as a farcical game, in which the mortals are generally erring and confusing the truth with illusion. The play is thus much more than a simple comedy or farce as it is usually seen; it is rather a profound meditation on human life, and the way in which errors blind men and keep them from the truth. Men are generally "smothered in errors", "feeble" and "weak", in the hands of the divine will."
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"Krapp's Last Tape", 2008.
An analysis of Samuel Beckett's play "Krapp's Last Tape".
1,270 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
This paper discusses how "Krapp's Last Tape" is a play about endings, about old age and memory. It looks at how, when analyzing what the protagonist, Krapp, perceives as the single most important incident in his life, and examining how this affected his character and the direction of his life, it is perhaps most important to ask how live events did not effect Krapp, or rather how Krapp allowed his life to remain at a standstill. It also examines how Krapp marks the passage of his years not by spending time with loved ones or moving forward, but listening to his own voice on tape. The character's life is like an endless loop, on a spool of recorded sound.
From the Paper
"The repetitive and static nature of Krapp's life finds its most potent metaphor in an encounter Krapp had with a woman on a barge. But rather than a long, lost love that has affected Krapp in a positive or negative way, this seems more like a relationship that never really deepened, and is only yet another thwarted possibility in a life that is a succession of thwarted possibilities. Krapp's haunting by many images from his past that fleetingly promised happiness are demonstrated by his obsessive listening to a tape recording of his own voice. The tape contains a journal entry from long ago, to which Krapp reacts, verbally and physically. Krapp cannot let go of the past, and even the past has few concrete memories of significance, he can only listen to his younger self's articulation of hopes that things will get better."
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Eugene O'Neill's "Desire under the Elms", 2008.
Looks at realism in Eugene O'Neill's "Desire under the Elms".
2,030 words (approx. 8.1 pages), 5 sources, MLA, $ 64.95
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Abstract
This paper briefly examines Eugene O'Neill's use of various types of realism in several of his plays. The paper points out that, in general, O'Neill did not deal with the preoccupations of the external world but rather with his own preoccupations, which were derived not from these personal demons but from his religious treatment of them. The paper then relates that the realism in "Desire under the Elms" involves aspects of Freudian psychology, as seen in the character Eben's Oedipal complex. The author concludes that the realism of the setting and of the speech patterns of the play makes the action seem all the more universal and a mirror of human psychology more than anything separate and unique to the characters in the play.
From the Paper
"As O'Neill became more famous in his early years as a playwright, he also became increasingly conscious of his public position and increasingly articulate about his ideals and hopes for American drama. As often happens, after his initial success he achieved notoriety as critics questioned some of his work, such as "All God's Chillun" for its racial theme or "Desire Under the Elms" for its supposed immorality. His reputation then reached new heights with the production of "Strange Interlude" in 1928, a play that took more than five hours to present."
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Friedrich Schiller's "Mary Stuart", 2008.
Looks at the character Mortimer in Friedrich Schiller's play, "Mary Stuart".
1,750 words (approx. 7.0 pages), 1 source, MLA, $ 56.95
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Abstract
This paper explains that, in "Mary Stuart", Friedrich Schiller dramatized the tragic history of Mary, Queen of Scots, the daughter of Henry VIII and Ann Boleyn. The paper points out that Mortimer, although a second character in the play, has an essential part and actually triggers some of the events in the play, which are illustrated in this paper. The paper stresses that Mortimer is one of the most effective characters in the play, contributing to the snare that is created around the innocent Mary, partly by hatred and partly by too ardent love, which brings her death.
From the Paper
"After this first part, Mortimer's character already comes more into light. Even in their first discussion, Mortimer hints at his infatuation for Mary. His function in the play changes slightly already: he is true in his intention to save the queen, but he has a particular interest in her. He thus already confesses he was instantly fascinated by her portrait when he saw it in France, and became even more so when he saw her in reality: "I saw then, not your picture, but yourself--/ Oh, what a treasure do these walls enclose! /No prison this, but the abode of gods,/ More splendid far than England's royal court.""
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Materialism and "Death of a Salesman", 2008.
This paper discusses the false materialistic values of the American dream in 'Death of a Salesman' by Arthur Miller
888 words (approx. 3.6 pages), 5 sources, MLA, $ 31.95
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Abstract
In this article, the writer analyzes the false values of the American dream that arise in 'Death of a Salesman' by Arthur Miller. The writer maintains that the attitudes of Willy Loman toward his family is a representation of the unrealistic expectations that define the American Dream as being financially secure and living up to external social stereotypes about materialistic success in American society. The writer notes that by understanding the false values of Loman's insatiable desire to accept and follow the American Dream, he invariably destroys his own life, as well as that of his family. The writer discusses the various aspects of materialism that are found within the false values of the American dream within the play and within society.
From the Paper
"Within the American Dream, the common man offers a new perspective on what is good about human nature and the ability to improve oneself, even though Willy is unable achieve his goals. However, Wily is psychologically impaired, and cannot seem to grasp the real depth of his beliefs and suspicions about life beyond what external society expects of him. The false values of Wily's life are essentially dictated by a social expectation--the American Dream-but this is a dream that can never be actualized because of his behaviors within personal relationships. This is how tragedy is expressed in Miller's ideology, especially when Wily cannot realize he is trying to live a dream--not adhering to reality and human error in his judgments about his family. This is how Wily is able to realize the reality of family's own limitations, and how he eventually succumbs to the dream of American life, which is not possible within the error and fallibility of the human condition. "
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Two Tennessee Williams Plays, 2008.
Compares Tennessee Williams' plays "Cat on a Hot Tin Roof" and "Streetcar named Desire" as films and as stories.
990 words (approx. 4.0 pages), 4 sources, MLA, $ 35.95
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Abstract
This paper relates that two of Tennessee Williams' most notable plays "Cat on a Hot Tin Roof" and "Streetcar named Desire" have been made into movies, which have become classics. The paper then discusses the similarities and the differences between the plays and concludes that, while both are good movies, "Cat on a Hot Tin Roof" has an element of truth that "Streetcar Named Desire" lacks. The paper includes dialogue from both films.
From the Paper
"For all the fierceness of the conflicts among the various members of the family, in the end, "Cat on a Hot Tin Roof" is a story of triumph. The story opens with Goober and Mae, with their children in tow, trying to get control of Big Daddy's fortune, and while they claim to be acting for everyone's good, their greed is transparent. Maggie and Brick are fighting and he is drunk so consistently that there seems little hope that they can weather this crisis. But they do. "
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George Bernard Shaw's "Major Barbara", 2008.
Looks at the idealism in a world of hypocrisy as presented in George Bernard Shaw's play "Major Barbara".
1,385 words (approx. 5.5 pages), 1 source, MLA, $ 46.95
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Abstract
This paper argues that George Bernard Shaw presents his belief that religious organizations for the most part are a sham because their minions will gladly embrace the money of the most wretched people if it will help them to pay their own bills. The paper then suggests that, at the same time, the character of Major Barbara in Shaw's play of the same name, while dismayed by the seeming hypocrisy of the Salvation Army, does not so much recoil from her holy mission as she returns to it with a more realistic understanding of how the world really works - and that doing good may, in the final analysis, involve making certain accommodations that the idealistic and naive might find appalling.
From the Paper
"In the end, Barbara dejectedly walks away from the Salvation Army (Shaw, 113-114; for a good description of how the experience seared Barbara to the quick, please see page 145 of the text) and assumes - it is her father's idea - control of the munitions factory (Shaw, 123-124). From her experiences she has learned a few things that are of the greatest importance: money really is power; Christian organizations can surely be bought for the right price; all men, like her father, who deign to be good men only have the luxury of being so when they are wealthy (for her father's treatise on why he finds poverty so abominable, please see pages 147-148); and evil in life (and those with blasted principles) cannot be avoided."
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Women in Shakespeare's Tragedies, 2008.
A proposal for a project to study the representation of women in Shakespeare's "Romeo and Juliet" and "Othello".
940 words (approx. 3.8 pages), 34 sources, MLA, $ 33.95
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Abstract
This paper explains that the project will be a detailed analysis of two works by William Shakespeare, "Othello" and "Romeo and Juliet", focusing primarily on the feminist and philosophical elements of the two plays, as well as the significance of the historical context in which they were written. The author points out that feminists, who are preoccupied with the commentary being made in Shakespeare's plays concerning women, question whether his representations of women truly reflect reality. The paper includes an outline of the method by which the project will be completed.
Table of Contents:
Project Overview
Subject to be Studied
Intended Outcomes
Learning Objectives
Detailed Work Plan
Project Outline
Method
Literary Resources
On-Line Resources
Faculty Supervisor's Role
Proposed Timetable
From the Paper
"The project proposes to examine the genius of Shakespeare as a dramatist who possessed a deep psychological understanding of women and who usually was able to anticipate a feminist perspective on women's issues and roles. Being a male author during the Elizabethan period, Shakespeare exhibited profound insights into the psyche of his female characters. Desdemona is unafraid to confront her father and is fascinated by the violent aspect of life yet she is also incapable of taking any real action to resolve her situation."
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Emotion and "Twelfth Night", 2008.
This paper looks at the overabundance of emotion in Shakespeare's work 'Twelfth Night'.
1,274 words (approx. 5.1 pages), 1 source, MLA, $ 43.95
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Abstract
In this article, the writer points out that many scholarly articles and studies of 'Twelfth Night' tend to downplay the literary importance of the play by categorizing it as a genial and charming play. The writer maintains that there is not anything inherently abominable about being either genial or charming, but these two words do not do justice to Shakespeare's deceptively "light" play. 'Twelfth Night' is not a tragedy, but this does not prevent Shakespeare from exploring, through comedy, several fundamental themes of human existence: love, grief, and desire. This paper analyzes Shakespeare's exploration of these existential themes as they appear in 'Twelfth Night' and argues that the playwright, through comedy, unveils the ludicrousness and inappropriateness of extravagant and sentimental emotion.
From the Paper
"The question and the man who asks it barely register in Orsino's mind, but he is quick to pull out his readily available stock of conventional wisdom as soon as he breaks his reverie, and responds to Curio's question with a trite metaphor on love and hunting. No wonder, then, that the servants show signs of impatience and restlessness: their master is luxuriating in a state of complete self-absorption, and the outside world (or the beings that inhabit it) have ceased to exist. Of course, this matters not at all to the extravagant Orsino, as he is completely clueless as to what transpires around him and simply lacks the energy (in the manner of all love-sick gentleman) to engage in hunting or other depleting physical activities.
"Olivia, too, embodies these same characteristics, and it is perhaps unfortunate that the two do not make their own happy ending. Similarly to her determined pursuer, Olivia's emotional "disorder" reveals itself through her conversations with Cesario. The reader knows, before even encountering Olivia, that she is in mourning for a beloved brother. "
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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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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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