Ten Interlocking Scenes In The La Ronde By Arthur Schnitzler

Shakespeare's Twelfth Night examines patterns of love and courtship through a twisting of gender roles. The play centers on the lead female role and protagonist, Viola, who

The lovers are in love with themselves being in love. They love each other, but are more preoccupied with being seen as lovers. They often feign mild hatred. She is extremely aware of being watched and plays with the audience for sympathy in their plight and ccasionally flirts with spectators.

The play opens with vulgar jokes exchanged between servants, this immediately links sex with conflict. Like when Sampson says “And thrust his maids to the wall” which means he will push Montague’s maid servants against the wall, but thrust can also be linked to

“The Boys in the Band”, is a play about male homosexual relationships and the revealing truths of being gay in the 1960s. The play gives audiences a distinct perspective of homosexuality on the stage up until that time. The setting is in a New York City apartment that is owned by Michael. He and his gay friends are preparing a birthday party for Harold. Alan McCarthy, a former college roommate of Michael, also shows up at the party unexpectedly. In this paper, we will focus on Alan and Harold and their behaviors and impacts in the play.

In spite of the promise of three weddings to be celebrated, the play concludes on a sour note when Feste, the clown, depicts life as grim, "for the rain it raineth every day" (Act V Scene i). They play’s primary central theme is that of the comic relationships between men and women. Furthermore, it illustrates the traditional, societal notions of “interdependence, and the newly emerging attitudes towards individual choice and personal desire, or as the play puts it, ‘will’” (Malcolmson 163). Although Twelfth Night is a story of love and courtship, nevertheless, it is also a “comedy of gender,” because of its ability to override the traditional Elizabethan notions of the female role through the characters of Viola and Olivia.

 In the plays female sexuality is not expressed variously through courtship, pregnancy, childbearing, and remarriage, as it is in the period.  Instead it is narrowly defined and contained by the conventions of Petrarchan love and cuckoldry.  The first idealizes women as a catalyst to male virtue, insisting on their absolute purity.  The second fears and mistrusts them for their

The roles of the women in the drama are significant because of the way they shape the story and help the reader understand the nature of one of the strangest events in human history. Throughout the novel, women are portrayed in many different ways. Some are shown as being good and moral people while others the complete opposite. Arthur Miller's treatment of women in this play show women as weak beings who give into their husbands. Each women in the drama plays a significant role in showing the different archetypes there were among women especially Mary Warren, Elizabeth Proctor, and Abigail Williams. In addition, Kohlberg’s Moral Stages are six developmental stages of human moral reasoning which can tie into the view in which we have of the women in the play.

Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these

The idea of two women touching and moving together creates a sensual experience that many males fantasize about in their mind. This travesty pas de deux allowed for this erotic figment to come to life in an appropriate atmosphere. As two sisters danced, the Elsslers, it was turned into the thought of incest behavior. Women were told to uphold an innocence or were innocently dancing, but the concept turned towards a sexual

because she too is a victim like many others in the play, but is the

The tangled web of relationships that connect each character in this story are what drive Congreve's play forward. With each past affair (or current) affair that

The spectrum established within the play illustrates the range of contentment each character experiences, regarding their sexuality. For example, the more “out of the closet” and overtly open one is about the nature of their sexual orientation, the more seemingly secure they are with themselves—and vice versa. It appears that each male protagonist’s location on the spectrum is ultimately contingent on his enactments of gender performativity. The following analysis seeks to prove that the more effeminate a male character acts, the more open and

For the aristocracy, sexual exploits of scandalous natures were revered while marriage was simply disdained. In these plays, women seem to be eternally frustrated emotionally and sexually by their husbands, while men seem to be in a perpetual state of fear, trying to avoid becoming cuckolded. The way these plays unfold seemingly always confuses the audience. The men that are rewarded in the end are crude and promiscuous, while the women constantly fool their absurd and oblivious husbands all the while carrying on explicit sexual affairs. If the plays are supposed to send a message, the message is cloudy at best making the aristocracy’s newly returned security seem exceedingly unstable. The general opinion of marriage was skepticism and a certain loss of faith in the institution. ‘The Country Wife’ is a perfect embodiment of the political and social turmoil

The initial absurdity of the play appears when the six admitted fictional characters arrive with their claim to be "truer and more real" than the "real" actors they confront. Their "truth" is the truth of art with its profound but fixed glimpses into human nature. Each character represents a particular identity created by the author. They are incapable of developing outside that role and are condemned, in their search for existence, to painfully re-enact their essential selves.

The theme of The Playboy of the Western World was social conventions, all of the character had a certain criteria on who was accepted by their community. The play sends a message of the things people will do to be accepted in their society. Christy Mahon lied to Pegen and the other villagers about murdering his father, Old Mahon, so they would accept him and give him refuge. Christy wanted Pegen to like him and the lie he told not only made her interested but also the other women