the great awakening of women

3 word format

Language : english

history 1789 to present

research papers

date published

30/08/2007

review : not yet assessed

level : Expert

requested 3 times

Summary

The transition to a cash economy along with the increasing antislavery movement ensured that nineteenth century America would become economically and politically changed. However, the second Great Awakening ensured that principles of the past would remain constant and stronger than ever and white middle-class ladies were the main target. The emphasis on religion reaffirmed women as pious and virtuous beings. The idea of such middle-class virtue encompassed meticulously-run households and submissiveness to the dominant male figure of the house; the driving force behind such obedience derived from the belief in projecting morality at all times.

Table of Contents

Nineteenth century American women embraced their role in housework because they perceived it as imperative in overseeing their families' well-being
Eventually, women's contributions were no longer limited to their households, but extended to moralizing society
In further pursuit of the ideal, white, middle-class women united to combat another immoral societal injustice
However, some could argue that for nineteenth century women, pleasing their husbands proved more important than pleasing God
While the middle-class ideal encompassed obedience and taking pride in housework, it was not limited to the household

$9.95

10 word format

Language : english

arts and art history

research papers

date published

19/02/2008

review : not yet assessed

level : General public

requested 0 times

Summary

Appalachian music. Usually paired with the image of hicks on a dilapidated porch in West Virginia. To some Americans, Appalachian music could seem to be a genre of simple minded folk songs from a poor town in the southern mountains of North America. Some people may simply think of the Deliverance theme song, met by the image of a handicapped child playing his banjo in the trails of Appalachia. What most people do not think about is the significance that Appalachian music plays in most of the music America listens to today. This music has influenced many other genres, including Rock & Roll, Classical and even Punk, and especially what we know today as urban folk.

$3.95

4 word format

Language : english

literature

presentation

date published

23/11/2006

review : not yet assessed

level : Advanced

requested 9 times

Summary

Margaret Drabble is a writer who was often assimilated to what is called the ‘Angry Young Men’ literary movement. But, as a lot of those writers of the 1950s who were put into the same category, she never claimed being fully part of this movement – all the more so since the term of « movement » is in this case controversial.
It is then interesting to find out what similarities could be found between Drabble’s novel "The Millstone" and the criteria which, for the critics, were representative of the ‘Angry Young Men’.

Table of Contents

The main theme treated by the ‘Angry Young Men' movement is the class confrontation and the awakening of a social consciousness
During the whole novel the reader can notice a great emancipation of Rosamund through her motherhood and her fight for independence
Individualism is another feature from the ‘Angry Young Men' movement
The marginality of the main character

$1.95

2 word format

Language : english

literature

school essay

date published

22/10/2007

review : not yet assessed

level : General public

requested 2 times

Summary

In “The Bluest Eye,” Toni Morrison explores racial tension in the town of Lorain, Ohio, immediately following the Great Depression. The novel follows the lives of a number of African Americans, including Claudia MacTeer, the narrator, Pecola Breedlove, the main character, and Pauline Breedlove, Pecola’s mother. The central theme of the novel is the pervasive idea of white culture as the standard of beauty, and the subsequent belief that black culture is ugly and undesirable, and the way that this belief influences the lives of the three characters. Both Pecola and Pauline have completely accepted the idea of whiteness as the standard of beauty to the point where they see themselves as being ugly and undesirable, and aspire to become white: Pecola desires to have blue eyes and Pauline wishes to look like the white celebrities she sees in the movies. On the other hand, Claudia resists the message that she is ugly and does not succumb to the self-loathing that is prevalent among the town’s African American population.

Table of Contents

Pecola Breedlove, whom the novel is named after, is the character that is the most susceptible to the belief that white culture is beautiful, and is also the most affected by it.
Unfortunately, Pecola's life does not change and she is constantly reminded of her ugliness.
She was never able, after her education in the movies, to look at a face and not assign it some category in the scale of absolute beauty
Like a drug addict awakening from a euphoric stupor must come to terms with his squalid existence, so to did Pauline find a stark contrast between the scenes in the motion pictures and the scenes in her home.
In contrast to Pecola and Pauline, who see that whiteness and white culture are the standards of beauty and who try to emulate white women in an attempt to change their lives
In summary, a prominent theme in the novel 'The Bluest Eye' is the prevalence of the notion that whiteness is the ideal standard of beauty

$2.95

3 word format

Language : english

humanities/philosophy

school essay

date published

09/10/2007

review : not yet assessed

level : Advanced

requested 0 times

Summary

The Buddhist path leading toward nirvana is one properly undertaken with the understanding that enlightenment is something coming in degrees, and perhaps without a finite ‘ending point.’ It is not unlike the mathematical concept of a limit. “The limit of ‘the function of x’ as x approaches infinity” illustrates the spiritual progress of a person on the Buddhist path. Though the infinity point might never be reached, except in the Buddha’s ultimate parinirvana, a practitioner can aim to approach the line nonetheless. Buddhism is thus a system of existential calculus. Accordingly, the Buddha’s teachings are divided into three vehicles customized to drive different sorts of people along the same path. The Hinayana constitutes the original teachings of the Shakyamuni Buddha to his monk followers. The Mahayana scriptures are composed of teachings that were transmitted to the Buddha’s more advanced students and thus constitute more refined knowledge. The Vajrayana tradition of terma mind-treasure allows for a continuous stream of new teachings to be uncovered by highly-realized practitioners beyond the time of the historical Buddha. The three yanas are thus skillful means (upaya) that allows all people to benefit from the teachings regardless of their current position along the curve towards enlightenment; each ‘yana’ assumes a different amount of life understanding and teaches accordingly. All teach, as summarized by aphorism 183 of the Dhammapadda, “not to do any evil, to cultivate good, to purify one’s mind (Rahula, 131).

Table of Contents

The Buddhist path leading toward nirvana is one properly undertaken with the understanding that enlightenment is something coming in degrees, and perhaps without a finite ‘ending point.?
The Hinayana assumes no previous understanding of the ‘function' which processes an individual ‘x' along the path towards enlightenment.
The ten stages of bodhisattva practice
The Mahayana's school of Citta-Matra (mind-only) incorporates theories which allow for a practical application of selfless samadhi.
The three yanas each produce enlightened masters of distinct personalities
The Prajnaparamita Sutra decries the false-logic which could give rise to despair at the length of ‘time' required for enlightenment in the Mahayana paradigm.

$5.95

6 word format

Language : english

international law

presentation

date published

18/04/2006

review : not yet assessed

level : General public

requested 6 times

Summary

Humanitarian intervention deals with two academic fields: political philosophy and international law. The question of intervention depends on the morality and on the legality of the intervention. Is humanitarian intervention a moral duty for states? Is humanitarian intervention a right for states? Those two questions will be the core of our argument in this essay.

Table of Contents

Traditional Approaches about humanitarian interventions
1. Theoretical objections to humanitarian interventions
2. Theoretical approaches in favour of humanitarian intervention: Solidarist international society theory
3. The ambiguous case of the United Nations
A renewal of approaches since the end of the Cold War: practice and theory
1. 'NATO's humanitarian intervention in Kosovo: making or breaking international law?'
2. The effects of globalization and the arising of non- forcible intervention

$4.95

5 word format

Language : english

film studies

school essay

date published

05/10/2007

review : not yet assessed

level : Advanced

requested 0 times

Summary

In 1959, after the unexpected death of her husband, Doris Wishman decided to begin making films. With a background in distribution, she became aware of the genre of “nudist camp” films through an acquaintance with Walter Bibo, producer of Garden of Eden (1954), a groundbreaking film in the field. Despite not having any sort of formal training in film (quite difficult for a woman to obtain at this time), she borrowed $20,000 from her family and made Hideout in the Sun (1960), one of the earliest nudist camp films. Over the next eighteen years, she made twenty-three more films, thus qualifying her as probably the most prolific female director of the sound era. She even staged a comeback in the early part of the twenty-first century, creating three more films before her death on August 10, 2002, at the age of 82.

Table of Contents

In 1959, after the unexpected death of her husband, Doris Wishman decided to begin making films.
As previously stated, most critics classify Wishman's films as exploitation, among other things.
From 1959 until the mid 1960s, a new wave of filmmakers pioneered a new direction in exploitation film:
For example, Wishman's Diary of a Nudist (1961) uses the plot of an investigative journalist sent into unknown territory, combined with the simple concept of putting naked bodies on the screen, in order to tell a love story.
In the mid 1960s, most of the exploitation filmmakers felt the nudies were losing their freshness and appeal, and the box office tallies seemed to reflect this notion
In addition to shifts in directing style, Wishman's roughie period marked a rather drastic shift in theme and content.
Near the end of the 1960s, Wishman again became aware of changes in the exploitation industry, this time urged by the sexual revolution and the increasingly explicit nature of sex in film.
Interestingly though, one of her lesser-known films, The Immoral Three, provides one of the fairest representations of her career.
While Wishman's heroines may be destined to occupy their roles in the gendered economy, they are also able to re-form themselves through techniques of fantasy and autoeroticism.

$1.95

2 word format

Language : english

literature

school essay

date published

07/08/2007

review : not yet assessed

level : Advanced

requested 10 times