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Francois Rabelais?s "Gargantua and Pantagruel", 2005.
This paper discusses the comic novel "Gargantua and Pantagruel" written by Francois Rabelais from the period of the French Renaissance.
3,855 words (approx. 15.4 pages), 8 sources, MLA, $ 105.95
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Abstract
This paper explains that Francois Rabelais uses satire in his book "Gargantua and Pantagruel" to address the disorientation felt by Renaissance Humanists by examining and lampooning the extremes of both Medieval and Renaissance education, thus he also analyzes the characteristics and values of his own humanistic ideals. The author points out that, throughout the book, Rabelais repeatedly refers to Socrates and to Plato's "Republic"; however, Rabelais takes the classical allusions a step further and actually models his Utopian masterpiece on Plato's "Republic". The paper stresses that Rabelais makes a case for moderation and avoiding the extremes of either Medieval scholasticism or Renaissance humanism thereby suggesting that one must find a middle course, which depends upon ones own discretion and abilities. Long quotes.
From the Paper
"Why does Rabelais model Gargantua and Pantagruel on The Republic?In Book III of The Republic, Plato focuses on art, education, and censorship. Plato, in the persona of Socrates, stresses that nurture is critical in molding the character of the individual. The general topic of the section concerns how the auxiliaries are to be educated, and the curriculum breaks down into gymnastics and music. (While incidental and minor, including gymnastics in Gargantua's curriculum is at least curious if not noteworthy.) Plato believes that arts and letters have a profound impact on shaping character and says that therefore they must be strictly regulated. Is Socrates or Plato really advocating censorship? Plato is in fact making a case for personal discernment. He obviously values art as a powerful force and an effective learning tool. Otherwise, why would he use the format to convey his own message? If he is so suspicious of imitation, why does he express his own philosophy in a dramatic form?"
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A Discussion of Rabelais' "Gargantua and Pantagruel", 2001.
This paper takes a look at Francois Rabelais "Gargantua and Pantagruel".
1,400 words (approx. 5.6 pages), 1 source, $ 46.95
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Abstract
This paper takes a look at Francois Rabelais' life and how his upbringing influenced his work. The work examined in this paper is "Gargantua and Pantagruel". Firstly a description of his upbringing in a historical context is provided and then a concise look at the novel. The characters are analyzed and contrasted.
From the paper:
"Because to laugh is proper to the man.? ? Francois Rabelais.
Francois Rabelais was a satirist. Throughout his life, he was bombarded with Christian ideals and ideas, yet his works certainly ridicule many aspects of the Christian faith. Francois Rabelais was born in 1483 at Chinon in Touraine. This date, as well as many other details of his life, is in dispute by scholars all over the world. Some researchers believe that his father was an apothecary while others believe that Rabelais? father was an innkeeper. Francois began his studies with the Benedictines but eventually joined the Franciscans where he stayed fifteen years and received his Holy Orders. He later found the convent was against the studies of the Renaissance that he favoured, so with permission from the Pope, he left it. At his new convent home he continued his study of medicine in 1530. By the following year, he was a professor of anatomy at Lyons as well as head physician at Pont-du-Rhone hospital. During his time as head physician, he fathered a child that died young. In 1534 he began his time with Cardinal du Bellay as a physician. He received an indult from Pope Paul III that allowed him to practice medicine and absolved him from his former infraction of fathering a child while in the priesthood."
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Comparing Michel Foucault and Jean-Francois Lyotard, 2007.
This paper compares the philosophies of Michel Foucault and Jean-Francois Lyotard through two of their works.
2,832 words (approx. 11.3 pages), 4 sources, APA, $ 84.95
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Abstract
This paper compares Michel Foucault and Jean-Francois Lyotard, both early postmodern philosophers, through the use of two of their works, as well as other sources. These works are Foucault's "The Body of the Condemned" and Lyotard's "The Postmodern Condition". In addition to these works, other information about Foucault and Lyotard is used to indicate the similarities and differences between these two works, their philosophies and their beliefs. While the two works are analyzed, the overall philosophies of Foucault and Lyotard are also addressed.
Outline:
Michel Foucault
Jean-Francois Lyotard
Conclusion
From the Paper
"Foucault fits into the general philosophical tradition, but it is the critical tradition, similar to Kant, and most of what Foucault writes about and proclaims is a very critical history where human nature and thought is concerned (Foucault, n.d.). This does not mean that the history of ideas that he discusses is also an analysis of the errors that might be seen when issues are examined after the fact. Instead, it should be taken to mean that Foucault's work is an analysis based on the relationship between object and subject, and what conditions are seen to either form or modify those relationships (Foucault, n.d.)."
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Francois Boucher and Pablo Picasso, 2005.
A comparative analysis of the paintings "The Toilet of Venus" by Francois Boucher and "Gertrude Stein" by Pablo Picasso.
1,196 words (approx. 4.8 pages), 6 sources, MLA, $ 40.95
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Abstract
This paper looks at the paintings "The Toilet of Venus" by Francois Boucher and "Gertrude Stein" by Pablo Picasso and how they differ in style and color. It discusses how each painting has a unique style which is intriguing and alluring and how the main difference is the colors used, one is dark and the other is brilliant. It also discusses the history behind the paintings and their similarities.
From the Paper
"Francois Boucher painted The Toilet of Venus. This painting was custom-made for Madame de Pompadour as part of the decoration for her cabinet de toilette at the Chateau de Bellevue, which was one of the residences she shared with King Louis XV. In the painting there are cupids and doves which are attributes of Venus as the goddess of Love. The flowers allude to her role as patroness of gardens and the pearls reflect her mysterious birth from the sea. Francois made the painting during the Rococo Style period. Rococo Style was popular in Western Europe from 1700-1780. The term comes from French, which stands for fanciful rock or shell design, and it exhibits an elegant feeling and style. As a painter of nudes, Boucher had no equal in his generation. "
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Nicolas Francois Mansart and Jules Hardouin-Mansart, 2002.
An overview of the architectural achievements and works of Nicolas Francois Mansart and Jules Hardouin-Mansart
650 words (approx. 2.6 pages), 4 sources, $ 26.95
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Abstract
This paper provides a synopsis of the architectural works of Nicolas Francois Mansart and Jules Hardouin-Mansart. Both excelled in architecture, contributing to the classical style and adding great cultural flavor to French culture. Jules, who learned from his great-uncle Nicolas, represented the culmination of Louis XIV's style.
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Guillaume Francois Antoine de L?Hopital, 2005.
This paper discusses mathematician Guillaume Francois Antoine de L'Hopital, born in Paris, France in 1661.
1,445 words (approx. 5.8 pages), 7 sources, MLA, $ 47.95
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Abstract
This paper explains that L'Hopital, who lived during the conception of modern calculus, was taught by Bernoulli; the result of this tuition was L'Hopital's "Analyse des Infiniments Petits", which became the French reference book in the calculus for a century. The author points out that L'Hopital's name is guaranteed to survive in the memories of thousands of mathematicians because of the L'Hopital rule, which is useful when dealing with indeterminate forms. The paper relates that L'Hopital created the template by which all calculus texts would be modeled and measured against for the next three hundred years. Formulas included.
From the Paper
"A natural progression from his two first works on the topic of calculus would have been a serious examination of the integral calculus. Indeed, this was a project that L'Hopital was capable of and actually began to write before his death. However, one of his contemporaries-Leibniz-made it known to L'Hopital that he also endeavored to publish a work covering the same hole in written calculus of the time. Apparently, out of respect to the mathematician who made much of his fame possible, L'Hopital abandoned the project."
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Francois Mitterand, 1991.
This paper discusses Francois Mitterand, the French leader's reconstruction of the Socialist Party and his drive toward the presidency in 1981.
2,025 words (approx. 8.1 pages), 3 sources, $ 71.95
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From the Paper
"In 1981 for the first time in the French Fifth Republic, a socialist government, led by Francois Mitterrand, was elected to office. This victory was indeed a significant political achievement when one considers that, little more than a decade earlier, the Socialist Party had managed to obtain only 5.1 percent of the vote.. In just over one decade the Socialist Party had grown and united under the skilled and professional leadership of Francois Mitterrand.
In 1981 the socio-economic and political atmosphere was ripe for a socialist victory. The ruling right-wing-centrist coalition was deeply divided and fragmented. A bitter and politically damaging rivalry between Jacques Chirac and Giscard ... "
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Paradoxes of Giants and Gods, 2001.
A look at the life of satirist Francois Rabelais and analysis of his book "Gargantua and Pantagruel".
1,420 words (approx. 5.7 pages), 1 source, $ 47.95
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Abstract
This essay takes a look into the life of Francois Rabelais and into his book "Gargantua and Pantagruel". Specifically, the focus is on the idea of the curse as mentioned in the book. The curse is that Christians are free and yet they are enslaved. Finally, the paper shows that through his book "Gargantua and Pantagruel", Rabelais examines the curse of Christianity, namely that the Christian has free will, but that the free will he or she is given is limited.
From the Paper
"The book contains the story of the birth and upbringing of a giant child, Gargantua, and illustrates the author?s views on bad education (Medieval) and good education (Renaissance), and how an ideal humanist leader should behave. The character of the battling monk, Friar Jean, is introduced, with graphically detailed anatomical descriptions of his feats of holy combat."
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A History of Satanism, 2006.
An examination of the history of the religion or Satanism.
4,081 words (approx. 16.3 pages), 15 sources, MLA, $ 109.95
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Abstract
This paper examines the history of the specific religion that worships Satan directly. The paper explains that Satanists revel in balking authority and Christianity, and scoff at the idea of bowing to anyone. The paper points out that despite the fact that the philosophies so prevalent in Satanic literature and religion are growing in popularity in America, most Americans are still repulsed at the mention of Satanism.
The paper then looks at how, throughout the entire history of Satanism and various Satanic groups, the quest for power and fulfillment of the flesh are the overriding tenets of their dogma. The writer concludes that while Satanists today are in some ways making a modern day Faust-like pact with the devil for power and earthly "freedoms," most don't realize or accept that the traditional end to that story leaves Faust and them spiritually dead.
Table of Contents:
Introduction
The Ancient Egypt Connection
The Zoroastrian Contribution
The Muslim and Christian Satan
Other Ancient Gods of Importance to Satanists
Effects of the Enlightenment on Modern Satanism
Francois Rabelais
The Monks of Medmenham
Hell-Fire Clubs
Aleister Crowley
Gerald Gardner
Anton Szandor LaVey
Temple of Set
Satanism Today
Conclusion
From the Paper
"Islamic lore states that Satan was Azazel, the First Angel, and he was cast from heaven when he refused to bow down to man. Luciferians feel that Satan is not completely evil but a balance of both good and evil. Satanists embrace Azazel because of his independence and freethinking; some feel that they themselves are separate from their original creator. Azazel was also made of fire, which Satanists feel is superior to clay.
Lilith is also a key figure in Satanism. She is the Triple Goddess, or Hecate, maiden, whore and hag, and her number is three. Those who recognize her nature will be gifted with her wisdom of Magick. She is "the very nature of Az who is the Mother of the Luciferians. " Aleistar Crowley compared Lilith and Az to the whorish biblical Babylon. Lilith is used in witchcraft rituals to summon succubae or incubi."
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Tolerance, 2007.
An analysis of the similarities in Francois-Marie Arouet's (Voltaire) views on tolerance to his predecessor, Pierre Bayle.
1,498 words (approx. 6.0 pages), 3 sources, MLA, $ 49.95
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Abstract
This paper examines the philosophical views of Francois-Marie Arouet (known by the pen-name, Voltaire) and Pierre Bayle with regards to the concept of tolerance. It argues that Voltaire is surprisingly indebted to Bayle for a number of his own views. The paper specifically discusses their views on violence, common potential and a basic belief in enlightened humanism. The paper suggests that Bayle clearly blazed a trail that Voltaire was to later follow.
From the Paper
"At the same time, Bayle also believes that the outwards professions of faith are meaningless if they are not conjoined by inner purity. In particular, he defines an inner state lacking in proper fear of God or in proper love for the Holy Writ as "Acts of Hypocrisy and Falsehood, or Impiety and Revolt against Conscience" (Bayle 77). The reference to "impiety" is particularly interesting inasmuch as Voltaire, in a much later era, would write at length about how those who stoop to judge their fellow man and their fidelity to the Word of God are guilty of impiously assuming for themselves the magisterial role best left to God. In Bayle's case, his strong emphasis upon the need to truly have fear and love of God in one's heart runs parallel with Voltaire's to the extent that he, too, believes that proper modesty and deference is essential to noble Christian living. Clearly, a person who wishes to "play God" is not acting as a humble Christian and, in this respect, both Bayle - who denounces those who use punishment and coercion in an attempt to impress the Word of God upon the souls of others (77) - and certainly Voltaire rebuke those who want to act as members of earthly tribunals."
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Research Involving Humans, 2006.
A discussion and analysis of the claims made about research involving humans in the article "Reframing Research Involving Humans" by Francois Baylis, Jocelyn Downie, and Susan Sherwin.
1,125 words (approx. 4.5 pages), 1 source, $ 44.95
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Abstract
Francois Baylis, Jocelyn Downie and Susan Sherwin in "Reframing Research Involving Humans" depict their intervention as members of the 'Network on Feminist Health Care Ethics' into the development of ethical guidelines on research involving humans in the 1990s. They argue that to prevent exploitation clinical studies involving women or other oppressed groups should first be required to demonstrate that the results produced will be of specific benefit to the individuals or to the group in question. This essay critically examines this claim with particular reference to issues of exclusion and exploitation.
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Hogarth, Boucher and Chardin, 2007.
An analysis of the artworks of William Hogarth, Francois Boucher and Jean-Baptiste-Simeon Chardin.
1,036 words (approx. 4.1 pages), 1 source, MLA, $ 36.95
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Abstract
This paper analyzes paintings by William Hogarth, Francois Boucher and Jean-Baptiste-Simeon Chardin. It first looks at images and themes of excessive rationality, godlessness and human tragedy in Hogarth's six-part series "Marriage a-la-mode." It then discusses and compares female eroticism and objectification in Boucher's "The Blonde Odalisque" and Chardin's "Girl Peeling Vegetables."
Table of Contents:
William Hogarth
Boucher and Chardin
From the Paper
" Wollstonecraft would no doubt be offended by either image. In The Blonde Odalisque, the subject's role is simply decorative: for men's visual pleasure. The subject gazes at something or someone of interest, perhaps (this would further increase eroticism) a man fancied. Wollstonecraft would say this painting trivializes and devalues its female subject: as a decorative object, not a full human being. In Girl Peeling Vegetables, similarly, the expression of the female is vapid; too empty-headed even to be bored with her tedious work. Her thoughts, when she thinks them, are covertly sexual, and the subtle but suggestive positions, and implied movements, of her hands reinforce this idea. Wollstonecraft would find both artists' views of women shallow, limited, and lacking in real-life complexity and dimensionality."
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Mitterrand's Foreign Policy, 2007.
This paper criticizes the social reform policies of France's ex-President, Francois Mitterrand, in regards to foreign policy.
1,285 words (approx. 5.1 pages), 6 sources, MLA, $ 43.95
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Abstract
The paper discusses President Francois Mitterrand's social policies and maintains that these strategies created a foreign policy that separated France from an increasingly globalized world setting. The paper demonstrates how his policy did not reflect an accurate awareness of the requirements of the population within France and the conditions influencing international relations.
Outline:
Introduction
Criticism of Socialism
Conclusion
From the Paper
"Francois Mitterrand intermittently controlled France as the country's President between 1981 through 1995. Mitterrand was aggressively determined to restructure many major aspects of France's infrastructure, including changes to what Mitterrand perceived to be economic and social disparity among citizens from different classes (Brooks, 1987). While Mitterrand's idea of a centrist society was commendable, the strategies that he put into effect suggested a lack of foresight and a willingness to engage in social reform without full recognition of its impact on both the people of France and France's role within foreign policy on a global scale."
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Socialism: From Babeuf to Marx, 2008.
A review of socialism from the early eighteenth century up until the middle of the nineteenth century, focusing on the works of Karl Marx and Francois Noel Babeuf.
1,333 words (approx. 5.3 pages), 5 sources, MLA, $ 44.95
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Abstract
This paper briefly defines the concept of socialism and outlines its early stirrings in the eighteenth century, right up to the middle of the nineteenth century. In so doing, the paper notes how socialism was not a steady escalation of rhetoric that ultimately culminated in Karl Marx's "Manifesto," but rather, an idea about socio-economic organization that first emerged in its modern form in the fiery writings and outbursts of Francois Noel Babeuf. The paper further shows how socialism went through a period of fairly intellectualized and rational discussion during the first few decades of the nineteenth century.
From the Paper
"By the dawn of the 1850s, thinkers such as Louis Blanc were calling for the advent of social workshops that would be controlled wholly by workers. This approach still sought to involve the capitalists in a cooperative fashion, but Blanc's approach to socialism soon gave way to Marx's highly-charged writings on the nature of social class relations. Specifically, Marx portrayed as inevitable a revolutionary conflict between capital and labor, and he also chastised the socialists as "theoretical utopian dreamers who disregarded the necessity of revolutionary struggle to implement their doctrines" ("Socialism," 44396). In one fell swoop, Marx had sharply rebuked the more measured and thoughtful tone of the early socialists and created a new kind of socialism (or, rather, the revolutionary socialism of Babeuf in a new dress) that avowedly sought the destruction of the existing capitalist order. It was, suffice it to say, the most radical step yet undertaken by the left in its battle against the "oppressive" forces of the classical liberal right."
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The Victorian Legacy, 2002.
A review of D.H. Lawrence?s novel "Rainbow", Vera Brittain?s memoir the "Testament of Youth" and Francois Truffault?s film "Two English Girls" with an emphasis on the legacy left to women from the Victorian Era.
1,698 words (approx. 6.8 pages), 2 sources, MLA, $ 55.95
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Abstract
The paper discusses how D.H. Lawrence?s novel "Rainbow", Vera Brittain?s memoir the "Testament of Youth" and Francois Truffault?s film "Two English Girls", all deal with the issue of how women in the twentieth century deal with their inheritance of Victorian morality and how they shape their own lives both in response to and in defiance of those virtues. It examines how in Victorian society, women had an extremely well-defined, repressive and limited role in society with strict taboos surrounding female sexuality, which was not a subject available for polite discussion. It looks at how in all the three works, several different young female characters raised in the shadow of the Victorian Era are coming to grips with their identity especially as it relates to the typical idea of women that people held in the Victorian Era.
From the Paper
"Vera Brittain on the other hand, displays an example of the new femininity that began to emerge in the twentieth century after the end of the Victorian era and the repression that that era caused people to entertain, particularly as regards their gender roles. Brittain, unlike Ursula, however, seems to have a sense of how she can achieve a difference between her and her forbearers in action as well as in thought. She realizes what she learns by working outside of the house as a nurse and what this information enable her to accomplish in the world. Further, she realizes how having access to information about the realities of both life and of sexuality enable her to have a more privileged and enlightened position in the world than many of her female contemporaries."
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