Since the beginning of last summer we have added over 5000 new term papers. Most of these term papers, essays, and book reports were once available as free papers on our web site. We still think we are the number one term paper site for free papers and published papers. Find us at www.TermPaperAdvisor.com.
Tuesday, November 14, 2006
Monday, April 24, 2006
I find reading Elizabeth Gaskell's book, "North and South" well worth my time. She is a contemporary of Charles Dickens and writes novels concerning England's industrial revolution. There is also a DVD available (NetFlix) that portrays the book quite well. Critics also consider Elizabeth Gaskell an exceptional author.
Saturday, February 18, 2006
Update from Dr. C.
I have added about 40 new free papers to my term paper site. The best thing is they are free for the taking. I intend to keep these papers available until March 1, 2006. I have also added around 400 papers to the pay side of my site and retired about the same number. I may put some of the retired papers on my free term paper site as time permits.
Thursday, December 08, 2005
Charles Dickens Biography
There is something about Charles Dickens' imaginative power that defies explanation in purely biographical terms. Nevertheless, his biography shows the source of that power and is the best place to begin to define it.
The second child of John and Elizabeth Dickens, Charles was born on February 7, 1812, near Portsmouth on England's south coast. At that time John Dickens was stationed in Portsmouth as a clerk in the Navy Pay Office. The family was of lower-middle-class origins, John having come from servants and Elizabeth from minor bureaucrats. Dickens' father was vivacious and generous but had an unfortunate tendency to live beyond his means. his mother was affectionate and rather inept in practical matters. Dickens later used his father as the basis for Mr. Micawber and portrayed is mother as Mrs. Nickleby in A Tale of Two Cities.
After a transfer to London in 1814, the family moved to Chatham, near Rochester, three years later. Dickens was about five at the time, and for the next five years his life was pleasant. Taught to read by his mother, he devoured his fathers' small collection of classics, which included Shakespeare, Cervantes, Defoe, Smollet, Fielding, and Goldsmith. These left a permanent mark on his imagination; their effect on his art was quite important. dickens also went to some performances of Shakespeare and formed a lifelong attachment to the theater. He attended school during this period and showed himself to be a rather solitary, observant, good-natured child with some talent for comic routines, which his father encouraged. In retrospect Dickens looked upon these years as a kind of golden age. His first novel, The Pickwick Papers, is in part an attempt to recreate their idyllic nature: it rejoices in innocence and the youthful spirit, and its happiest scenes take place in that precise geographical area.
In the light of the family's move back to London, where financial difficulties overtook the Dickens's, the time in Chatham must have seemed glorious indeed. The family moved into the shabby suburb of Camden Town, and Dickens was taken out of school and set to menial jobs about the household. In time, to help augment the family income, Dickens was given a job in a blacking factory among rough companions. At the time his father was imprisoned for debt, but was released three months later by a small legacy. Dickens related to his friend, John Forster, long afterward, that he felt a deep sense of abandonment at this time; the major themes of his novels can be traced to this period. His sympathy for the victimized, his fascination with prisons and money, the desire to vindicate his heroes' status as gentlemen, and the idea of London as an awesome, lively, and rather threatening environment all reflect these experiences. No doubt this temporary collapse of his parents' ability to protect him made a vivid expression on him. Out on his own for a time at twelve years of age, Dickens acquired a lasting self-reliance, a driving ambition, and a boundless energy that went into everything he did.
At thirteen Dickens went back to school for two years and then took a job in a lawyers office. Dissatisfied with the work, he learned shorthand and became a freelance court reporter in 1828. The job was seasonal and allowed him to do a good deal of reading in the British Museum. At the age of twenty he became a full-fledged journalist, working for three papers in succession. In the next four or five years he acquired the reputation of being the fastest and most accurate parliamentary reporter in London. The value of this period was that Dickens gained a sound, firsthand knowledge of London and the provinces.
Dickens was very active physically. He loved taking long walks, riding horses, making journeys, entertaining friends, dining well, playing practical jokes. He enjoyed games of charades with his family, was an excellent amateur magician, and practiced hypnotism. One tends to share Shaw's opinion that Dickens, in his social life, was always on stage. He was like an eternal Master of Ceremonies, for the most part: flamboyant, observant, quick, dynamic, full of zest. Yet he was also restless, subject to fits of depression, and hot tempered, so that at times he must have been nearly intolerable to live with, however agreeable he was as a companion.
In view of his very strenuous life it was not surprising that he died at fifty-eight from a stroke. At his death on June 9, 1870, Dickens was wealthy, immensely popular, and the best novelist the Victorian age produced. He was buried in the Poet's Corner of Westminster Abbey, and people mourned his death the world over.
Tuesday, November 08, 2005
Essay on Personal Riot Defense
Preparing yourself for riots and looting.
Civil disobedience is nothing new in the United States and now look what is happening in France and other western European countries. As a law abiding person what do you do to prepare yourself for such an event? Here is what I have done.
1. Do not live or work in areas that have people who are prone to riot. There are certain cities that I do not travel to, let alone live in them. Your reaction plan to riots can be minimal if you stay away from troubled areas. There are people in the world that are looking for an excuse to riot and loot. Just look at New Orleans then Toledo, Ohio.
2. If you live in an area where riot might occur then you need to have a plan. Make a plan before the riots happen. Learn how to protect yourself and your family. In most riot prone areas civil authorities will be of no help when you need it most.. Do not depend on a quick response from law enforcement or rescue and fire services. Historically rioters like to shoot at these people.
3. I have a plan for the area where I live. The nearest riots of recent history in this area are 55 to the south in Miami. I am safe from this area due to the distance involved for rioters to get here. The nearest block of possible rioters are over 1 mile away from me and do not think there would attack my walled-in housing project. They would have more to loot by going to the beachside mansions to the east. I am still ready for almost any type of civil disobedience .
4. My main source of defense are firearms. I have a 12 gauge sawed-off shotgun, a semiautomatic (AR15) rifle, and a 38 police special pistol. I have at least 200 rounds of ammunition for each weapon. I do have a bowie knife that I carried in Vietnam. This may sound like an arsenal to some people but I do not intend to be outgunned by the criminal element that may exist in my city. Rioters find support in numbers but are cowards at heart. As dangerous as they may seem just remember that most of these types have room temperature IQs.
5. If I have to draw my weapons I will do so from cover and concealment. I will not stand out in the open and give some doped up thug a clear shot at me. The best way to bust up a crazed mob is rapid fire into the group. Remember a mob of minus IQ looters is not a trained army. I intend to protect my property.
Your plan may be much more complex than mine depending on you situation. The news media in my area usually commiserates with the rioters. I don’t. You have a right to protect yourself and your family. I would not like to use deadly force but at least I have the option. Remember the Los Angeles riots when thugs pulled a man out of a truck and nearly beat him to death? I am sure most of you have seen the video tape of this incident. One brick wielding maniac was caught and tried. Did you know he was found innocent as his defense lawyer said the bum was “caught up in the moment” and did not know what he was doing. The no brain jury bought off on this argument. Don’t let this happen to you, protect yourself.
Monday, November 07, 2005
Recently experienced Hurricane Wilma first hand and went 9 days without power. I did get a week off from work and reading term papers and essays. We still feel the effects of this storm in south Florida. Most people got along much better than what the media reported.
Wednesday, October 19, 2005
King Lear - an Essay
There are a lot of similarities in two Shakespeare stories HAMLET
and KING LEAR. I guess its because of the style in which Shakes
peare wrote. William Shakespeare wrote three kinds of stories: comedy,
tragedy and history. Both of these books are tragedies and they are
very similar tragedies. In both of these stories there is a feud going
on within the family. And in both the feud is between the children and
their parents or relatives. Hamlet is looking for the revenge on his
uncle for killing Hamlets father and hes upset with his mother
marrying the murderer. Here Lears evil daughters try to completely
destroy their father.
Lear calls his daughters and asks them who loves the most. Regan and
Goneril lie just to get Lears land and power. Cordelia honestly
answers Lear and for that is given away to France, because Lear has
gone out of his mind. After Lear gives out almost all his land he
realizes his wrongdoing and tries to restore his power. But now its
too late, because his daughters already took away all the land. He sees
how evil his daughters really are and they dont love him at all, so he
curses them. Now Lear appears to be crazy from his actions, but in
reality he exactly knows what is going on.
Hamlet saw the ghost of his father and it told Hamlet that his uncle
killed him to become the king. This shows that the person will even
commit murder to get control of the country, .........
Get the rest of this essay and see many more at www.TermPaperAdvisor.com .
Monday, September 26, 2005
Roman History Term Paper
Seems at the moment the interest in the history of thr Roman Empire is growing. Here is another free sample of a term paper on the history of Rome.
wonderful stories he was told about Rome and those stories were not giving Rome enough credit. Julius Caesar Julius Caius Caesar lived from a questionable 102? Before Christ–44 before Christ , Julius Caesar was a roman statesman and a general. Julius caeser was born into the Julian Gens family one of the oldest aristocratic families in Rome, Julius Caesar was always a member of the democratic or also known as the ... Julius Caesar helped Pompey to obtain the supreme command for the war in the East. When Julius Caesar returned to Rome from Spain in 68 Before Christ he created one of his greatest contributions to history the Julian calendar. In 60 Before Christ Julius Caesar organized a union that was known as the First triad, made up of Pompey, commander and chief of the army, Marcus Licinius Crassus the wealthiest person ... in the Gallic wars. Caesar made explorations into Britain in 55 and 54 Before Christ and defeated the Britain's. By the end of the Gallic wars Julius Caesar had reduced all of Gaul to Roman control. The battles of the Gallic wars Julius Caesar one of the greatest military commanders of all time developed the personal devotion of the Roman legions to him self. Crassus's death in 53 ...
Wednesday, September 21, 2005
Julius Caesar Term Paper
Here is a sample term paper on Julius Caesar. You can find this and many more at .
The story of Julius Caesar’s assassination has been told both historically and fictionally. Historical sources focus on the facts of the assassination, while fictionary works focus more on the characters and the drama of the story. Because of the different purposes of the sources, there are many differences between the historical and fictional stories. William Shakespeare’s Julius Caesar adds certain details and dramatic elements to make the story more interesting and to make the play more enjoyable. Historical sources such as Roger Bruns’s Caesar and Manuel Komroff’s Julius Caesar present an more accurate account of the events that occurred on and around the Ides of March. There are however, because all of the sources are telling the same story, even more similarities. Reading all of the sources can give a reader an *****
Just checked my adwords and in a 3 hour period more than 300 goggle searches have been made for the name "Julius Caesar." I find this increase interesting and wonder what suddenly brings all this interest in this Roman emperor. If you are looking for term papers on Caesar you can go to www.TermPapersMadeEasy.com and learn what is available for free or at a small cost. If you are interested in the Roman Empire read Ben Hur by the Indiana civil war general, Lew Wallace.
Monday, September 12, 2005
Secure Term Papers
I get numerous questions concerning what is meant by secure papers.
There are several popular software products that can automatically check the web and see if the paper you turned in has been copied. Almost all colleges have purchased at least one of these programs. Just ask you professors. The term paper sites I recommend are secure from this snooping software. How do we do this? That's our secret. We also own these snooping software products and have the means to block them, and we do. Free paper sites seldom offer this protection. Follow our term paper advice and you will not have to worry about this. Learn how to reference the work of others. Good Luck.
Thursday, August 04, 2005
I often get questions on what I mean by secure term papers. Although explained at www.termpaperadvisor.com I will say again that our term paper sites are protected against snooping software that your instructors may use to catch you with a faulty reference. I run this same software on my term paper archives just to ensure that my blocking system keeps you safe. I won't go into how I do this. Also this software I speak of cannot break through my password system. Having this protection does not give you the right to commit plagiarism .
Wednesday, August 03, 2005
Quality Term Papers
If you are new at producing term papers and essays I recommend you read my free advice at www.termpaperadvisor.com. You might want to check out some of my free papers for examples.
Monday, August 01, 2005
Sample Term Paper
Just thought I would put a sample term paper n the blog for anyone to use as a reference.
Propaganda or Romance?
Kracauer correctly conceives of Nazi entertainment films as a component of a larger program of Nazi propaganda; however, a successful propaganda program need not achieve its mission unequivocally as Kracauer claims. Instead, Nazi films may achieve their ideological goals by channeling the desires and shaping the identities of moviegoers. Nazi feature films created an illusion of a romanticized private life that allowed German citizens to briefly indulge their desires in escapist fantasies while keeping them firmly committed to Nazi ideology. The idea that film inhabited a private sphere beyond the reach of the Nazi political machine is another Ufa illusion; the ProMi used film to further its political program.
Kracauer’s hypothesis that “all Nazi films were more or less propaganda” is aligned with the central theses of Witte, Rentschler, and Schulte-Sasse. Witte viewed Nazi Propaganda as a functional whole claiming, “One either accepts it as a whole or misunderstands it altogether” (NGC 30). Rentschler agrees that “the [Nazi] era’s many genre films maintained the appearance of escapist vehicles and innocent recreations while functioning within a larger program” (16). Similarly, Schulte-Sasse finds that “film may have been more useful to the state in its management of desire than its management of idea” (11). Like Kracauer, these three leading German scholars are convinced of the propagandist nature of German entertainment films of the Third Reich.
However, these scholars do not require Nazi films to “unequivocally” achieve their propagandistic mission and do not assume that seemingly subversive elements of Nazi cinema reflect Goebbels’ failure to master the art of propaganda. Schulte-Sasse suggests that Nazi film was effective “less because of its ideological homogeneity than because … of the inconsistencies and contradictions that give films a ‘human’ face” (11).
Stephen Lowry in “Ideology and Excess” further expands upon the idea that Nazi film need not present a homogenous ideological agenda. Quoting Lowry: “Films and other cultural artifacts contain and channel desires. Ideology, however, must first activate an audience’s dispositions and emotions, motivating viewers to follow its transformation and closure. These real desires always transcend the limits of any given ideology, for they seek a fulfillment that is impossible or forbidden under the given social conditions” (131). Ideology must be complemented with the desires and wishes it seeks to contain. Film is a safe way to both provide the illusion of desire fulfillment and to simultaneously contain the desires through ideological mechanisms. Films like La Habanera and Romance in a Minor Key will be shown to make potentially subversive desires conform to societal mores. These films punish characters for giving in to anti-Nazi desires, thereby simultaneously advising moviegoers to continue repressing their desires for ideological reasons while at the same time satisfying their desires vicariously through Astree in La Habanera and Madeleine in Romance in a Minor Key.
While Sirk and Zarah Leander might have considered themselves subversive elements of a Nazi film industry, La Habanera was just another tool in Goebbels’ propaganda program (Rentschler 135). We must not be so naïve as to believe like Sirk that La Habanera is a Nazi film because it equates capitalism with the tyrannical character of Don Pedro, who would allow a plague to decimate his people so long as his coffers continue to grow (Sourcebook 129). This film would certainly be lacking in ideological content were this vague analogy its only goal, especially given that the movie stated that the Rockefeller foundation, a foundation began by the world’s foremost capitalist, commissioned a health project to Puerto Rico with the goal of curing the fever. Sirk either feigns ignorance or is actually ignorant of the more important propagandist themes of La Habanera.
Zarah Leander’s character Astree Sternhjelm sees in Puerto Rico the promise of erotic love and an escape from the oppression of her native Stockholm with its stable, but sexless men and its cold, barren landscape. Despite Theweleit’s discussion of the good white nurse and the evil red nurse, Sirk has the audience hoping that the erotic, red nurse Astree leaves her boring Aunt Ana for the promise of a better life as the wife of a wealthy matador. Her Aunt becomes enraged when her car is stopped for a few seconds on a Puerto Rican road, thus revealing her inability to enjoy the beauty around her or to identify with life outside the rules of Stockholm’s society. Not at all a role model to Astree or to the audience, the aunt returns to Stockholm where she fits in while Astree finds her romantic bull fighter and takes a chance at living a life worth living.
As a result of rejecting her role as a domesticated Aryan wife and daughter, Astree is punished. Trapped in a loveless marriage, Astree grows nostalgic for her life in Sweden. The promise of a paradise in Puerto Rico quickly became an inescapable hell that punishes Astree for her status as an erotic red nurse. Only the Aryan doctor Sven Nagel can rescue her and domesticate her. In the end, despite her desire for an erotic lover and a life in paradise, she must return to her homeland and follow its rules lest she be continually punished. Social convention triumphs over her desires (NGC 137).
At the end of the film. Astree stares dreamily at the island, hearing “La Habanera” play for the last time, while Sven grabs her arm and pulls her away from the island towards the motherland. Female viewers, whom Nazism relegated to a purely domesticated existence as wife and mother, are left in the same mental state as Astree: dreaming of an existence that can never be. Astree discovered the hard way that such a life is a sham, but Sweden does not present a much better alternative. Destined for a place that is sexless and cold, Astree is left longing for something better. The movie thus provides a forum for vicarious desire-satisfaction while simultaneously suggesting in its closure that the desire is misplaced. La Habanera is a propaganda film whose goal is both to ease female guilt of having the desires of a red nurse and to communicate that those desires must never be acted upon for fear of suffering the torment of Astree. In this way, the problematic ending of a woman nostalgic for a life outside of Nazism fits within the larger framework of Nazi propaganda.
Ferdinand Marian, who plays the greedy, powerful, virile, corrupt Don Pedro in La Habanera plays a similar role in Jew Suss, a hate film rich in propaganda. While it has been objected that the movie casts Jews in a positive light by painting Herr Oppenheimer as a virile, capable man and Aryans as sexless, dull men, there can be no doubt that this effect was secondary. Schulte-Sasse has suggested that by so exaggerating the “otherness” of the Jew, the Jew engenders sympathy and respect (4). However, in a society that rounded Jews up to send them to gas chambers in concentration camps hundreds of miles from home, this exaggeration is irrelevant as the anti-Semitism of the time period was itself an exaggeration. Shown to concentration camp guards who would then maltreat prisoners and to non-Jewish populations in areas of pending Jewish deportation (Rentschler 165), Jew Suss is the prototypical propaganda entertainment film.
Ideologically, Schulte-Sasse believes Jew Suss is aimed at maintaining the illusion of a cohesive German society. Since society is an imaginary construct for Schulte-Sasse, societies require an ideological framework. For German society, the anti-Semitic conception of the Jew provided Germans with the “Other” whose gaze fosters cohesiveness of the non-Others. By painting such a stark picture of the Jew, the Jew can be hated as a destroyer of society who must be himself destroyed (NGC 92; Schulte-Sasse 6).
However, the notion of Suss as a romantic figure does problematize the propaganda. Ferdinand Marion received “baskets of love letters from every city in Germany” (Friedman 97) for his role as Herr Oppenheimer. By casting Jew Suss as a virile character who exercises a spell over women and by making the rape scene so muted thereby leaving open the question of whether or not Dorothea enjoyed the sex with Oppenheimer, the director Harlan created a sex object. While this might be considered by Kracauer an instance of a film not achieving “its propagandistic mission unequivocally,” we might also consider it as achieving its propagandistic mission perfectly. Marcia Klotz argues that Jew Suss draws its “affective powers from the very inconsistencies that would seem to destabilize it, the places where its message seems most contradictory” (NGC 122). While the sexualized Jew resists Nazi racial ideology, the point of resistance is created within Nazi ideology itself and may have been useful to effecting the eventual genocide. “Faber and the other Swabian men cannot compensate for their own lack of virility except by keeping their women out of harm’s way – by eliminating the Jewish competitor” (NGC 122). By portraying Jews as unstoppable sexual predators, Harlan has given German men another reason to eliminate the Jewish race.
Two years after the premier of Jew Suss, Ferdinand Marion stepped back onto the screen as Michael in Romance in a Minor Key. Far from following Rentschler’s interpretation of Romance in a Minor Key as lacking ideological content and offering aesthetic resistance to the Nazi regime, the film seems to share much in common with La Habanera: another melodrama where female desire leads to destruction. Astree is punished for ten years for her erotic desire for a Puerto Rican matador. Dorothea is punished for picking Oppenheimer up after his carriage crashed. Madeleine is punished for wanting something more than a boring, number-crunching husband and an overly domestic life. While her husband appears to be a good man who cares about her and who only gambles on Tuesday nights, which is important only because she cheats on him each night he goes out, she is not satisfied and wants to live a life in a beautiful countryside with romantic lovers and ornate mansions. As a result of this desire, she dies. Similar to La Habanera, the film’s ideological message is to provide women a harmless space for their fantasy of romance and a better life and to warn them against leaving their dutiful husbands, who in 1942 are likely enlisted in the army and concerned about the loyalty of their wives. Similar to The Golden City in which Anna runs away from her father and her sexless courtier to a distant city where she has sex with a stranger and drowns herself in despair, Romance in a Minor Key argues for passive femininity and is thus a propaganda film (NGC 135).
While these arguments for the propagandist nature of all Nazi entertainment films suggest the correctness of the Kracauer / Witte / Schulte-Sasse / Rentschler theses, if films as disparate as American Beauty or Bridges of Madison County were made in Nazi Germany, critics could position them within a Nazi ideological framework. In American Beauty, Kevin Spacey’s desire for a better job and for the bodies of his daughter’s high school friends puts him on a path that leads to his death. Meanwhile, in Bridges of Madison County, Meryl Streep who is married to a dutiful husband but desires Clint Eastwood decided to suppress her desires for Eastwood and to stay with her husband until they both die. The fact that it is easy to invent a speculative explanation for how an entertainment film reflects Nazi ideology suggests that research should concentrate less on analyzing movies and more on uncovering material from the time period that might actually prove that Goebbels made movies like La Habanera and Romance in a Minor Key to warn against and feed unrestrained desire.
Kreimeier, Klaus. The Ufa Story.
Lowry, Stephen. New German Critique.
Rentschler, Eric. The Ministry of Illusion.
Schulte-Sasse. Entertaining the Third Reich.
Sourcebook 2000. Foreign Cultures 76.
Witte, Karsten. New German Critique.
Saturday, July 30, 2005
Term Paper Update.
Review about 0ne-half competed and I am impressed with many of the papers. I will be refreshing the Essay Galaxy archive in about two weeks. Again most of the papers were literature related. The term papers ranged for two pages to thirty-four pages in length. These term papers have never been released on the internet. Will be traveling to Phoenix soon to review more papers for the archives.
Wishing you well,