Abstract An examination of FedericoGarciaLorca's trilogy of plays later dubbed the "rural trilogy", which include "Blood Wedding", "Yerma" and "The House of Bernarda Alba". The paper explains that there plays were written over the span of five years, and stand both as individual works and smaller parts of a larger whole. The paper points out that while there are a number of shared and repeated themes, including the subjugation of women in both past and contemporary Spanish society and the power of men that arises from such subservience, the plays are primarily concerned with frustration and repression. The paper then looks at how in the "rural trilogy", Lorca explores the repression of overpowering instincts and desires by societal norms, the hedging of characters' primordial passions by the conventions that govern their lives.
From the Paper "In Blood Wedding, the first play of the trilogy, the Bride's sexuality and freedom are stifled by a marriage to a socially acceptable but unexciting bridegroom. This is made readily apparent in Act One, Scene Three, where the Bridegroom proposes to the Bride. Throughout the scene, the Bride speaks flatly, dutifully. When her father says "Don't be so solemn," she responds "I'm happy. When I say 'yes', I say it because I mean it," and later, "I know my duty" (Lorca 19). The entire scene is joyless; it's the conclusion of a business arrangement rather than a pronouncement and acceptance of eternal love and togetherness. The Bride is only responsive to her future husband as a duty, a social responsibility (Allen 162)."
Abstract This paper examines the work of FedericoGarciaLorca and discusses how he contributed to the feeling of femininity and sexuality for Spanish women during the early 1900s. It also looks at the political turmoil that characterized that time period, how this affected his work, and, ultimately, caused his untimely death.
From the Paper "When Lorca returned to Madrid in 1931 the "La Barraca" was organized and inaugurated by his participation in the Second Ordinary Congress of the Federal Union of Hispanic Students. This traveling theater would bring many of the Spanish classics to towns, villages and cities across Spain, giving Lorca also the opportunity to have three of his own plays performed ? Blood Wedding (1933), Yerma (1934), and The House of Bernarda Alba (1936)."
This paper identifies and analyzes the technical devices used in "A Doll's House" by Henrick Isben and "The House of Bernarda Alba" by FedericoGarciaLorca in order to accentuate themes.
Abstract The paper examines plays by Henrick Isben ("A Doll's House") and GarciaLorca ("The House of Bernarda Alba") who both wrote very dramatic and risque works which challenged the social standards of the time. The paper shows that in order to dramatize and accentuate the themes of "A Doll's House" and "The House of Bernarda Alba", Isben and GarciaLorca employed several specialized on-stage technical devices (such as sound and lighting).
From the Paper "Throughout the history of theater, playwrights have used color to emphasize a point, theme, statement, etc. Isben and Garcia Lorca use the color black to introduce the presence of death and disobedience. In A Doll's House, Nora Helmer begins to plan the events of a dreadful evening. She fantasizes that her husband, Torvald, will stand by her side when he is made aware her socially unacceptable actions and that she will then refuse to allow him to ruin his own reputation by publicly announcing herself to blame and committing suicide. While plotting the events Nora becomes uneasy of her planned suicide. Nora says to herself, ?Ah! the icy black water - the unfathomable depths - if only it were over!? (Isben 61). The unrealistic black color of the water Nora plans to drown herself in emphasizes the tragic restrictions placed on society and the consequences resulting in ignoring those restrictions. In The House of Bernarda Alba, Garcia Lorca also uses the color black to show the results of disobeying societal restrictions. Towards the conclusion of the play, shortly before Adela commits suicide, the stage directions call for Adela to wear "a small black scarf" (Garcia Lorca 205). Adela is wearing the black scarf as she walks out to the barn to visit with her engaged lover. The small amount of black adds emphasis to the fact that Adela is driving herself to suicide through her unsuitable actions."
Abstract The paper begins with a review of the plot. Following this, the paper looks at the underlying meaning of the play. The intention of the play to be an image of reality is discussed and the role of women in the play is explored. A detailed synopsis of the build-up to the Spanish Civil War is given and the paper then relates these events to parts of the play. The meaning of the title is analyzed and the symbolism within the play is studied. The social divisions evident in the play are brought up and the theme of illusion versus reality is investigated. The various settings and sounds of the play are also mentioned and the paper concludes with the messages on leadership suggested by the protagonist, Bernarda Alba.
From the Paper "Federico Garcia Lorca's final published play was The House of Bernarda Alba, written in 1936 just before the start of the Spanish Civil War. The play mirrors many of the tensions then besetting Spanish society, and the plot of the play also reflects the situation developing and in some ways foreshadows what is to come. The basic themes of the play relate to universal concepts of life and death, family unity and disintegration, and social conflict, but they have a resonance in this play because they also are connected to events then taking place and a conflict about to become much greater and more damaging than could then be seen."
Abstract This paper explains that, while on first impression these two plays seem very different, when we focus on the element of tragedy in both plays, we can see the common themes they share.
From the Paper ""Blood Wedding" by Federico Garcia Lorca is one of the most important plays by the Spanish playwright in 1932 and was inspired by a true story. The play revolves around a wedding which leads to betrayal, elopement, bloodshed and tragedy. The few main characters in the play are Bridegroom, Bride, Leonardo and Bridegroom's mother. Henrik Ibsen's The Master Builder was written much earlier in 1892 and deals with complex personality of Harvald Solness, a famous architect who is scared of change. He doesn't let youth prevail for he feels that if younger men enter the field, they would take over his place. He doesn't want to be replaced and is thus paralyzed by his fear of younger generation. "So that is it, is it? Halvard Solness is to see about retiring now! To make room for younger men!" "
Abstract The paper explores how humanistic and existentialist psychology could help Marcello, the lead character in Federico Fellini's film, "La Dolce Vita". The paper shows the unhappiness inherent in Marcello's lifestyle and discusses how Marcello needs a father figure or a stern therapist that could authoritatively guide the boy towards manhood.
From the Paper "In Fellini's 1960 film classic, La Dolce Vita, Marcelo Mastroianni plays a wandering play-boy journalist (Marcello Rubini) who seems unable to commit to anyone or to anything. For example, he threatens throughout to write a novel, but never really makes any substantive process on the matter. In terms of his personal relationships, Marcello appears to move from one woman to another without any great enthusiasm for establishing a meaningful relationship with any one of them."
Abstract This paper explains that film noir tends to bend time and to alter the normal chronology of a story as part of the thematic requirements suggesting connections between past and present and strengthening the idea of fate determining the course of events, as if those events were already set in time before they transpire. The post-modern approach to time infused much film making in the 1960s, making time a key element in the structure of the film. The author points out that Federico Fellini's film "81/2 "is autobiographical to a great degree, presented as a surreal meditation through the eyes of the film director, Guido, who dresses in the style of Fellini.
From the Paper "In the next several sequence in the film, Guido interacts with his wife, his mistress, the writer of his film, the producer of the film, and a number of actors wanting to curry favor on the one hand and to get direction from Guido on the other. Guido's response in many of these encounters might be seen as distracted, and indeed he is considering his options, regretting the responsibility placed upon him by all of these people, and reconsidering his relationships one at a time."
Abstract This paper uses the author's tones in "Anna Karenina" and "Chronicle of a Death Foretold" to compare Leo Tolstoy's and Gabriel Garcia Marquez's cynical tone towards society. Both authors use satire and irony to criticize the corruption of society and the institution of marriage. The paper shows that Tolstoy focuses on his disapproval of the upper-class aristocracy, while Garcia Marquez satirizes society in general. Tolstoy does not present the aristocracy with much honor or morals, unlike Garcia Marquez who uses a town that, although is corrupted, still has a strong moral back bone.
From the Paper "Tolstoy and Garcia Marquez also differ in the amount of honor and morals that their characters contain. Tolstoy's mocking tone towards society is displayed when he is describing society's view towards adultery. Vronsky thinks of "the position of a man pursuing a married woman, and, regardless of everything, staking his life on drawing her into adultery, has something fine and grand about it, and can never be ridiculous" (Tolstoy 117). Adultery is not a fine or grand act; it is a sin that defies the purity of marriage. Tolstoy uses society's indifference towards adultery as a way to create irony because society permits adultery, as long as it does not break apart a family. Once Anna leaves her husband for Vronsky, society rejects her. Tolstoy displays how society approves of adultery as long as it does not disrupt the social arrangements of marriage."
Abstract This paper discusses the life and personality of musician, Jerry Garcia. It discusses various events from his childhood and how these helped to form his personality. The paper specifically looks at Carl Jung's theories of operant conditioning and behaviorism and how they relate to the life and experiences of Jerry Garcia. The paper also analyzes Garcia's personality in terms of Jung's core principles of identity such as the ego, the personal consciousness and the collective unconscious.
From the Paper "Jerry Garcia's personality can be analyzed also in terms of Jung's core principles of identity such as the ego, the personal consciousness, and the collective unconscious. Psychedelic drugs open the mind to what might be termed a collective unconscious in which the world is filled with symbols. The shadow part of the personality would explain Jerry's persistent drug use in spite of the health problems it would cause him later in life and eventually led to his death. Jerry Garcia, evident in the type of shows the Grateful Dead played during their decades-long existence, was also enamored with the dream world. Long, extended music jams were perfect opportunities to let the mind roam free and explore the unconscious dimensions of the human personality. Jerry's father-like image makes him an archetype, too. With the big, bushy beard he became known for, Jerry Garcia almost resembles the Christian depiction of deity; Jerry Garcia was nothing but a rock and roll God, which is another reason why Jungian psychology can best explain the life and personality of the musician."
Tags: operant conditioning, behaviorism, consciousness development
Abstract Gabriel Garcia Marquez and his works are inextricably linked to a style of literature known as magical realism, which is a type of literature that is usually characterized by elements of the fantastic woven into the story with a serious presentation. This paper examines how Garcia Marquez uses this element in his works, such as in "One Hundred Years of Solitude" and "Leaf Storm".
From the Paper "In his 1955 book, "Leaf Storm," Marquez set a new direction to Colombian literature by experimenting with linear time (Cohn). He suspended the forward movement of time through the experiences of the individual characters and of the town itself (Cohn). His use of time reduplicates at the level of form the historical and social situations in a town where the flow of time is no longer significant."
Abstract Christina Garcia's "Dreaming in Cuban" follows three generations of women in a Cuban-American family, and looks at the effects of the Cuban diaspora in America. This paper examines how the novel relates to how families are divided over the revolution.
From the Paper "A patchwork of incident, memory, letters, dreams and visions provides glimpses of a Cuban family at home and in exile in the '70's and '80's, but Garcia's debut suffers from its fragmented style. From disparate times, places, and (mostly female) points-of- view, Garcia reveals the circumstances and inner lives of various members of the del Pino family."
Tags: Cuba Castro, diaspora matriarchial garcia christina female communist del pino novel literature
Abstract This paper examines Alvarez's novel "How the Garcia Girls Lost their Accents" illustrating how the 'accent' is mostly a metaphor for the evolution of several facets of the sisters. 'Accents', become synonymous with a modern, west-influenced lifestyle where equality is introduced into the male-female nexus. The author concludes that the relationships of the four sisters really mirror the male-female relationships of the west and their accents have completely changed?they have been fully assimilated into the Western culture.
From the Paper "Interestingly, Julia Alvarez presents several unique characteristics in the narrative. The novel is set from the early 1960s to the mid 1980, but in reverse chronological order. Such a description helps develop the characters of the four sisters: Carla, Sandi (Sandra), Yolanda (YoYo aka Joe) and Fifi (Sofia). To put the plot in the right order: Carlos is a doctor in the Dominican Republic. Carlos is married to Laura. They have four daughters. Carlos's nuclear and extended family is wealthy and influential?one of a few in the entire nation situated on an impoverished tropical South American Island. Fearing reprisals in the dictatorial reign of Trujillo Ciudad, called only Trujillo in the entire novel (assuming that every Dominican is familiar with the name), the family escapes to the United States."
Tags: julia, alvarez, west, male, female, sisters, synonym, modern
This paper is a review of the book, "Chronicle of a Death Foretold", by the Chilean, Nobel Prize for Literature winning novelist Gabriel Garcia Marquez.
Abstract The paper states that although "Chronicle of a Death Foretold" is a true story and is told in a non-linear fashion, it reads like a detective story, by combining interviews written in a narrative, journalistic style. The paper describes the plot of the book: Rigid codes of honor can bring about an innocent man's death and drive two peaceful brothers to murder while the whole town watches and decides to do nothing. The paper's author compares this book to others written by Gabriel Garcia Marquez.
From the Paper "There is little mention in "Chronicle of a Death Foretold" of the Columbian civil wars and other historical political events that were the backdrop of novels like "One Hundred Years of Solitude", "Leaf Storm" and "In Evil Hour". "Chronicle", however, is also based on a real event. In 1951, Garcia Marquez's childhood friend Cayetano Gentile was hacked to death by two brothers bent on restoring their sister's honor. The crime had a lasting impact on the young journalist and eventually served as the catalyst for "Chronicle of a Death Foretold"."
A comparative analysis of the autobiographical works "The Autumn of the Patriarch" by Gabriel Garcia Marquez and "Invisible Man" by Ralph Waldo Ellison.
1,150 words (approx. 4.6 pages), 6 sources, 2002, $ 44.95
Abstract This paper is on the subject of Gabriel Garcia Marquez work titled "The Autumn of the Patriarch", and a novel by Ralph Waldo Ellison titled "Invisible Man". In many respects, both works are autobiographical. However, it can be said at the same time that the names and the places of the individuals involved, have changed within the content in question. Further, it can also be said that both works are highly 'stylised'. The focus of this paper will be directed toward connecting their biographies with the novels in question.
Abstract Every life experience alters a person in some way. The things occurring during a lifetime thus influences all aspects of life, including work and leisure. This is especially true in the life of a writer. The case of the writer Gabriel Garcia Marquez is no exception. This paper discusses Marquez's life and geographic location to determine the effect of these elements on his works. Works discussed include "One Hundred Years of Solitude", "Chronicle of a Death Foretold", and "A Very Old Man with Enormous Wings".
From the Paper "Colombia, while officially an independent state, has unfortunately followed the trend in many such independent states. Internal conflict has played a prominent role in the state's political difficulties. This conflict currently manifests itself in the form of the Liberal and Conservative parties, founded in 1849. Politics influences much of Marquez's writing, and these two parties form a prominent part of his stories. His readers gain insight into Latin American politics by way of Marquez's understanding of the two repressive and corrupt political parties.
Geographically the country is also divided. The two regional groups include the coste"os, from the Coastal Caribbean, and the cachacos, from the central highland. These groups are divided not only by their geographical associations, but also by their way of living and their occasional disdain of each other. The coste"os with their more informal habits, such as racial mixing, superstition, and generally "primitive" outlook are juxtaposed with the generally more formal cachacos. The latter are proud of their racial purity and their advanced learning. Marquez has placed himself in the former group, finding it useful for his development as a writer."
