Abstract
An examination of Federico Garcia Lorca'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)."

Tags:contemporary, Spanish, society, bride

Abstract
This paper examines the work of Federico Garcia Lorca 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)."

Tags:war, poetry, play

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."

Tags:plot, meaning, reality, illusion, women, title, symbolism, social, divisions, settings, sounds, leadership

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!" "

Tags:fear, younger, generation, death, afraid, contempt, brovick, ragnar, lost, husband, feud

From the Paper
"The purpose of this research is to examine the play Blood Wedding by Federico Garcia Lorca. The plan of the research will be to set forth the thematic pattern of ideas and meanings contained in the work and then to discuss the means by which these ideas are elaborated, with a view toward evaluating why the full effect of the presentation is one of high tragedy and the existence of a major work of world literature.
The themes of Blood Wedding emerge out of a structure of human consciousness that carries the burden of remembered conflict, remembered injury, remembered grief. Grief and loss, indeed, so dominate the Mother's consciousness that there is a tension in her anticipation of her son's wedding. So simple a gesture as giving him his vineyard knife calls to her mind the murders of her husband, long ago, and her other son, more..."

Abstract
The paper examines plays by Henrick Isben ("A Doll's House") and Garcia Lorca ("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 Garcia Lorca 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."

Tags:playwright, Nora, Helmer, Torvald, black, Rank, Adela

From the Paper
"The writer's art is generally a process of transforming the foundational substance of one's life into written language. A causal relationship, then, can easily be established between exterior events in a writer's life and subsequent works that follow. However, drawing conclusions regarding a writer's work and events that follow is not an easy process. A critic must avoid creating causal relationships out of coincidental ones. To do so may create a fascinating mythology for an author, but it also risks facile analysis. Creating non-existent connections is shoddy criticism. In the case of the Spanish poet Federico Garcia Lorca, the temptation to infer causality is nearly irresistible. His body of work is utterly saturated with images of violent and brutal death. It examines death from numerous angles, as well as exploring..."

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
The paper portrays how tragedy and death permeated the history and literature of Spain. The paper examines the lives and works of Gustavo Adolfo Becquer, Mariano Jose de Larra, Benito Perez Galdos, Leopoldo Alas (Clarin), Miguel de Unamuno and Federico Garcia Lorca. The paper discusses how their lives were filled with death and sorrow and illustrates how this is reflected in Spanish literature until the 20th century.

From the Paper
"Tragedy and death permeated the history and literature of Spain. Despite political upheaval, literature entered the Siglo de Oro (Golden Age) in Spain, spawning many creative and prolific writers in the late 16th century. The Spanish writers wrote of how talents were no match for violence, injustice and ignorance, nor from greater forces beyond Spain's borders. The writers expressed these sentiments, along with feelings of disillusionment with human foibles and the great age that had gone on before (Weller 2)."

Tags:writer, violence, injustice, tragedy, Baroque

Abstract
This paper discusses how the word "beauty" is used in conjunction with art, and how subjective it is. The writer provides some definitions of beauty and suggests that these are affected by factors such as money and the opinions of people in power in the art world and in society. A description is given of cubism and how artists like Picasso helped to redefine the representation of human figures in art. Parallels are drawn between this kind of dehumanization in cubism and in the poetry of Pedro Salinas, Jorge Guillen, and a play of Federico Garcia Lorca.

From the Paper
"Pablo Picasso is one of the most recognizable names in the history of art. He is credited with helping to develop the style of painting known as Cubism and has some of the most well known paintings in the world. The strange style of Cubism is very memorable because it looks like a bunch of jumbled shapes. Picasso began this movement in art where what was painted on the canvas was not always what it seemed to be. A shape was no longer just the shape, but rather a way of gaining new insight into an object. Cubism involved looking at the same object from a variety of different perspectives and showing all these perspectives at the exact same time. Picasso was helped along the way by a friend named George Braque, who is also credited with creating the phenomenon known as Cubism."

Tags:artistry, symmetry, avant-garde, mainstream, imagery, model, beautiful, cliche