| Papers [1-16] of 100 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "GARCIA LORCA FEDERICO": |
|
|
Federico Garcia Lorca's Rural Trilogy, 2007.
A review of the trilogy of plays: "Blood Wedding", "Yerma" and "The House of Bernarda Alba" by Federico Garcia Lorca.
2,005 words (approx. 8.0 pages), 0 sources, AU$ 82.95
»
Click here to show/hide summary
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)."
| |
|
Federico Garcia Lorca's "The House of Bernarda Alba", 2002.
This paper presents a critical review of Lorca's play, focusing on the influence of the Spanish Civil War on the work.
4,050 words (approx. 16.2 pages), 7 sources, MLA, AU$ 142.95
»
Click here to show/hide summary
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."
| |
|
"Blood Wedding" by Federico Garcia Lorca, 2000.
An examination of the play's themes, characters, messages, morality, structure, tragic irony, subjective vs. objective values and perceptions.
2,475 words (approx. 9.9 pages), 4 sources, AU$ 113.95
»
Click here to show/hide summary
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..."
| |
|
Lorca: Women and Sexuality in his Work, 2004.
A discussion about the life, work, and tragic death of Spanish poet and songwriter, Federico Garcia Lorca.
2,415 words (approx. 9.7 pages), 8 sources, MLA, AU$ 95.95
»
Click here to show/hide summary
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)."
| |
|
Lorca's "Blood Wedding" and Ibsen's "The Master Builder", 2005.
A comparison and contrast of Federico Garcia Lorca's play "Blood Wedding" and Henrik Ibsen's play "The Master Builder".
1,278 words (approx. 5.1 pages), 2 sources, MLA, AU$ 56.95
»
Click here to show/hide summary
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!" "
| |
|
The Use of Technical Devices in Literature, 2002.
This paper identifies and analyzes the technical devices used in "A Doll's House" by Henrick Isben and "The House of Bernarda Alba" by Federico Garcia Lorca in order to accentuate themes.
1,347 words (approx. 5.4 pages), 4 sources, MLA, AU$ 59.95
»
Click here to show/hide summary
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."
| |
|
Death, 1996.
Political, religious, symbolic, supernatural & cultural significance of theme of death in 20th Cent. Spanish poet's (Federico Garcia Lorca) work.
2,475 words (approx. 9.9 pages), 17 sources, AU$ 113.95
»
Click here to show/hide summary
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 irresistable. His body of work is utterly saturated with images of violent and brutal death. It examines death from numerous angles, as well as exploring..."
| |
|
Jerry Garcia's Personality according to Carl Jung, 2009.
An examination of the life of musician, Jerry Garcia according to the theories of Carl Jung.
893 words (approx. 3.6 pages), 3 sources, MLA, AU$ 40.95
»
Click here to show/hide summary
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."
| |
|
Leo Tolstoy and Gabriel Garcia Marquez, 2003.
A comparative essay based on two literary works, "Anna Karenina" (Tolstoy) and "Chronicle of a Death Foretold" (Gabriel Garcia Marquez).
1,283 words (approx. 5.1 pages), 2 sources, MLA, AU$ 56.95
»
Click here to show/hide summary
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."
| |
|
Gabriel Garcia Marquez and Magical Realism, 2007.
Examines Gabriel Garcia Marquez uses magical realism in his works.
853 words (approx. 3.4 pages), 6 sources, MLA, AU$ 39.95
»
Click here to show/hide summary
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."
| |
|
Marcello Rubini in Federico Fellini's "La Dolce Vita"., 2008.
This paper applies existential-humanistic psychology to the character of Marcello Rubini in Federico Fellini's film, "La Dolce Vita".
1,666 words (approx. 6.7 pages), 5 sources, APA, AU$ 70.95
»
Click here to show/hide summary
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."
| |
|
Film: Federico Fellini's "8 1/2", 2008.
Examines Federico Fellini's "8 1/2" as a film noir.
1,015 words (approx. 4.1 pages), 1 source, APA, AU$ 46.95
»
Click here to show/hide summary
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."
| |
|
Gabriel Garcia Marquez and Foundational Literature, 2004.
An analysis of how the work of Gabriel Garcia Marquez is foundational to the Colombian national consciousness.
1,053 words (approx. 4.2 pages), 5 sources, MLA, AU$ 47.95
»
Click here to show/hide summary
Abstract
This paper discusses Colombian situation by mentioning Benedict Anderson's work, "Imagined Communities". It then examines how Gabriel Garcia Marquez's "One Hundred Years of Solitude" creates a myth of Colombian history and how its magical realism expresses Latin American collective consciousness.
From the Paper
"Marquez has long expressed an aim to write what he refers to as 'the true history of Colombia'. One Hundred Years of Solitude may not have any factual basis, although it does contain fictionalised versions of actual historical events, but it is a response to the inadequacy of official history and a myth of the history of Colombia. It begins with the founding of an Eden-like Macondo in an innocent and 'magical' time and follows its progression through the stories of various generations of the Buendias till its eventual destruction by a great wind. It is a myth of evolution, of progress, and of the loss of innocence of a whole society. It begins in an era where magic is possible, and follows the loss of this magic to science and technology. "
| |
|
"How the Garcia Girls Lost their Accents", 2002.
This paper discusses J. Alvarez's novel, "How the Garcia Girls Lost their Accents".
2,840 words (approx. 11.4 pages), 2 sources, APA, AU$ 109.95
»
Click here to show/hide summary
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."
| |
|
Gabriel Garcia Marquez's "Chronicle of a Death Foretold", 2002.
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.
1,380 words (approx. 5.5 pages), 1 source, MLA, AU$ 60.95
»
Click here to show/hide summary
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"."
| |
|
Gabriel Garcia Marquez' "Chronicle of a Death Foretold", 2009.
Reviews Gabriel Garcia Marquez' "Chronicle of a Death Foretold" about the murder of Santiago Nasar.
2,080 words (approx. 8.3 pages), 1 source, MLA, AU$ 85.95
»
Click here to show/hide summary
Abstract
This paper explains that in Gabriel Garcia Marquez' "Chronicle of a Death Foretold" Santiago Nasar's is killed by the hands of Angela Vicario's two brothers who accuse him of having dishonored their sister. The author points out that the murder of Santiago Nasar is a symbol of mid-20th century Latin American moral values, culture and gender roles in the sense that the events that occur in the small Colombian coastal town are representative to the entire Colombian society. The paper relates that, through the literary technique of foreshadowing, the narrator tries to convince his readers that Santiago's fate dictates his death.
From the Paper
"In Latin American society, honor is taken very seriously as it is an integral part of local culture. In this sense, honor is the fundamental moral value that must be kept intact. Once harmed, someone's honor must be avenged irrespective of what this implies because without the trait of honor, any man is lost and seen as an outcast in Latin American society. Consequently, in Marquez's novel, all of the characters are shaped and deeply influenced by this powerful moral value. It is somewhat ironical that defending honor as the supreme moral virtue does not rule out murder."
|
|
|
