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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, £ 33.95
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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)."
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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, £ 57.95
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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."
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"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, £ 45.95
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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..."
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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, £ 38.95
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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)."
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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, £ 22.95
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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!" "
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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, £ 23.95
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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."
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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, £ 45.95
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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..."
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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, £ 22.95
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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."
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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, £ 15.95
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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."
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Author Gabriel Garcia Marquez.
This paper discusses Columbian author, Gabriel Garcia Marquez, born in 1928, who still resides in Colombia.
1,525 words (approx. 6.1 pages), 6 sources, MLA, £ 26.95
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Abstract
This paper explains that the works of Gabriel Garcia Marquez, who received a Nobel Prize for Literature in 1982, demonstrate a unique combination of fantasy and reality. His beloved Columbia is mentioned in almost all his works. The author relates that his book, "One Hundred Years of Solitude," which is about the ghost and spirits that used to haunt his grandmother, is based on the author's own childhood experiences in his home with his grandparents in Aracataca. The paper relates that, in "News of a Kidnapping," Marquez describes the ordeal of the kidnappings and the captivity of ten individuals, including the trauma suffered by the parents and the caretakers of these people and the efforts undertaken by them to free their children from the captors.
From the Paper
"Maruja Pachon de Villamizar was a friend of Gabriel Garcia Marquez. She had been kidnapped from her home in Columbia by a group of terrorists and extremists. When Maruja and Alberto Villamizar approached the author in the year 1993 to request him to write a book on the ordeal that had been undergone by Maruja during the abduction, Gabriel Marquez decided to take up the challenge. When he started his research, however, he discovered that there had been nine other abductions of the same kind at the same time, in Columbia. This was when he decided that this particular kidnapping could not be treated as one single episode and separated from the others. Therefore, he decided, he would research all the ten abductions that had taken place, and then write his story. This is the background of the book 'News of a Kidnapping'."
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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, £ 18.95
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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. "
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"How the Garcia Girls Lost Their Accent", 2004.
This paper reviews Julia Alvarez's "How the Garcia Girls lost their Accent", which is about four sisters who experienced a lifestyle change in coming to America from the Dominican Republic.
1,205 words (approx. 4.8 pages), 1 source, APA, £ 21.95
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Abstract
This paper examines the four sisters, their parents, the political backdrop, and the Dominican Republic's male-female nexus, which is so different from what one has come to view in America. The author points out that, in "How the Garcia Girls lost their Accent", which is set from the early 1960s to the mid 1980s, each sister brings her own dimensionality, which is a slice of what constitutes a woman. The paper states that the sisters' accents have completely changed; but, for better or worse, they have been fully assimilated into American culture.
From the Paper
"It is in Fifi's relationships with men that we see the most vagaries. The start of the novel shows that she is really a person who would support a stable family. She is headstrong and independent. She generally gets what she wants. She presents her parents with their first grandchildren-a boy. She is the only one among her siblings that does not have a college degree, though there is no lack of intellect. Her husband is the most accomplished of all- "... the German nobody turned out to be a world class chemist."(p. 31) She seems to hold equal say in her marriage though her husband's character is not explored. Surprisingly, Fifi can adopt different roles."
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Gabriel Garcia Marquez, 2003.
An analysis of the influences upon writer Gabriel Garcia Marquez's life and how they affected his writings.
2,348 words (approx. 9.4 pages), 7 sources, MLA, £ 37.95
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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 costenos, 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 costenos 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."
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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, £ 28.95
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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."
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