Feminist Analysis on Blood Wedding

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Vol. I, Issue 11/ February 2014

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Feminist Analysis Of Lorca’s “Blood Wedding”
Department of English
Government College University, Faisalabad

This study explores Feminism in Lorca’s play, ‘Blood
Wedding’. Feminism asserts that women are treated as ‘sex objects’, non-significant other and witches. This study analyzes Blood Wedding at four levels; 1. Biological level 2. Linguistic level 3. Socio-cultural level 4. Psychoanalytical level coined by Elaine Showalter. Lorca deals with women in his drama as submissive. He praises their beauty but neither gives women names
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I, Issue 11 / February 2014


Rehana Kousar, Nida Sarfraz- Feminist Analysis Of Lorca’s “Blood Wedding”

Jane Tompkins altogether rejects the second hand representation of women both in society and in literature that’s why she says in her book, “Me and My shadow”:
What enrages me is the way women are used as extensions of men, mirrors of men, devices for helping men get what they want. They are never there in their own right or rarely.
Sometimes I think the western world contains no women.
And sometimes I think the world contains no women.
(Bressler 1994:102)

Different critics praise Lorca for his dramatic technique, a blur of lyrics and dramatic representation, and his themes originated from Spanish society as it is said in “A Composition to Federico Garcia Lorca”:
Lorca has come to embody the cliches associated with Spain and particularly Andalusia whether it is in terms of his Latin temperament or the perceived folkloricism of some of his texts.
(Bonalodd 2007, 5)

Most of critics study the drama as a tragic drama as M. Loewen says: The wedding itself was to be an event of great joy which would bring promise life, union and fulfillment. The singers call the girl a lucky one.” “But actually two are left stiff with their lips turning yellow… without a single man ever having seen himself in the whiteness of her breast. (text).

This study is qualitative. It focuses on the feminist
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