Holy Blood: Is There Something Sacred Or Sacred Blood?

The two texts “the cask of amontillado” And “A poison tree” use symbols to show how friendships can quickly turn sour, and when they do, people most likely seek revenge. One of these important symbols is the wine in “The Cask Of Amontillado”. In the story, they are at a party. They were having a great time, with costumes and music and wine. By claiming that there was a “fine wine” down in the catacombs, Montresor could lure Fortunato down so he could trap him in. The wine wasn’t just bait, however. The wine represented many other ideas as well. One of the things that the wine symbolizes was bringing people together. In the time the story was written in, people would often have wine at parties or formal “get togethers”. The parties helped people get acquainted with people they might have never met. The dark, blood red color of wine symbolises the hatred and violence that occurred when Montresor locked Fortunato in the catacombs. But this wasn't aggressive, it was more sneaky and deceitful. Aggression is usually shown in

In The House of Spirits, a magical realist novel written by Isabel Allende, various themes are introduced throughout the text. One major theme brought to the reader’s attention is anger/hatred and retribution. Another major theme that captures the reader’s attention is violence and suffering. These two themes showcase themselves amongst different characters and in different ways. Anger, hatred, retribution, violence, and suffering all correspond with each other throughout the text to show how characters deal with adversity.

“The moment I understood her hatred, my family had not been personally hurt by Trujillo just as before losing my baby. Jesus had not taken anything away from me. There was the Perozos, not a man left in that family and Martinez Reyna and his wife murdered in their bed and thousands of Haitians murdered at the border. Making the river they say still red. I had heard but not believed. How could our all loving father let us suffer? I looked up challenging him and the two faces merged” (Alvarez 53).

. . one can’t help but wonder what form the author/protagonist’s life will take in the aftermath of his exorcism” (261). In this quote, Gonzales-Berry asserts that Miguel Chico’s has been exonerated of his repression through the art of writing. As stated by Marquez, serving as an inner historian has provided Miguel Chico a different perspective on life. Moreover, Gonzales-Berry’s curiosity is insightful because now that Miguel Chico has released his repression, he can now enjoy what he was encouraged to repress—his body. Lastly, in the article, “Sinners Among Angels, or Family History and the Ethnic Narrator in Arturo Islas’s The Rain God” written by David Rice, adheres to the idea of repression as he writes, “Through his vision of Felix’s return, Miguel Chico realizes that the family can only be saved if it is reconnected to the past which it represses and denies” (184). In this quote, Rice claims that the Angel family suffers from repression. His viewpoint is coming from the inner historian—Miguel Chico—as Marquez refers in his article. He refers to the salvation of the Angel family because the burden of their past is preventing the family from living their lives, hence not function as a family. In order to proceed, Rice suggests that the Angel family must acknowledge the past and learn to accept it.

He “knew enough about hell to stop [him] from stealing” and was “holy in almost every bone”. Soto’s diction makes it clear that his younger self was well behaved because he was scared of the consequences of sin, but not necessarily because he wanted to be good. It also implies that even fear could not stop the most mischievous parts of him. Regardless of his willingness to behave, the young Soto truly believed in a God, and often saw “shadows of angels” and heard “faraway messages in the plumbing”. These symbols appear throughout the passage in order to show how sin changed Soto’s interpretation of them. The narrative continues, and the young boy stands in a German Market, staring at pies. As he ponders which type to steal, the “juice of guilt” wets his armpits and he “nearly [weeps] trying to decide”. This imagery of wetness is associated with his sin, and strongly contrasts the dryness of “the flowery dust priests give off”. The opposing wet and dry imagery show that the boy is sometimes bored with the dryness of religion, but the possibility of stealing a pie both terrifies and excites him. Once again, he is reminded of “the proximity of God howling in the plumbing”

Therefore, most of the Stanza and the 10th line focus on introducing the reader into the problem and the perpetrators of the violence. The use of religion is not only symbolic to the inevitable suffering of the Latin Americans at the Poets country but also is ironical to the end times which marks massive violence acts against humanity. The aspect is brought to form by the last two lines which liken the treatment of the Indian bodies being killed as rotten fruits, thrown in a pile of garbage. The words rotten and garbage bring out the ugly scene of dead bodies surrounded by flies that feed on the decomposed material, an immense feeling of empathy towards the dead.

This passage was written by Gabriel Garcia Marquez in The Chronicle of a Death Foretold. It is about Divina Flor who explains to the writer why she did not warn Santiago Nasar that he was going to die. She recounts that, as a child, she was sexually assaulted by him. This passage is so important to this book because it brings out the themes of women's roles in Latin American Society, power and culture. These themes help the Marquez bring out the important contexts of the story so readers can understand the importance of the story. In The Chronicle of a Death Foretold, Gabriel uses structure techniques, symbols, contrast, foreshadowing, imagery and figurative language to bring out the theme of gender roles.

Many people today consider Wise Blood to be one of history’s greatest examples of Southern gothic literature. With its twisted plot, scenes of self-mutilation, and overall dark tone it is easy to understand why people from all find Wise Blood to be dark and depressing. However, Flannery O’Connor, the novel’s author, claims that she wrote the novel to be a comedy, rather than a tragedy (O’Connor). The elements of the novel that O’Connor and others have considered especially “comedic” are its examples of surprise, mistaken identities, and especially, irony. Readers can find irony throughout the entirety of Wise Blood, as well as its theme of fate over free will. Irony ties in with this theme often through the characters’ actions, thoughts, and emotions.

“Lamb to the Slaughter” and “The Cask of Amontillado” are qualities of Gothic Literature. In “Lamb to the Slaughter” and “The Cask of Amontillado” both start at a point of not happiness but clam and mystery. “Lamb to the Slaughter” quickly turns from that tranquilized mood into depressing and doubtful when Mary kills her husband. Then in “The Cask of the Amontillado” even when that grim mood was not enough, it had to be more depressing when Montresor gets Fortunato drunk and later kills him. Thus, both “Lamb to the Slaughter” and “The Cask of Amontillado” has bites and pieces of Gothic literature. “Lamb to the Slaughter” and “The Cask of Amontillado” both have twisted and gloomy thoughts, and actions.

The symbolism of this story describes what this story is about, Montresor killing Fortunato. One of the most noticeable symbols mentioned in “The Cask of Amontillado” is the alcoholic beverage amontillado; it is red and red usually symbolizes blood. In the story, Montresor kills Fortunato and it is a murder. In a murder most of the time, one would mostly think of blood. When Montresor tries to call Fortunato for the last time after hearing Fortunato’s last words, he thrusts a torch in the hole but “in return

First the de-originated blood goes into the right atrium. And the originated blood goes through the left atrium. The right atrium then pumps blood through the tricuspid valve into the right ventricle, and the left atrium pumps blood through the bicuspid valve into the left ventricle. The right ventricle contracts, semi lunar valve opens and deoxygenated blood travels back to the lungs. The left ventricle contracts, semi lunar valve opens and oxygenated blood goes out to the body.

The purpose of this paper is to identify the characteristics, values and beliefs of Jehovah’s Witness group. It will discuss their reasoning for refusal to accept blood transfusions. The paper will elaborate on the best approach to offer appropriate care, advice and education while treating patients with respect in regards to their religious beliefs. British Journal of Nursing (2009) suggests that good, honest communication, without any element of coercion or scare tactics, is the key in the management of Jehovah’s Witness patients.

The reader will also discern the scores of parallels able to be drawn between Santiago and Jesus Christ, making Santiago a literary ‘Christ-figure’. Both were somewhat outcast, in Santiago’s case because he was not a native Columbian. This makes it easier for the town to allow Santiago’s death, and make him the scapegoat. The town’s unwillingness to save Santiago is similar to the Jews choosing to have Jesus killed rather than a murderer. In both cases, those who had the chance to save the innocent man felt terrible afterwards. Jesus had foretold his own death, and although Santiago was blissfully unaware of his demise until it befell him, the narrator states ‘never was there a death more foretold.’ In dying for the sake of Angela Vicario’s honour, Santiago is sacrificed for the sins of others, which was also Jesus’ purpose in dying. In addition, the seven fatal wounds Santiago suffers probably represent the Seven Deadly sins.

Very different from Meursault, Santiago Nasar, the main character in Chronicle of a Death Foretold, is very much a man of religion. Santiago’s respect for religion is seen in the first sentence of the novel, “Santiago Nasar got up at five-thirty in the morning to wait for the boat the bishop was coming on” (Marquez 3). Santiago’s dedication is seen through the fact that he is rising at such an early hour to see a Catholic authority figure. Also, he “put on a shirt and pants of white linen… It was his attire for special occasions” (5). The act of wearing clothes specific for this occasion shows Santiago’s respect for religion. The importance of religion in Chronicle of a Death Foretold is not just in relation to Santiago. His whole community values religion. For example, when Angela Vicario and Bayardo San Roman wed, they wed in a church with “floral decorations equal in cost to those for fourteen first class funerals” (42). The flowers alone show the importance of marriage, which in itself is a religious institution. Even more important is the purity of the bride. After being returned to her mother by Bayardo San Roman, Angela says her mother “was holding [her] by the hair with one hand and beating [her] with the other with such rage that [she] thought [her mother] was going to kill [her]” (46). The image of a mother beating her adult daughter is pretty powerful. One must have done

Religion is a dominant force in culture, social standings, and human interaction. Though narrated in a religious society that is centered around Catholicism, the Chronicle of a Death Foretold is about an affluent young man named Santiago Nasar, who is murdered by twin brothers, Pablo and Pedro Vicario. As evident as the community prepares for the bishop’s arrival, religion is intertwined in their culture. So, with the potency of a religious head figure, civilians alter their daily lives to follow a religious protocol in the beginning of the book. Because religion is foundational in the book’s societal structure, it shapes aspects of gender, sexual engagements, and character interaction, it provides assistance to understanding the complexity of a character’s development and actions.