Romance de La Pena Negra Essay

The aim of this essay is to present the different ways E.E. Cummings and Pablo Neruda in their poems “It May Not Always Be So” and “Always” respectively deal with the issue of love affairs. It will also seek to examine the similarities and differences in the poetic devices they use, and in the way the idea of prospective change, namely the possibility of unfaithfulness in the first, and the past of the speaker’s lover in the second poem is encountered by each speaker. The two poets have their speakers to express their feelings addressing the women they love in order to emphasize the theme of the poems, which they perceive in two utterly different ways: cummings’s speaker views the end of his

This essay will be discussing how gender is portrayed in the films Todo Sobre Mi Madre (All About My Mother) and Tacones Lejanos (High Heels), both directed by Pedro Almodóvar. The use of the theatre and performance, along with the audiences that come with it, enables these films to explore the manner in which gender is unstable. Gwynne Edwards writes that Almodóvar often pays tribute to the stage . Almodóvar dedicates All About My Mother “to all the actresses who have played actresses, to all women who act, to men who act and become women” , which is also relevant to High Heels. He uses the stage setting as a platform to show the instability of gender, not only on a physical stage but also in the characters’ lives: “The dialogue of his films has the cut and thrust, and very often wit, of stage plays. There are also soliloquies, and one of them – in All About My Mother – is even delivered to the audience from the stage of a theatre” . Russell Jackson suggests that this is done as a method for the characters to “find the sometimes onerous ability to deal with and describe their past, and to create a future in the face of death and desertion.” The character ‘La Agrado’ in All About My Mother as well High Heels’ Femme Letal (Letal), will be considered - both the manner in which they carry themselves throughout the film, as well as the their performances on stage. In the following paragraphs, I will illustrate how performance and the stage are vital in Almodóvar’s exploration

After Julia and her family got used to living in New York, getting accustomed to the type of buildings and their new environment in general became easier but being able to be seen through two different personas was much harder. Julia expressed this constant dilemma in knowing how to represent both her Dominican and now American side without losing “Julia”. The poem “Bilingual Sestina”, represents this challenge and how Julia found herself adopting english into her life with the chance of losing touch with spanish. That is what this poem deals with, the loss of a special feeling through the gradual loss of a language, “even spanish failed us back then when we saw how frail a word is when faced with the thing it names”(Julia Alvarez's "Bilingual

In Miguel De Cervantes Saavedra’s classic novel, The Ingenious Hidalgo Don Quixote is a wonderful tale about a man who abandons his normal life to pursue life as a knight. The characters in the novel such as Dulcinea, his love, Marcela, Maritornes and Sancho Panza his squire happens to play a great and important role in the novel when exampling the theme of love. The themes of love, care, infatuation and loyalty are greatly expressed throughout the novel. Throughout the novel, Cervantes is able to examine how one can differentiate true love from false and infatuated love.

Federico Garcia Lorca’s “Romance de La Luna, Luna” is a Spanish poem that tells the story of a young gypsy boy and the moon. His love and infatuation with the moon leads to his death. This poem not only tells the story of this young child’s demise, but also shows the effects when someone is lured in by an appealing temptation.

In the play by Federico Garcia Lorca, The House of Bernarda Alba, a recurring theme throughout the play is freedom. Lorca expresses freedom using characters, situations and objects. The characters in the story are Bernarda’s daughters who are under her control and have extremely little freedom and privacy by being forced to abide by her rules. Freedom and Repression are most significant themes conveyed throughout the play, the two opposing themes together are important to understanding both the characters and the story as well.

Poetry is often used as a form of writing to express emotions or tell a story. The poems “LA Nocturne: The Angels”, by Xavier Villaurrutia and “Meditations on the South Valley: Poem IX” by Jimmy Santiago Baca, are two distinctive poems. In Baca’s poem he expresses the disbelief and the sorrow of the death of a boy named Eddie. While, in Villaurrutia’s poem reveals an expression of secret desire men have. Baca and Villaurrutia’s poems, both use repetition, imagery and metaphors in their poems to convey their message.

To begin, the protagonist Clemencia is like a chameleon, who can blend into any social event and with any class of wealth when she says ““I’m amphibious. I’m a person who doesn’t belong to any class. The rich like to have me around because they envy my creativity; they know they can’t buy that. The poor don’t mind if I live in their neighborhood because they know I’m poor like they are, even if my education and the way I dress keeps us worlds apart”(Cisneros 71,72). Clemencia is a woman who knows how to talk and have a good time. By nature she is a very creative being who loves to impress by wearing the best clothes, and show off to anyone to make herself seem better than others. (Cisneros 71). Clemencia is poor and does not have much being that she works for the school system as a translator, and other various positions. But acts rich and very wealthy to all of her friends (Cisneros 72). This connects with the myth of La Malinche, of how the character is a bad woman who sleeps with lots of men.

The exemplary novels are timeless not only for the stories they tell, but also for the vivid ways in which they depict society at the time when these stories were written. Through the analysis of Cervantes’s Jealous Extremaduran and Deceitful Marriage, one is able to see and dissect the many jobs and roles played by people in society during the 16th and 17th centuries in Spain.

which he speaks to her suggest a sort of infantilizing. As a women is forced to accept

In this essay I am going to discuss whether or not we can consider Lazarillo de Tormes as a subversive text and the reasons behind why or why not we may believe it to be so. To accomplish this, I will explore the background behind Lazarillo, the different methods and literary devices used to convey dual meaning and give the text an undertone of subversion.

There was a frequent reference to “a poet” whose work was widely respected in this novel. The Count de Satigny (who was Esteban Trueba’s ‘suitable’ choice of a husband for Blanca) referred to the work of the poet as “the best poetry ever written, and nothing could compare to it”. When Jaime and Nicholas became adults, the poet became more widely accepted as Clara had formerly predicted the first time she heard him recite in his ‘telluric voice’ in one of her literary soireés. It was evident that the poet lived and wrote about the right of the citizens to live their lives the way they wanted to, making their own decisions and expressing their own opinions without being controlled. For this reason, the funeral of such a poet became “the symbolic burial of freedom”.

The poem is in form of a villanelle, consisting of the rhyme scheme ABA throughout the poem. There are two major extended metaphors in the poem- the “day” which stands for a person’s lifespan and all their actions and memories; and the dark “night” which stands for afterlife or the void. These metaphors are also the starting rhymes for the poem (for line A and line B), and thus all the following lines rhyme with these metaphors. This shows the constant cycle of day and night thus life and death, emphasizing on the inevitability and continuity of this process. Also in the first stanza, the metaphor for death is expressed as “good night” (in line one), “close of day” (in line two) and “dying of the light” (line three), where all are placed at the end of their respective lines; thus again showing what lies for all at the time of their end.

Charles de Gaulle once said “Love is the strongest force in the world.” de Gaulle’s sentiment about love’s power holds true. In The Count of Monte Cristo by Alexandre Dumas, love is the most powerful driving force. During this romantic novel, a man named Edmond Dantés gets falsely imprisoned for fourteen years. When he escapes as a rich man, he swears revenge on his enemies, but in the end, love prevents him from enacting several of his vengeful plans. A moral in The Count of Monte Cristo is that love is the strongest power in the world because it can stop revenge in its tracks and cause great joy.

The purpose of this paper is to draw upon the metatextual connection between desire, as the omnipresent drive of the novel and the narrative itself in the novel. Desire and lust are not working only at the level of the diegesis, of the story and characters, but also influence the narrative style and techniques, the intertextual and metatextual level and also the language. All these aspect create a seductive narrative that captivates the reader. The Eros and Thanatos coordinates not only manifest themselves only in relation to the story but also in relationship between the text itself, the author and the Gothic genre at large. The novel also cannot escape the pleasure of drawing upon itself as a literary work and as a representative of the Gothic