The Secret Labyrinth Of A Snail Shell By Robert Hughes Essay

In the play, Bernarda can be considered the “regime”, but in reality this could be a symbol of the growing threat of fascism and the first stages of the civil war in 1930s Spain.

Robert Lubar’s essay “Narrating the Nation: Picasso and the Myth of El Greco” discusses the aftermath of the bloody Spanish-American war resulting in “El Desastre del ’98” in Spain which rocked the national psyche into a period of cultural dissonance. Following the Disaster, the nation quickly found itself in an agitated period of conflicting ideas and divisive discourses, specifically between Madrid and Catalonia. Essentially, class divisions, regional differences, and this lack of national identity was what gave way to the “Myth of El Greco” in fin-de-sïecle Spain. Lubar proposes that the ‘myth’ connected tradition and modernity whilst illustrating the middle class’ pursuit to construct hegemony for Catalan cultural nationalism.

His prose epitomizes magnificently its characteristics presented by Courtney Ban in her video on "Southern Gothic Literature", though the strange and satirical events investigating the social and cultural problems then, with all the grotesque present, and the social and geographical “sense of place” of the

A Cage of Butterflies, by Brian Caswell, is a science fiction book. Dr Larsen starts an institute for children who are geniuses so he can study them. Within this context Society Is represented as a place where those who are different have much to fear than those who are normal. Young people brought in this institute are affected in many ways when they tried to participate in normal sociality outside the institute. Once inside they faced different fears not about exclusion but the risk of exploitation and being used for research and financial gain. There challenge is to take control of their own futures to live their own lives outside the institute in a wold where there is a lot of judgment.

Mary Wroth alludes to mythology in her sonnet “In This Strange Labyrinth” to describe a woman’s confused struggle with love. The speaker of the poem is a woman stuck in a labyrinth, alluding to the original myth of Theseus and the Minotaur. The suggestion that love is not perfect and in fact painful was a revolutionary thing for a woman to write about in the Renaissance. Wroth uses the poem’s title and its relation to the myth, symbolism and poem structure to communicate her message about the tortures of love.

During the nineteenth century, Paris further developed into the entertainment capital of the world. Alistair Horne, the author of the Seven Ages of Paris, vividly illustrates several historical moments that occurred in Paris. Through the horrors and triumphs, Paris was able to endure through it all for ages and still emerge greater than before. In comparison, Vanessa R. Schwartz, the author of Spectacular Realities: Early Mass Culture in Fin-de-siècle, demonstrates how the explosive popularity of the boulevard, the newspapers, wax museums, panoramas, and early cinema led to the creation of a new culture in Paris. Driven by consumerism, a cultural revolution was happening, who’s new culture transcended gender and class divisions. Both authors

Edgar Allan Poe’s “The Cask of Amontillado” is a horror story about revenge and murder that occurred half a century ago. Through the haunting confession of the narrator, Montresor, the reader is able to feel what Fortunato had endured half a century ago. In this tale of revenge and murder the dark, damp, and bone-filled catacombs provide a contrast to life during the “madness of the carnival” (553).

When we were planning out and creating our labyrinth, my mind went back to Che’s journey. He went with his friend Alberto and only their old motorcycle “the mighty one” and a few dollars. They lacked really a structured plan other than to travel around South America. I felt like the same journey they underwent is similar to our class’s. We really didn’t have a set plan for a pretty long time, but we kept pushing forward. Unlike Che’s journey, ours is not complete and is only beginning.

“Le Cygne” is a poem by Baudelaire, published in the “Tableaux parisiens” of “Fleurs du Mal. Between 1853 and 1870 the city of Paris underwent vast amounts of renovation by order of Napoléon III. It included the destruction of many poor and unhealthy old neighborhoods to be replaced by avenues, parks, squares and large boulevards. Many of the writers at the time where unhappy with these changes and “Le Cygne” can be read as Baudelaire’s reaction to these changes which make him feel alone and lost in this new city. In my commentary, I will suggest that Baudelaire attempts to create a virtual encyclopedia of exiled individuals, and thus have felt similar emotions to that of Baudelaire’s response to the changing city. The poem is also dedicated to Victor Hugo, who at the time of the poem was in exile on a channel island. I will first try and explore the meaning behind the different stories in the open. I will then try to understand how each of these stories share a certain type of parallel or similarity in the terms of the emotions felt, and finally what the main themes of the poem are altogether.

Stanley Payne’s argument strongly rejects the notion that Franco’s Spain can be characterised as an embodiment of the traditional values that comprise fascism. Payne asserts that while Franco’s ‘political orientation was definitely pro-fascist’1, the nature of Francoist Spain never resembled anything that was analogous to Mussolini’s Italy, with Payne confidently stating that ‘scarcely any of the serious historians and analysts of Franco consider the Generalissimo to have been a core fascist’.2 The central premise of Payne’s argument is that Francoist ideology diverges from fascism at a fundamental level, which is made evident by Franco’s largely conservative philosophy and his refusal to pursue revolutionary policies that would radically change

The Spanish the ruling class revealed little attentiveness in their restored colony, and the following period is recalled as La España Boba- “The Era of Foolish Spain”

While these elements have survived and are present in the contemporary world, the New Spain was plagued by breaks and interruptions into its culture. Therefore, its survival was facilitated by continued persistence of its citizens. Paz narrates that these breaks have been setbacks for the New Spain, but “the modern republic has maintained Aztec and Spanish centralism while imitating North American federalism” (14). Despite all the breaks, setbacks, and cultural infiltration, the New

“Old Paris” was viewed as a collection of picturesque memories, cherished dwellings, close neighborhoods, and lively streets. The people inhabiting “Old Paris” included those in the banlieues

It is quite understandable that contemporaries, whatever their sympathies, should have viewed the Spanish Civil War in such cosmic terms. I will now examine in some detail, first the European, and then, the Spanish context, into which the civil war was born to see why such a conclusion might be drawn.

CRACK THUD ¨Throw him in the labyrinth.¨ said the dark voice, And then darkness fell over my memory obliterating it. Ouch geez, Where am I? Who am I? While I was sitting up I rubbed the back of my head to ease some pain from it and a painful flash of my memory returned briefly I remembered A storm, a cursed ruby, and a gang of thieves.