Blood Wedding

time of year and the local tradition. Romania preserved a significant number of traditional customs and celebrations manifest within the strong community of the village. Ceremonies dedicated to the significant moments of one's life (birth, wedding, death), to natural cycles (such as solstice, equinox, harvest, springtime) or to the big religious celebrations, follow the same archaic mythical rituals they did a thousand years ago. Even though preformed in 21st century in villages marked by modernization

For centuries women in cultures around the globe have been subjected to inequality and injustice, and enslaved by the chains of oppression that keep them submissive in our hyper-masculine societies. Women have been told how to look and act, denied the the right to vote and own land, married without consent and objectified. Objectification becomes internalized and has taught women that in order to find a man to marry them, which they learn should be their sole purpose in life, they need to present

INFLUENCE OF WESTERN CUSTOMS OF WEDDING ON CONTEMPORARY MUSLIM MARRIAGE CEREMONIES IN WAJIR COUNTY, KENYA BY ABDISHAKUR HUSSEIN SHEIKH C50/27142/2011 A RESEARCH PROPOSAL SUBMITTED TO THE SCHOOL OF HUMANITIES AND SOCIAL SCIENCES IN PARTIAL FULFILLMENT OF THE REQUIREMENT FOR THE AWARD OF THE DEGREE OF MASTER OF ARTS OF KENYATTA UNIVERSITY JUNE, 2015 DECLARATION This proposal is my original work and has not been presented for a degree in any other University. Sign:___________________________

have been bought with a price…" We also see in Revelation 5:9 KJV, how the mohar was paid, "And they sung a new song, saying, Thou art worthy to take the book, and to open the seals thereof: for thou wast slain, and hast redeemed us to God by thy blood out of every kindred, and tongue, and people, and

BAM BAM!! BAM BAM!! ...Hmmm…? “ACE! Get your lazy self up! I do not want to be late to Sayama-sensei’s wedding!!” BAM BAM!! Huh? Is that Scarlet’s voice? Why’s she…? “ACE YOU IDIOT, DO YOU EVEN HEAR ME??!!” Crap. I better get out of bed or else I’m in Big Trouble. She’ll…. “Ace. I’m trying to maintain myself here. If you don’t get out of bed this minute….I’ll karate kick open your door and drag you out of bed!” “NO! STOP! I’ll get out! I’ll get out! Just leave my door alone!” I scream. I quickly

was a discoloured face — it was a savage face. I wish I could forget the roll of the red eyes and the fearful blackened inflation of the lineaments! [...] the lips were swelled and dark; the brow furrowed; the black eye-brows wildly raised over the blood-shot eyes” (Bronte 371). Bronte’s characterization of Bertha demonstrates how a woman, once considered “the boast of Spanish Town for her beauty: and this was no lie. [Rochester] found her a fine woman, in the style of Blanche Ingram; tall, dark, and

To My Sister Tita, Born from the same mother and with the same blood running through our veins, we are sisters. The eyes we look through are the same, and the organs that fuel our bodies are related. We grew up together, lived under the same roof, and watched one another mature. With Gertrudis, the three of us were inseparable despite our differing ages. I was there when you were born, and there when you first gained your culinary passion. I loved you, yet why do you hate me so? You accuse me of

Imtiaz Dharker, is a Scottish Muslim Calvinist. She was born in Pakistan, brought up in Glasgow, Scotland and moved to India after her marriage with her Indian husband, Anil Dharker. After the death of Anil Dharker she married Simon Powell, the founder of “Poetry Live” and presently resides at London. Her diversified cultural experience is well expressed in her poetry and drawings. She speaks about her experience at home, freedom, traveling, communal conflicts and gender politics. Imtiaz Dharker

For years, the war involving precious city blocks and control of products the community needs to sustain itself, bubbled just under the surface of life in our home metropolis. It wasn’t a war over the city, or the commodities so much as . . . bad blood between families. A senseless fight because two men hated each

Blood Wedding, a play written by Federico García Lorca and translated by Jo Clifford, employs both symbolism and characterisation as literary techniques in the construction of the female protagonists. Through the use of literary symbolism and characterisation, Lorca constructs individual traits that enhance audience response by revealing cultural and temporal context against which it was written. Women portray arguably the most significant roles and interpretation, with the female roles are largely