Assess how Martin Gaite takes on the task of confronting recent history both aesthetically and ethically in El cuarto de atrás. El cuarto de atrás is Carmen Martin Gaite’s first post-Franco novel. Encompassing two very distinct genres‚ it is a fantastical novel‚ whilst in the same framework‚ a realist memoir of a woman growing up in post-war Spain. Through the use of the fantastic mode‚ the author approaches the real social history of the Civil War and post war period. This essay‚ will explore
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Volver a COMUNICACIONES Gonzalo MONTIEL ROIG (Universitat de València) LA CONSTRUCCIÓN DE LA IDENTIDAD DEL “JOVEN” EN INTERNET: APUNTES SOBRE EL CONSUMO CULTURAL Y MEDIÁTICO DE LOS JÓVENES Esta comunicación trata conectar el proceso de construcción y consolidación de la identidad juvenil a través del consumo cultural y mediático con el hecho constatado de que Internet‚ como nuevo espacio de comunicación y de oferta cultural‚ es una máquina de consumo que requiere de más usuarios y nuevos
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2011 ARPN Journal of Agricultural and Biological Science ©2006-2011 Asian Research Publishing Network (ARPN). All rights reserved. ISSN 1990-6145 www.arpnjournals.com PROMISING ANTIFUNGAL EFFECT OF SOME FOLKLORIC MEDICINAL PLANTS COLLECTED FROM EL- HAMMAM HABITAT‚ EGYPT AGAINST DANGEROUS PATHOGENIC AND TOXINOGENIC FUNGI Department of Bioprocess Development‚ Genetic Engineering and Biotechnology Research Institute‚ Mubarak City for Scientific Research and Applied Technology‚ Research Zone‚ Borg
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The Commoners In the Fifth Dynasty Saqqara tomb of Niankhkhnum-khnumhotep (Prophets of Re in the sun temple of Niusserre and they were both known as supervisors of the manicurists in the royal palace)‚ there is a scene of a leg massage (fig.6). The massage scene is among the manicurists‚ pedicurists and barbers in the market. This scene is depicting a masseur who sits on the ground while practicing leg massage to a standing client in front of him (Mossa and Altenmuler‚ 1977). In the Sixth Dynasty
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headdress and symbols of Egypt’s enemies inscribed beneath feet much like the seated limestone statue from Deir el Bahri. After her image included full kingly regalia. This included the image ‘wearing shendyet kilt‚ Nemes headdress‚ false beard‚ formal standing pose‚ kneeling before the gods‚ making
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headdress and beard and by having her hands lay flat made her stand out while a male would have clenched fist. Mortuary temple Deir el-Bahri‚ one of the main architectural structure Hatshepsut made. Hatshepsut made the temple for her father and her‚ reinforced her image as his successor. Hatshepsut showed iconography through her images in the temples. By looking at images of the Deir el-Bahri temple‚ you can see that the temple was well structured by the polygonal columns. The temple blending with the rocky
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HATSHEPSUT | Ancient History Profile Research | | Background Hatshepsut was the daughter of the Pharaoh Thuthmosis Akheperkare‚ otherwise known as Thuthmosis the 1st‚ he was married to his sister Queen Aahmes who gave birth to Hatshepsut in 1508 B.C. Hatshepsut had many step siblings‚ they consisted of Ouazmosou‚ Amenmosou‚ Wadjmose‚ Nefrubity and Thutmose the 2nd some derived from a range of “second classed wives”. Out of all her siblings Hatshepsut was the oldest. Her sister Nefrubity
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the art that commemorated her reign that tells us the most about her and the way she ruled. One of the most interesting pieces of sculpture that put her rule into focus is one that was found at Deir el-Bahri. The Seated Statue of Hatshepsut (also known as Hatshepsut as King)‚ found near Thebes at Deir el-Bahri in Egypt‚ is one that certainly exudes femininity and grace while remaining both power and strength. The Seated Statue of Hatshepsut uses an idealized‚ strong image that marks a propagandistic
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assumed power by depicting she was “chosen” by the gods‚ however this can be attested with the likelihood of trickery to swathe her insecurities as a woman in a civilization governed by men. Such scenes from these claims have been carved at her temple Deir el Bahri‚ particularly in the Middle Colonnade. Amun: “Khnemer-Amun-Hatshepsut shall be the name of this my daughter‚ whom I have placed in your
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Gaston Maspero Gaston Maspero was a French Egyptologist and he was born in Paris on the 23rd of June 1846. He died suddenly in 1916 while attending a meeting of the Académie. Maspero was talented in the subject of history and at the age of 14‚ he started to be interested in hieroglyphic writing. Maspero was originally trained in linguistics but soon began his career in translating hieroglyphics. On the death of his colleague‚ Auguste Mariette‚ Maspero took over the directorship of excavations in
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