Most people would define a great female protagonist as intelligent‚ strong minded and willing to fight for what she believes in. Both Bernarda Alba from Federico Garcia Lorca’s The House of Bernarda Alba and Medea by Euripides fit this description. One is a tyrannical mother who imposes her choices on her five daughters‚ the other is arguably the strongest non-Olympian woman in all of Greek mythology. If we take a closer look‚ we notice that these two characters have many things in common. From their
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Cast List Bernarda‚ aged sixtyMaría Josefa‚ (Bernarda’s mother)‚ aged eighty Angustias‚ (Bernarda’s daughter)‚ aged thirty-nine Magdalena‚ (Bernarda’s daughter)‚ aged thirty Amelia‚ (Bernarda’s daughter)‚ aged twenty-seven Martirio‚ (Bernarda’s daughter)‚ aged twenty-four Adela‚ (Bernarda’s daughter)‚ aged twenty Servant‚ aged fifty La Poncia (a servant)‚ aged sixtyPrudencia‚ aged fifty Beggar woman with little girl Women mourners Woman 1 Woman 2 Woman 3 Woman 4 Young girl The poet
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To what extent is Lorca’s use of symbolism and imagery in The House of Bernarda Alba central to the unfolding of his tragic tale? When Federico Garcia Lorca talked about his new play‚ The House of Bernarda Alba‚ he said that it was pure realism and did not have a drop of poetry in it‚ however if you look closely you can see expressionism elements. The tragedy of the play has been emphasised by symbolism and imagery to help the unfolding of his tragic tale by presenting the fears‚ the fact that “They’ve
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236 Journal of the Chinese Chemical Society‚ 2011‚ 58‚ 236-240 Analytical Characterization of Fatty Acids Composition of Datura alba Seed Oil by Gas Chromatography Mass Spectrometry Muhammad Nasimullah Qureshi‚* Muhammad Siddique‚ Inayat-ur-Rahman and Farina Kanwal Medicinal Botanic Centre‚ PCSIR Laboratories Complex Peshawar‚ Pakistan Received July 9‚ 2010; Accepted November 23‚ 2010; Published Online December 14‚ 2010 Methyl ester derivatives of fatty acids were analyzed for the determination
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p. 163). Both Madonna and Maria Callas have definite ‘diva’ qualities. It could be argued that their contrasting genres of music - pop and opera respectively‚ dictate different reasons for them being labelled divas. Both Maria Callas and Madonna have personalities that embody their vocational and personal lives. Throughout her life‚ Callas experienced a ‘particular variety of fame associated with personal and professional difficulty’ (Moohan‚ 2008‚ p. 175). Similarly‚ Madonna is rarely out of
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lives while enduring restrictive love due to the oppressive female roles. Lorca creates the character‚ Bernarda Alba to act as the tyrant in his tale‚ leading some characters such as Adela and Maria Josefa to defy her and try to escape the tyrannical environment. Lorca expresses this uprising against Bernarda using colour as symbolism‚ while the house is symbolically used by Bernarda Alba as a means of repressing her family members and remaining in control. Esquivel uses the characters‚ Tita and Pedro
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Research Paper Critique By Julian Ritzema During this process of an analytical review I shall draw upon evidence already existing in the field of audience research to complete a critique reflecting the accumulated data. The reflection will produce questions focusing on hypothesis and rational‚ regarding what questions where asked and why‚ leading to a more marginalised focused question (hypothesis). Operationalisation relating to the use of different media research
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as a painter’s first connection with the subject. By analyzing the sketching Raphael completed before the final oil painting of the Alba Madonna‚ the viewer can depict the theory of why he began this piece with a drawing. Our book does explain the step by step process of how the elements of Raphael’s drawings were used to form the final composition of the Alba Madonna. Raphael utilized drawing before committing to any canvas because it helped him brainstorm or allow him to make his first draft of
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Christensen‚ Carol. "Examination and Treatment of Paintings by Raphael at the National Gallery of Art." Studies in the History of Art 17 (1986): 47–54. “National Gallery of Art.” Raphael‚ The Alba Madonna‚ c. 1510‚ www.nga.gov/collection/highlights/raphael-the-alba-madonna.html. Page from the Libro de’ Disegni This composition was drawn by Filippino Lippi‚ Botticelli‚ and Raffaellino del Garbo. the framework was made by Giorgio Vasari after 1524. Botticelli‚ the most eminent
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Drawing to Painting Roxann K. Ames Arts/230 March 3‚ 2014 Angela Brasser Drawing to Painting Raphael was known for sketching his works before actually painting them. For the Alba Madonna he had as many as forty-eight sketches. Late in the fourteenth century paper was used more so that artists could explore ideas they had for design that they would later paint or sculpt. This exploratory drawing gave a quick look that was both vivid and intimate of the artist’s creativity to put their thoughts on
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