In a not determined country of Latin America,Chile or any other country that has suffered the consequences of a dictatorship lives Paulina and Gerardo, her husband. She is a woman who survived the tortures of an already overcome dictatorship; it was then when, Gerardo Escobar was a student and a publishing leader of a clandestine publication. Paulina dealt with the pain without betraying her boyfriend as the torturers were claiming. Now she lives with her fighting partner (Gerardo), in a beach house, completely isolated, close to the cliff. Escobar, now judge of the republic, has been named in a commission to investigate the deaths occured during the past regime. Fate propitiates that Roberto Miranda, the doctor entrusted to maintain alive the victims until they were confessing and who at the same time condemned them to the worst of hells, comes one night to the house of the cliff. She(it) recognizes his(her,your) voice and decides to make him confess, in an imitation of judgment(reason), looking that the truth emerges and this way probably his(her,your) soul recovers the peace that has lost. This one is the history based on a play of the Chilean writer Ariel Dorfman, who opened our new cycle " The pardon, humm! Almost always so difficult … ".
And really, the pardon is a concept which complexity is demonstrated from the same attempt of defining it. This way it was verified during the conversation later(posterior) to the movie. What is to excuse? Does to excuse mean to forget? Evidently not. What does need to excuse? There occurs some interior transformation in whom he(she) asks for the pardon and in whom it(he,she) grants it? In a country where this word has been invoked so often and prostituted some others in simulated processes ...
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...he doubts that it(he,she) us provokes. Particularly, the waves that violently break against the cliff, make us think about the turbulences for which those prominent figures cross in this moment. Of maximum tension, the scene in which the doctor, of knees opposite to the sea, has confessed and the death, as party threatens, seems to hang on his(her,your) head.
Neither Sigourney Weaver's magnificent actions(performances) can pasarse in the paper(role) of Paulina and of Ben Kingsley as the doctor Miranda. So much she(it), with a dramatic but sober action(performance), as him(it), with a coldness that produces shiver, there deliver us a few totally credible prominent figures in his(her,your) complexity.
Finally, Schubert's beautiful quartet that gives name to the movie and that accompanies her permanently, is constituted in important element as backdrop of the events.
Lope de Vega’s play touches upon several key components and ideas that were brought up in many of the other stories read throughout the semester. This included the role of gender and how men and women are viewed differently in the Spaniard town of Fuenteovejuna. Another topic included the importance of family, love, and relationships and their connection on loyalty, trust, and personal beliefs. The last major influence found in other literature and in Fuenteovejuna, were the political and religious references made throughout the play. Even though Lope de Vega didn’t make these views obvious, the reader could still pick up on their connotation and the references made towards these specific ideas. With all of this in mind, each of these components played an important role in each civilization read, and even over 1,000 years later it continues to be a social topic as well as a large part of the culture. The only difference a reader or scholar could make for this particular piece of literature is its authenticity and how it was based on a true event. Regardless, new views on power and how one obtain it become apparent through the dialogue between characters like Laurencia and the Commander.
The trial was used to paint Abina as a complainer since there were other young girls who worked for Quamina Eddoo who did not report him or his sister. Another way Abina’s was silenced was the fact that her perspective was not recorded. Even though the court case was documented by an observer in the court, Abina’s personal narrative was not. It is probable to assume that Abina was illiterate since she was a slave from a young age and would not have been provided the opportunity of education. Due to this fact, the audience is unaware if the represented story of Abina is an accurate depiction of her story. The documented court hearing provides the reader with a strong sense of who the powerful men are in the room since the dialog was dominated by the men. Another reason why Abina’s story was quieted was because of her
Defiance in the name of freedom against the political clutch of a powerful dictator can bring about the consequence of inhumane punishment and loss, however, by preserving and telling the story of a great loss, one honors the memory of sacrifice and can find closure, making the cause worth the fight. The legitimacy of this statement is evidently valid when paired up behind the sacrifice of the three Mirabal sisters in the book by Julia Alvarez: In The Time of The Butterflies. Is any life worth living trapped in fear of harm or even death? How much misery and suffering can one tolerate from a higher power, before they seize opportunity to rise against the greater force. What triggers, and to what severity, drive one to the last resort of risking everything, including their life, in amends for something better; the liberating taste of freedom from fear? Can the quality of life even become so unbearable to generate such a gamble?
Throughout an individual’s life-time, he/she has a vision as o what his/her should be. But when things do not go as planned and the unexpected occurs, does that person face it, or run away? In “An Act of Vengeance” by Isabel Allende, running away is not an option at well. Through the usage of plot, character and irony, Allende illustrates the cost of war.
In “The Tell-Tale Heart” and “The Cask of the Amontillado’ Montresor and the unknown narrator are both murders through their confessions they reveal both their similarities and differences. The unknown narrator is trying to convince the auditor of his sanity while Montresor is attempting to convince the auditor of justifiable revenge. It is through these confessions they are trying to convince the auditor of their humanity and of their innocence through the justification of these horrible acts (Dern 53).
Major turning points in history such as the overthrow of a country’s government, political violence, guerrilla movements and civil wars, bloody revolutions, brutal dictatorships, domestic violence, criminal violence, physical and sexual abuse and psychological damage are all well known throughout history and they serve as a common theme in literary works of the time period. This is especially true of Isabel Allende, in which the true event of the overthrowing of the Chilean government by the military is an important aspect of the plot in her novels. The aim of the paper is to analyse Isabel Allende’s Of Love and Shadows as a story reading in between the shadows of violence and the gentleness of love by mixing politics and love and demonstrating
Honor is a concept that is held true and dear to the residents of the Columbian town depicted in Chronicle of a Death Foretold. Honor can represent the status of one’s family, it can determine whether a person is fit for marriage and, if stolen, can resort to violent consequences. In the Gabriel Garcia Marquez’s novel Chronicle of a Death Foretold honor is a prominent theme that is underscored through a major symbol as well as various characters throughout the novel. Each character displays their respect towards honor in different ways.
Accordingly, Poe is well responsive to this psychological trait of the human brain. Likewise, Poe employs the perception of perversity and remorse in “The Cask of Amontillado.” The reason of burying Fortunato is not only vengeance, but also a robust reaction that is described in “The Black Cat”. There is a passionate yearning in Montresor to hurt Fortunato even if he has not made any harm to him. Although Montresor asserts that he has been injured several times by Fortunato, he cannot defy calling him “respected, admired, beloved,” admitting his “good nature,” and also calling him “noble” (Little 212). These expressions confirmed that Fortunato is a good quality person and the expression “injuries” used in the first phase of the story is simply a hyperbole that Montresor’s psyche has fabricated. Furthermore, wickedness does not come unaccompanied, but it carries itself a sense of remorse. Even if Montresor reflects himself as the diplomat of his family for deafening down rivals, he suffers remorse while walling up Fortunato. Consequently, Poe’s clasp of unreasonableness and culpability of the human mind is
Today, forgiveness is a slippery slope, and isolating the distinction between a pardon and forgiveness can be confusing, especially when the pardoning is public. Lately, forgiveness is doled out like candy in a parade. Though unearned and often underserved, it is given without any preemptive question or reasonable justification. Of course, there are those that might argue their forgiveness is in the spirit of their religion, their morals, and fairly enough, in the spirit of growth and healing; however, there are certain circumstances, such as those of the My Lai Massacre, where none of the above can justify forgiveness. In light of this, it was an egregious misjudgment and mistake by the United States Government to pardon the soldiers and officers
"Suicide, what a terrible concept. There are two types of suicide: physical, and theoretical. Physical suicide is the more commonly heard type of suicide. It entails the person actually, physically killing himself or herself. On the other hand, theoretical suicide is when the person does something that will, in turn, get him or her killed. For example, in “All About Suicide” by Luisa Valenzuela, Ismael, a man that works at a minister’s office, murders the minister, a high-ranking public official. Ismael has been forced to be quiet by the government; therefore he lashes out by killing the minister so that he can reveal the truth about the government. In doing this, Ismael technically “kills himself” because he knows the government will eventually find him and execute him. The theme of this story is that quite often, the truth is misconstrued or is hidden from the public. In order to reveal the truth, action must be taken to bring the truth to the people. Valenzuela reveals this theme through flashbacks, pronoun usage, and imagery.
The first poem written by Claribel Alegria is titled “Documentary, and this shows country corruption. This poem gives a brief summary of what is wrong with their country, and describe it as a 'lesson'. “A for
José Maria Eça de Queirós, though not worldly renowned, is arguably the greatest Portuguese novelist of his time. In 1877, he wrote a novel titled “The Tragedy of the Street of Flowers” (“The Tragedy”); however, it was not published until many years following his death. The novel is a tragic love story about a cocotte (prostitute) named Genoveva de Molineux and a lawyer named Vítor da Silva. The story follows the love between these two individuals which ultimately leads to the death of Genoveva. When first appearing in the orchestra audience in Lisbon, every man was attached to her beauty and wanted to know her. Vítor falls in love with Genoveva at first sight without previous knowledge that she is a high-class prostitute. However, the tragedy begins when Genoveva is told by Vítor’s uncle, Timóteo, that Vítor is her son. Unable to cope with what she had just learned, Genoveva commits suicide; neither herself nor Timóteo disclose the truth to Vítor. When asked about the novel, Eça had stated that it is a cruel story, one of the best he had yet written (at that time) and “a real literary and moral bombshell” (Queiroz, preface, ¶ 3-4). “...nineteenth century writers knew that incest in Greek Tragedy represented the protagonist’s hopeless fight against fate. Finding a close correspondence with contemporary Lisbon society, aimlessly debating political, economic and social problems, unable to control the nation’s destiny, does not require a great stretch of the imagination” (Ponte 79).
In “The Fortune Teller,” the author, Joaquim Maria Machado de Assis, uses symbolism to prove to one that an affair is not worth a person’s life. He uses the letter to symbolize hate between Villela and Camillo regarding the affair. This very ambiguous letter has terrified Camillo and put an end to his life. The letter enhances the theme of the short story by showing the anger and hate that Villela now had for Camillo. This hate is a focal point in the short story that leads to ending the affair along with Camillo and Rita’s life. Ultimately, the affair caused a large amount of tension between the three. However, the author was successful in grabbing the reader’s attention with the letter as the turning point of the short story.
Most often is it human nature to blame our problems on something or someone else. For example, the cliché excuse of “my dog ate my homework.” It is very hard to accept our own faults but very easy to blame others for it. Similarly, Angela Vicario blames Santiago Nasar for taking her virginity, though most likely, he did not. On pages 46-47, of the novel Chronicle of a Death Foretold by Garcia Marquez, the narrator creates an overall mood of misery and brutality to show how bad situations can cause people to resort to blaming others for their own guilt.
Throughout 'The Spanish Tragedy', by Thomas Kyd, there is a constant theme of justice and revenge. Justice is the supreme law of the land; without justice, a country would fall into disrepute and those who are readily concerned with the status of society would have no grounds to stand upon. Therefore, those in power venerate justice. Revenge, however, upsets the delicate balance that holds Spanish society together. Hieronimo does his best to maintain a civil attitude towards incrimination and justice, but his plans for revenge lay waste to the very law he professes to adore. A series of carefully plotted steps, coupled with thoughts of revenge, reveals the descent of Hieronimo into madness and thereby fueling his rejection of justice.