The play is set in a "Madrid absurd, brilliant and hungry" [un Madrid absurdo, brillante y hambriento], and the entire play transpires over the course of a single evening, "amidst the fetid urban map of a turn-of-the-century city prior to the construction of the Gran Via. Beginning at twilight, it follows the blind and destitute poet Maximo Estrella as he journeys through a series of progressively sordid city sites, in search of money that is owed to him, before his death from alcohol and hypothermia in the early hours of the following morning" (Parsons 87)
Among the numerous other writers who exploited this ironical approach, the best was probably Pier Maria Rosso di San Secondo (1887-) with his works, "Marionettes" (1918) and "Sleeping Beauty" (1919) (608). During this period, other small art theatres also began featuring works that were characteristic of the theatre of the grotesque, including Luigi Pirandello, Mario Praga, Dario Niccodemi (Berghaus 18)
Estrella is Madrid's Chaplin, a human puppet pathetically caught within a series of absurd misadventures, a lonely clown who exaggerates his own ridiculousness, and a vagabond artist who finds vision in the incongruous and the deformed" (90). Loosely based on Valle-Inclan's close associate Alejandro Sawa, a blind poet who had lived in Paris in the 1880s and 1890s, and who had become a notorious cosmopolitan figure in the literary Madrid of the turn-of-the-century, Estrella embodies at once a posture of anti-heroic bohemianism and an ultimately Spanish absurdity: 'To the street, to the battle, to fight with phantoms!' [a la calle, a la batalla, a luchar con fantasmas!], Sawa wrote in his novel Iluminaciones en sombra (Illuminations in the shade) (Sawa 80)
My current aesthetic is to transform classical norms through the mathematics of a concave mirror." "As manifested in the late plays, esperpentismo might be seen as a realism in which grotesque aspects of life are magnified, in which the horrible and the humorous are superimposed" (Ugarte 466)
But the esperpento can also be read as a perfect fusion of those two critical themes. The work is a demonstration of the impossibility of art in an age of anonymous, impersonal, bureaucratic violence" (Weber 575)
The Spanish premiere of the play took place in Madrid's Teatro Bellas Artes, under the direction of Jose Tamayo in 1972 (Parker 466). The play is described as "an accurate documentary" of Bohemian Madrid following the end of the First World War in which "Valle-Inclan strove to include the smallest details of happenings, meetings, newspaper headlines, popular topics, political debates, common phrases, cliches, current slang, and, above all, of the physical aspects of the city" (Zahareas x)
In fact, the play was Valle-Inclan's first play that was depicted in a contemporary setting (Parker 466). Most of the action of Luces de Bohemia takes place in dingy settings, marked by poverty (Zatlin 11)
He notes, "[T]he main distinction lies in this, that whereas wine disorders the mental faculties, opium, on the contrary (if taken in a proper manner), introduces amongst them the most exquisite order, legislation, and harmony. Wine robs a man of his self-possession; opium greatly invigorates it" (De Quincey 51)
His reaction to the opium is a dream world. Malraux writes of it, "a world more true than the other because more constant more like himself; sure as a friendship, always indulgent and always accessible: forms, memories, ideas, all plunged slowly towards a liberated universe" (Malraux 61)
By the Sumerians, and it had spread to China by the eighth century. By the sixteenth century, opium had developed into an important trade good between China and India, and by the nineteenth century, it had spread around the world and was a very important trade good in many European countries (McCoy 34)
Trocki, writes, "It is impossible to read the archival records of nineteenth-century Singapore without encountering opium over and over. The statistics and the facts show it to have been ubiquitous throughout the century" (Trocki 2)
From the beginning of this novel that spans 60 years, the heroine of the story is Briony, and young girl convinced from the beginning that she can weave together stories. She discovers early that "A crisis in a heroine's life could be made to coincide with hailstones, gales and thunder, whereas nuptials were generally blessed with good light and soft breezes" (McEwan 7), and this begins her fascination with love, romance, and happy endings
Another discussion backs up this assessment. A journalist writes, "[T]hat market as such does not have moral features and its' functioning can carry with itself both good and bad consequences" (Ci-ewska, 2007)
Government Moral Criticisms of the Market In his argument, Ewert writes, "In their eyes, the justness and morality of an economic system are vastly more important than its efficiency" (Ewert, 1989, p
). Some critics use the Jungian approach, where most of the analysis is focused on the main character and villain, such as the different parts of the self and the persona (Burris)
There is yet another method, by Charles Mauron, which focuses on the literary works of an author as though they were a dream, and the final stage of analysis connects the works in some meaningful way to the author ("Psychoanalytic Literary Criticism"). Some questions that might be asked are: What are the instinctual motivations for these characters? Is there a part of the mind that is repressing any actions? What effect does this have on the character and storyline? Is there a process of discovery for the character? On the other hand, perhaps a direct opposite of the hero that manifests itself as the villain? Does the character come to understand something that is not understood at the outset? (Dobie, 64) To apply concepts of a psychological criticism, depending on which method is used (Freudian or Jungian), the easiest place to start would be with the hero, the main supporting characters, and the main villain
The IMF mandated that the recipient governments institute deflationary fiscal policy in the form of spending cuts, raise taxes, and charge higher interest rates of lenders. "It is argued the IMF turned a minor financial crisis into a major economic recession with unemployment rates in countries like Thailand, Indonesia and Malaysia shooting up," and in an unusual move, the World Bank, the IMF's sister institution, articulated the dangers of IMF Asian policy (Bluestein 1998)
Since the 1990s, criticism has mounted regarding the IMF's narrow construction of a 'one size fits all' economic policy. "Policies of privatization and deregulation may work better in developed countries in the West, but, maybe more difficult to implement in the developing world" (Pettinger 2009)
S., first in Chicago and then in Harlem (Grinnell 145), but whatever commitment to the Party Wright may have felt in the early 1930s is hardened at the end of the decade by his depiction of the nightmare of Bigger Thomas' life (145)
His confusion and unease with Jan and Mary's benevolence quickly turns to feelings of anger and intense loathing for them. Marx's theory of alienation, which is a result of capitalism, is when people are alienated from aspects of their human nature (Marx 11)